SAMPLE-BASED EFFECT GENERATOR
The RECODER is a new kind of musical tool that lets you turn any recorded phrase into a living, breathing unique audio effect:
Record any sound, a riff, a melody, a beat, a hiss, a glitch — and use the RECODER to imbue your dry signal with various properties of the captured “spectral donor”
You can think of it as a Cross-Pollinator, an Audio Prism, a Ghostly Vocoder, a Formant Shifter, a Granular Echo Creator, or a Sound Imprint Machine…
We’ve defined it as a SPECTRAL MORPHING WORKSTATION, but honestly – even we don’t fully know what the RECODER is yet, because it is specifically designed to produce a unique audio effect in every player’s hands.
READY TO ROLL THE DICE?
At its core, the RECODER is designed for single-input recording and processing. Plug your instrument into the Main Input — guitar, synth, voice, drum machine, acoustic pickup, modular — and just roll the dice:
1. Record a phrase by holding down the REC footswitch – the maximum length is 12 seconds;
2. See it being captured on the circular LED display;
3. As soon as you release the REC Footswitch – the phrase will start looping inside the memory buffer; after release;
4. Play your instrument through the phrase — and watch your live signal get interpreted, reshaped, filtered, sliced, and harmonically re-mapped – or RECODED – through that phrase…
Every phrase you capture can be saved permanently inside the pedal, stored in one of 234 memory slots –
along with all its customized parameters, layers, mangles, and mutations.
Short phrases (50–200 ms) behave like spectral filters, resonators, or timbral imprints;
Long phrases (up to 12sec) become living rhythmic maps, transient machines, vowel vocoders, spectral landscapes, phantom riffs that live inside your clean sound.
The REC Input allows you to record external donor material from a different source in real time while still playing through your main instrument. That means you can create hybrid phrases from different sources without unplugging or stopping the flow, for example:
– Play guitar while grabbing phrases from your synth or groove-box;
– Record a vocal snippet while singing and use it to filter a drum loop, etc.;
But where the REC input truly shines, is the LIVE MODE – specifically designed to cross-pollinate instruments, pedals, synths & signals in real time.
This means that you’re no longer just playing through saved phrases — you’re feeding it new material mid-performance, constantly changing how the signals get RECODED.
The White Layer is all about taking your dry signal and infusing it with the behavior, movement, and personality of the recorded phrase. There are four main controls:
AMPLITUDE – Transfer the Dynamics
Turn left → it subtracts the most active frequencies (a soft, pulsating tremolo that follows the phrase’s rhythm).
Turn right → it boosts those active bands, acting like a living multi-band booster — and if pushed far, it becomes a phrase-driven multi-band distortion.
TIMBRE – Transfer the Flavor
This control captures only the tonal DNA of the recorded phrase & superimposes it onto the input without changing dynamics.
It’s like borrowing the voice, texture, color, and grit of the phrase — and letting your playing speak through it.
Turn Left → vocoder-style imprint (grainy, glassy, responsive)
Turn Right → Additive resynthesis (cleaner, harmonic, melodic)
BANDWIDTH SWITCH – Coarse | Medium | Precision
This switch changes the WHITE LAYER’s BANDWIDTH:
how finely the amplitude & timbre engines process both signals:
LOW: Wide, chunky spectral bands; Thick, raw, lo-fi, expressive
MEDIUM: Partial spectral resolution, Balanced, musical, textured
HIGH: Full FFT spectral resolution (up to 1024 bands)
Super-detailed, surgical, spectral mapping.
Sometimes lower resolution sounds more musical.
Sometimes high resolution sounds more digital than digital.
Your call.
ATTACK & DECAY – Feel the Response Curve
These two knobs control how responsive, smooth, or sharp the transfer feels.
ATTACK: how quickly the Recoder reacts to your playing
DECAY: how long it “holds onto” the phrase’s energy before morphing to the next moment.
The Yellow Layer allows parts of the actual recorded material to start leaking into your output as an additional moving layer of sound.
SLICES – Blending in little pieces of the recorded phrase
Turn Right → adds overlapping, sympathetic spectral content from the recorded Phrase – harmonically aligned with what you are currently playing – Melodic, vowel-like, responsive.
Knob position determines the amount of signal added.
Turn Left → slices become unpredictable, dissonant, metallic, glitchy, broken, alien — based on the differences between your playing and the phrase.
RESONANCE – Real-time harmonic blooms from the recorded phrase.
Resonance analyzes the pitch and harmonic content of your recorded phrase and creates artificial boosted resonances on top of your dry signal.
Turn Left → the resonances follow what you’re currently playing, but shaped by the phrase’s tonal DNA.
