Micro looper / sound explorer pedal.

Continuing the reVOLVER legacy, the model IV comes with stereo in and outs, 47 seconds sample buffer, more built in effects and highly interactive control options.

Story:

The story behind the reVOLVER pedal is not really spectacular. It's a song i heard in radio while painting a pipe in the bathroom (just moved to a new apartment), which had this cool stutter type/CD skipping effect added to the guitar riffs. I really liked that sound and the idea of designing a pedal to produce specifically these types of glitches was very tempting. While working on the design a few new ideas popped up:

  • i want some degree of randomization in the glitch parameters, not just a constant length repeats, although such option should also be included,
  • variable playback speed for tape slow down/speed up effects would be really nice to have,
  • Tone control - very important! Low pass filter really helps to keep the mix of original sound and the loops relatively clean and not convoluted.
  • Easily controllable sample length, on the fly. Since the max length was to be in a second range, i opted to a momentary action footswitch. The time it's pressed down determines the recorded sample length. It requires a bit of learning to operate, but on the other hand makes recording an ultra fast pulses very easy.

That's how the reVOLVER I was born, capable of recording up to 1 second of audio material and doing weird things with it in 8 available modes.

One mode that stayed through all the version of the pedal is the 1st "Glitch" mode creating a classic CD stutter effect with momentary action footswitch. The remaining 7 modes in of the reV 1 were all different ranges of play speed and direction. 7 modes doing a very similar job, certainly there were more interesting operations possible to perform on a short sound sample. Thus, version II came to life.

reVOLVER II got a new randomizer function, which was applied to sample length, play speed or both at the same time. In addition one of the modes was replaced with a random self retriggering mode for endless unpredictable glitch generation.

Btw, although the graphics is "gun oriented", the first inspiration for the name was the original Spanish meaning of the word "revolver", which is to stir, mix, disarrange. The graphics was more a result of watching too many western movies at that time ;).

At this point i have to mention how huge impact on the evolution of this pedal was David Torn's music. The way he creatively used the very early models really pushed the design into the direction where it's heading now: pedals used as a semi-instruments and tools in sound exploration. In addition to quadrupled available sample time (4 vs 1 sec.), the "DT" model was equipped with a set of new modes to accomplish this goal. These modes were the base for the next DX model.

DX was the next standard model, equipped with all the new modes and a 4 second sample buffer.

HEXE reVOLVER DX

DX-16 is a special version of the DX model with further upgraded sample buffer length. Instead of the stock 4 seconds it featured 16 seconds of non volatile memory to store the audio samples.

HEXE reVOLVER DX-16

DX-L (limited edition) is the next iteration of the pedal, featuring 2 minutes long sample buffer and a new optional auto-latch function for the Capture footswitch. It combines the traditional way (hold down to determine the sample length) of recording for short samples up to 4 seconds with a method known from classic looper pedals (press to start recording, press again to stop and start playing).

HEXE reVOLVER DX-L

reVOLVER IV is a complete new hardware design utilising a more modern DSP engine and AD/DA converters, larger sample memory, new built in effects. In the evolution tree the design shifts away from the very first pure glitch machine into a sound texture generation, a real helper and accompanying device in improvised live looping. In many ways the reVOLVER IV accomplishes what I wanted to achieve years ago with a special "Studio" edition of that pedal, similar to the BitCrusher one.

Version IV is follows also my latest pedal design approach, trying to find a balance between the number and complexity of features and the ability to use them hands free in live situation. This is the main reason for making the features available as ranges on knobs. The goal was to make the best use of the available "knob space", trying to make all positions musically useful without any dead areas which are not really used in practice. Knobs offer a very intuitive and quick way to dial into countless sounds, contrary to multiple switches, modes, navigating through deep menus etc. That's just my personal opinion which is reflected in the pedal's architecture.

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