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Old Blood Noise EndeavorsMAW Vocal Multieffect Processor Pedal

Item#
N13-00789
$299.00

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Old Blood Noise MAW Vocal Multieffect Processor Pedal

The MAW from Old Blood Noise Endeavors is a multi-effect pedal designed for use with mic or instrument signals. It features saturation control and two selectable effects. The selectable effects include rotary, octave, flange, phaser, short delay, long delay and four reverb modes. The saturation control has level, tone, and blend. The two selectable effects each have mix control and two control knobs which change function based on the selected mode. Each of the effects are controlled by footswitch which have two modes. Tap the footswitches for latching mode or hold the switch down for the momentary mode. The input is a combo XLR-1/4" input, and there are instrument, XLR, and XLR dry outs. The Dry out is post-saturation but pre-effect, enabling countless options for signal mixing. There are two expression pedal inputs and send and return jacks for routing other effects into the signal path. Add otherworldly effects to your voice or add reverb to mic'd drums: the MAW offers a slew of great effects in one package.

MAW Features

  • Multi-effect pedal great for use with instruments or microphones
  • XLR preamp built in
  • Switchable saturation section with dedicated tone, volume, and blend
  • Two independent effects sections, each with algorithm selection and two per-algorithm controls
  • Integrated effects loop
  • Post-saturation dry direct output
  • TBD
  • 9VDC center negative PSU (not included)
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Product Demo Videos
Singing Into Pedals: Vocal Techniques for Effects w/ Katrina Cain!
In her recent visit to our studio, LA-based singer-songwriter Katrina Cain shared some valuable wisdom on using creative effects with the most naturally expressive musical instrument: the human voice. We frequently get questions from curious vocalists on how they can explore interesting pedals in combination with their voice, and in this video Katrina not only shows an example of an effective pedalboard setup, but also some important tips on modifying your technique and vocal delivery for achieving the best sonic results. From considering vibrato with harmonizers to using glottal or consonant attacks for defined pitch tracking, many of Katrina's tips are key to understanding how effects can be constructively applied to singing while remaining intelligible and clear.

Using a small curation of her favorite pedals, Katrina shows that you don’t need a ton of effects to prepare an engaging vocal performance. While it contains both a preamp and selection of effects itself, the Old Blood Noise Endeavors MAW also solves the critical issue of bringing the XLR-based microphone into the land of 1/4” pedals. From there, the Mercury 7 and Hedra from Meris respectively offer spacious reverb and ethereal harmonization and delays, and the Ditto Looper from TC Electronic lets Katrina gradually capture and layer multiple vocal lines over the course of a performance.
Fashion Club Live from the Perfect Circuit Showroom (Pascal Stevenson of Moaning & Girlpool)
Old Blood Noise Endeavors Presents - Dan Explains It All - MAW Microphone Pedal
What began as a simple request for a vocal version of an OBNE effect spiraled into a multi-function device with 10 new effects, versatile in/out and send/return sections oriented toward any instrument you want to throw at it, and ample control over all elements. It’s the new multi-tool for effects lovers on stage and in studio.
In an attempt to succinctly explain the parameters and capabilities of MAW, we find Dan on a night-off at the bar and let him walk us through three different real-time MAW scenarios. He starts with Ryan's vocals and explores the Saturation section, some Delays, Reverbs, and everyone's fave, Octaves. Did we mention MAW has trails? Ryan starts to wild card a little bit so Dan moves onto showing us what MAW does in the context of a Snare mic and an Overhead mic on Brent's drum set. Dan goes over some short and long Reverbs and Delays on the drums as well as Phaser on the Overheads. We then hear the Alpha Haunt Fuzz in the Send / Return, larging-and-in-charging that snare signal. This is also where he explains the Clever-Switching function of MAW's footswitches—tap to engage the effect, hold for momentary function. Once the stage is put back together after the drums got knocked over Dan explains MAW in the context of an Organ. He effects Ben's signal with the Rotary, Pitch, and finally Short and Long Delay modes of MAW and then plugs in two Expression Sliders to control the Feedback functions of the two independent Delay Modes. By that point Dan is ready get off the inter-dimensional roller coaster he's riding and just catch the band.
Old Blood Noise Endeavors MAW Vocal Multieffect Processor Pedal Reviews