Turn Right → the resonances are locked inside the phrase, regardless of what note you’re playing – creating strange harmonic overlays that sometimes agree, sometimes fight you — sometimes sound like your instrument is being haunted.
REPEATS & DISTANCE – Time-based mutation of those slices and resonances.
Once Slices and Resonances are triggered, these two knobs decide how they behave in time:
REPEATS: How many times those fragments are repeated — from one single blink to long, blooming, feedbacking tails. Invert the Knob to activate the Sound on Sound mode – thus stacking the delays.
DISTANCE: How widely spaced or tightly clustered those fragments are:
Turn Left → millisecond range where you can make granular washes that sound like a spectral freeze or a grainy reverb;
Turn Right → normal range that goes all the way up to 10 seconds – this is the ultimate playground for evolving textures.
Since the RECODER is a pedal that sounds completely differently depending on what you feed into it – we’ve created a whole layer of controls dedicated to altering the recorded phrase itself:
TONE – Tilt the Energy:
This is a dramatically strong tilt-EQ engine that autonomously picks its center “tilt” point based on analysis of the recorded phrase or sample — so yes, even the TONE knob is alive & completely dependent on what you record:
DAMAGE – Obliterate the sample:
and start a chain reaction that changes everything you had dialled in…
Turn Left → bit reduction, digital degradation, crunchy broken beauty.
Turn Right → full-on wavefolding – shredding the phrase into aggressive, harmonic-dense chaos.
PITCH – eight whole octaves:
Turn the Pitch knob to drop or lift the entire recorded phrase by up to 4 octaves – but here’s the twist: the timing doesn’t change.
You get time-corrected pitch shifting – meaning you can record a tiny pinch harmonic and drop it down all the way to a rumbling thunder — without stretching or slowing it down.
STRETCH – Bend time without breaking the seams:
This is a time-stretching engine that is completely decoupled from pitch — take a 50-millisecond sample and stretch it into a grainy, long texture and enjoy the trip. Or, alternatively, you can record the intro to thunderstruck and speed it up so it sounds like a swarm of bumblebees.
LOOP Mode: Circular Playback
This is the default mode – the one we’ve focused on in all previous sections, and the mode that inspired the RECODER idea initially!
In LOOP mode, the recorded phrase is constantly spinning inside the engine — like a circular buffer. The playhead continuously cycles through the phrase, over and over again.
STEP Mode: Dynamic Playhead
RECODER analyzes the recorded phrase and splits it into segments based on transients and pitch changes — like tiny “phrase markers” or event points.
The playhead only advances when you trigger it with your playing.
Each time you strike a note or hit a transient — the engine jumps to the next slice, segment, or pitch zone in the recorded phrase.
This is the ideal mode for breaking out of a set rhythmical pattern, and for introducing a sense of responsivity – where all changes in the RECODER’s spectrum come directly from you!
* Advance Sensitivity & Threshold can be adjusted in Global Settings.
LIVE Mode: Real-time side-CODING
Instead of relying on saved phrases as the signal source — the RECODER uses your live input as the spectral donor – essentially becoming a real-time spectral resynthesis and cross-morphing machine.
You can still record a phrase and RECODE through it – but as soon as you unlatch the REC Footswitch – you can go right back to the LIVE input as the modulation source.
RECORD
Press and hold the REC footswitch to start recording. Recording starts as long as the switch is held down and stops when you release it.
Maximum phrase recording time is 12 seconds, but the recorded phrase can be as short as you like — even less than a hundred milliseconds.
Short captures behave like static filters, timbre captures, resonators, glitch artifacts. Long captures become looping “landscapes,” rhythmic machines, spectral vocoders, ghost riffs, etc.
PLAY PHRASE
Press both footswitches at the same time | REC + ENGAGE | and the RECODER will play the phrase directly through the output — with all of the RED parameters applied:
pitch, stretch, tone, damage.
This is extremely useful for:
– Checking what you actually recorded;
– Hearing how the Red Layer settings changed the phrase;
– Using the RECODER like a tiny sample playback or drone/phrase looper!
It’s not a looper pedal —
but yes, you can loop.
PHRASE RETIME
This is a clever shortcut for quickly re-timing or “stretch-aligning” the recorded phrase to match what you are playing now without changing pitch, stretch values, or any of the spectral content.
Let’s say you recorded a rhythmic pattern and you’re using it as a modulation source — but now you want to switch to a different tempo:
PRESS & HOLD the ENGAGE footswitch for the necessary amount of time (for example 1, 2, or 4 beats), and the entire phrase will re-align to match your new timing — without changing pitch!
