@@josephwright5921 I had a tech friend take it apart who explained to me. He said Strymons designed their reverbs and delays over 12 years ago and were using a one generation old chip then and it is now 3 generations old. Where as Flamma is using a more current chip. I compared it against a Strymon and there has at the minimum an equal sound quality and to my ears it sounds clearer. I do not doubt that a great algorithm in a good but not the best tech can be more pleasing. But like all equipment it is human nature to fool ourselves over prestige. I have done blindfold tests in the past and found that most players when having to choose between two products by ear either as often choose the cheaper product or are inconsistent about choosing over another when to me they are both in the ballpark. I have an Empress Echo System which was literally designed using all cutting end parts 3 years ago and if nothing the credibility in sound between the two is not there. The bottom line is Flamma sounds as pro as pretty much anything out there in actual context.Yes there are feature sets that push up the prices. Big BUT! On the whole these extras are only useful to the amateur not to a pro playing 98% of the music played live.
Just got my FS22 today, and I love it. Also got the Flamma FS05 Modulation pedal. Great combo. Good on my Guitars, and synths. On holiday sale at WALMART, with free two day shipping. FS22 = $80, and FS05 = $60. Here are a few early observations on the FS22... First of all, it sounds amazing. All 3 programs are as described, with no background noise. With the Level controls turned fully clockwise, you still hear the direct input signal. It does not turn down the input, it only adds delay/reverb to the signal. Therefore I would not normally use this, in an effects send/return path in a mixer. It is better used in front of a mono/stereo amp, or in an guitar amp effects loop. Position 1 Reverse delay, has no highs rolled off on the repeats, with the tone control placed after the delays, not in series with the feedback. The other two delays have the tone rolled off on the repeats, so as they repeat they get more rolled off, with each repeat. The reverb and delay, run in parallel, not series. In other words, the reverb does not go through the delay, and the delay does not go through the reverb. They both go directly to the stereo outs. It is true stereo, meaning, there are two separate mono effects, with no cross talk between the left and right signals. Left input goes to left output, and right input goes to right output. Unless you only plug something into the left (mono) input, in which case it goes to both L+R outputs. You can plug a mono input to the Left input, then patch the left output into the right input, and take the right output to your amp. This runs your input signal, through two copies of the Delay and reverb, in mono. Like having two mono pedals in series. Be careful with your amps volume control, because this setup can get intense and go into feedback, if your delay feedback is turned up high. Quick note about the FS05 Modulation pedal.....it is easily the best modulation pedal I have ever played through.
I have the Delay. It's good! The only thing I noticed about it is that the stereo effect seems to only come in with the modulation of the delay. They didn't do what some stereo delays do an have the left and right slightly off, so a 'dry' delay has a stereo effect. Also, the delays seem more geared toward the weird. I like basic lo-fi and this doesn't do that with a stereo field as well as other pedals.
Thanks for the note about the modulation. I agree about the weird. I think they could have dropped one 'creative' delay, and added one more traditional delay.
Question: What do you think of the Alesis QuadraVerb? I know Ty Tabor used a midi verb for years. I've watched some videos recently and they sound pretty dam good for $80-90 used.
I have one in my closet. They sound good, but they are limited in the number of effects you can stack. With certain combinations of FX, you will get a Not Enough DSP message. Newer units have more processing power, more headroom and better resolution. You might try a ZOOM MS70 CDR if you want lots of multi FX for cheap.
Guys still get great sounds out of Fuzz pedals using mid 60's specs that literally only have 7 parts in them. Rock has always been about "lf it sounds good it is good." EVH is a god and he became one with a crude homemade guitar!
Sounds great, and seems to be a repackaged Mooer D7 delay. All the same features and labels on the controls. I think I prefer this form factor pedal to the Mooer micro pedal format.
When I saw the pedals looking very boring in the thumbnail, I just had a hunch that there must be something interesting in them if Michael Nielsen makes a video about them. At the weirdest sounds of the week part before halfway through I knew the hunch was right.
I saw videos with these pedals popping up everywhere. I vastly prefer your original videos over yet another pedal of the day market introduction flick.
