BounceChord’s Battle: Digitech Synth Wah vs. Arturia Drum Machine

BounceChord kicks off with his reliable Arturia Drum Brute Impact, an analog drum machine that he describes with a love-hate relationship. But today’s star isn’t just the drum machine; it’s the Digitech Synth Wah Envelope Filter Pedal, a relic from the early 2000s. Known for its use by Daft Punk, this pedal promises weirdness in spades. The pedal features seven settings, but BounceChord skips the more mundane envelope filters to dive into the bizarre world of settings three through six. The stage is set for an aural assault, with the drum machine routed through the pedal, all out via a simple interface.

BounceChord plunges headfirst into setting three, transforming the drum machine’s output into something akin to a DJ’s playground. The control knob affects the synth sound attack, creating a sonic cocktail that’s part club banger, part experimental noise. Setting four, described as the ‘laser beam setting,’ is perfect for those craving sonic lasers from their drum rigs. Think sci-fi battles and you’re halfway there.

Then there’s setting five—often dubbed the Daft Setting for its resemblance to Daft Punk’s iconic tones. It’s a haven for vowel sounds and strange formants that have the FM drum sounding like a piece of machinery on the brink of sentience. The control knob and envelope frequency work together to shape this oddity into a masterpiece of modulation.

Finally, setting six kicks it up a notch. It’s akin to setting five but meaner, grittier, and oozing with a kind of furious determination. It’s all about those vowel formants and embracing the chaos they bring. The Arturia’s drums mashed through this filter become unrecognisable, almost like a distorted echo of their original form.

In a passionate plea that seems to resonate with synth enthusiasts everywhere, BounceChord ends by dreaming of a Eurorack equivalent for this funky pedal. The desire to modulate these odd controls is intense, and BounceChord isn’t shy about expressing his admiration for Digitech’s weirdness. He artfully suggests Digitech, if they’re still kicking about, should bring this pedal to Eurorack form. It’s the type of modular havoc that could open doors to further chaos and creativity.

BounceChord’s parting words question Digitech’s existence as a company but celebrate their legacy of crafting oddball devices. It’s clear that within this eccentric box lies a potential treasure for the modular geeks among us. There’s something infectious about BounceChord’s enthusiasm, a punk rock rallying cry that inspires one to look at even the quirkiest gear with fresh eyes. The outro is a fitting farewell—both a nod to the past and a call to arms for future innovation.