↓THIS IS A LIMITED RELEASE
The RECODER is available NOW as a special Black Friday / End-of-Year release. We’re taking orders for a short window only, and once that window closes — that’s it.
No second batch, no rerun, no secret stash in the warehouse.
A special glitch in the timeline which only happens once, but leaves a permanent mark: just like a typo on your birth certificate.
Orders will be open till end of DEC 10th, 2025
MATH SERIES is our new playground for digital invention — a space where sound isn’t just processed, but interpreted, reshaped, deconstructed, and reborn through code. We call it Creative Signal Processing..
Yes — we’re still the PLASMA People. We’re still the MOTOR people. We’re still the team that pulled reverb out of infrared reflections on a metal spring. That mission continues – always. But now, we’re venturing into a parallel universe —and we’re approaching it the only way we know how:
Inventing new digital-native instruments that are unique, strange, expressive, and unpredictable – and the RECODER is the very first creature to walk out of that laboratory.
↑ this will sign you up to our newsletter ↑
SAMPLE-BASED EFFECT GENERATOR
The RECODER is a new kind of musical tool that lets you turn any recorded phrase into a living, breathing unique audio effect:
Record any sound, a riff, a melody, a beat, a hiss, a glitch — and use the RECODER to imbue your dry signal with various properties of the captured “spectral donor”
You can think of it a Cross-Pollinator, an Audio Prism, a Ghostly Vocoder, a Formant Shifter, a Granular Echo Creator, or a Sound Imprint Machine…
…we have defined it a SPECTRAL MORPHING WORKSTATION, but honestly – even we don’t fully know what the RECODER is yet, because it is specifically designed to produce a unique audio effect in every player’s hands.
READY TO ROLL THE DICE?
At its core, the RECODER is designed for single-input recording and processing. Plug your instrument into the Main Input — guitar, synth, voice, drum machine, acoustic pickup, modular — and just roll the dice:
1. Record a phrase by holding down the REC footswitch – the maximum length is 12 seconds;
2. See it being captured on the circular LED display;
3. As soon as you release the REC Footswitch – the phrase will start looping inside the memory buffer; after release;
4. Play your instrument through the phrase — and watch your live signal get interpreted, reshaped, filtered, sliced, and harmonically re-mapped – or RECODED – through that phrase…
Every phrase you capture can be saved permanently inside the pedal, stored in one of 234 memory slots –
along with all its customized parameters, layers, mangles, and mutations.
Short phrases (50–200 ms) behave like spectral filters, resonators, or timbral imprints;
Long phrases (up to 12sec) become living rhythmic maps, transient machines, vowel vocoders, spectral landscapes, phantom riffs that live inside your clean sound.
The REC Input allows you to record external donor material from a different source in real time while still playing through your main instrument. That means you can create hybrid phrases from different sources without unplugging or stopping the flow, for example:
– Play guitar while grabbing phrases from your synth or groove-box;
– Record a vocal snippet while singing and use it to filter a drum loop, etc.;
But where the REC input truly shines, is the LIVE MODE – specifically designed to cross-pollinate instruments, pedals, synths & signals in real time.
This means that you’re no longer just playing through saved phrases — you’re feeding it new material mid-performance, constantly changing how the signals get RECODED.
The White Layer is all about taking your dry signal and infusing it with the behavior, movement, and personality of the recorded phrase. There are four main controls:
AMPLITUDE – Transfer the Dynamics
Turn left → it subtracts the most active frequencies (a soft, pulsating tremolo that follows the phrase’s rhythm).
Turn right → it boosts those active bands, acting like a living multi-band booster — and if pushed far, it becomes a phrase-driven multi-band distortion.
TIMBRE – Transfer the Flavor
This control captures only the tonal DNA of the recorded phrase & superimposes it onto the input without changing dynamics.
It’s like borrowing the voice, texture, color, and grit of the phrase — and letting your playing speak through it.
Turn Left → vocoder-style imprint (grainy, glassy, responsive)
Turn Right → Additive resynthesis (cleaner, harmonic, melodic)
BANDWIDTH SWITCH – Coarse | Medium | Precision
This switch changes the WHITE LAYER’s BANDWIDTH:
how finely the amplitude & timbre engines process both signals:
LOW: Wide, chunky spectral bands; Thick, raw, lo-fi, expressive
MEDIUM: Partial spectral resolution, Balanced, musical, textured
HIGH: Full FFT spectral resolution (up to 1024 bands)
Super-detailed, surgical, spectral mapping.
Sometimes lower resolution sounds more musical.
Sometimes high resolution sounds more digital than digital.
Your call.
ATTACK & DECAY – Feel the Response Curve
These two knobs control how responsive, smooth, or sharp the transfer feels.
ATTACK: how quickly the Recoder reacts to your playing
DECAY: how long it “holds onto” the phrase’s energy before morphing to the next moment.
The Yellow Layer allows parts of the actual recorded material to start leaking into your output as an additional moving layer of sound.
SLICES – Blending in little pieces of the recorded phrase
Turn Right → adds overlapping, sympathetic spectral content from the recorded Phrase – harmonically aligned with what you are currently playing – Melodic, vowel-like, responsive.
Knob position determines the amount of signal added.
Turn Left → slices become unpredictable, dissonant, metallic, glitchy, broken, alien — based on the differences between your playing and the phrase.
RESONANCE – Real-time harmonic blooms from the recorded phrase.
Resonance analyzes the pitch and harmonic content of your recorded phrase and creates artificial boosted resonances on top of your dry signal.
Turn Left → the resonances follow what you’re currently playing, but shaped by the phrase’s tonal DNA.
Turn Right → the resonances are locked inside the phrase, regardless of what note you’re playing – creating strange harmonic overlays that sometimes agree, sometimes fight you — sometimes sound like your instrument is being haunted.
REPEATS & DISTANCE – Time-based mutation of those slices and resonances.
Once Slices and Resonances are triggered, these two knobs decide how they behave in time:
REPEATS: How many times those fragments are repeated — from one single blink to long, blooming, feedbacking tails. Invert the Knob to activate the Sound on Sound mode – thus stacking the delays.
DISTANCE: How widely spaced or tightly clustered those fragments are:
Turn Left → millisecond range where you can make granular washes that sound like a spectral freeze or a grainy reverb;
Turn Right → normal range that goes all the way up to 10 seconds – this is the ultimate playground for evolving textures.
Since the RECODER is a pedal that sounds completely differently depending on what you feed into it – we’ve created a whole layer of controls dedicated to altering the recorded phrase itself:
TONE – Tilt the Energy:
This is a dramatically strong tilt-EQ engine that autonomously picks its center “tilt” point based on analysis of the recorded phrase or sample — so yes, even the TONE knob is alive & completely dependent on what you record:
DAMAGE – Obliterate the sample:
and start a chain reaction that changes everything you had dialled in…
Turn Left → bit reduction, digital degradation, crunchy broken beauty.
Turn Right → full-on wavefolding – shredding the phrase into aggressive, harmonic-dense chaos.
PITCH – eight whole octaves:
Turn the Pitch knob to drop or lift the entire recorded phrase by up to 4 octaves – but here’s the twist: the timing doesn’t change.
You get time-corrected pitch shifting – meaning you can record a tiny pinch harmonic and drop it down all the way to a rumbling thunder — without stretching or slowing it down.
STRETCH – Bend time without breaking the seams:
This is a time-stretching engine that is completely decoupled from pitch — take a 50-millisecond sample and stretch it into a grainy, long texture and enjoy the trip. Or, alternatively, you can record the intro to thunderstruck and speed it up so it sounds like a swarm of bumblebees.
LOOP Mode: Circular Playback
This is the default mode – the one we’ve focused on in all previous sections, and the mode that inspired the RECODER idea initially!
In LOOP mode, the recorded phrase is constantly spinning inside the engine — like a circular buffer. The playhead continuously cycles through the phrase, over and over again.
STEP Mode: Dynamic Playhead
RECODER analyzes the recorded phrase and splits it into segments based on transients and pitch changes — like tiny “phrase markers” or event points.
The playhead only advances when you trigger it with your playing.
Each time you strike a note or hit a transient — the engine jumps to the next slice, segment, or pitch zone in the recorded phrase.
This is the ideal mode for breaking out of a set rhythmical pattern, and for introducing a sense of responsivity – where all changes in the RECODER’s spectrum come directly from you!
* Advance Sensitivity & Threshold can be adjusted in Global Settings.
LIVE Mode: Real-time side-CODING
Instead of relying on saved phrases as the signal source — the RECODER uses your live input as the spectral donor – essentially becoming a real-time spectral resynthesis and cross-morphing machine.
You can still record a phrase and RECODE through it – but as soon as you unlatch the REC Footswitch – you can go right back to the LIVE input as the modulation source.
SENSITIVITY & IN LEVEL — how reactive the Recoder is to your playing, how easily slices trigger, how ADVANCE mode steps through the phrase, how soft or aggressive the transient detection is.
SLOT STATE SETUP — defines how presets behave: whether Slots store just settings or also the recorded phrase, whether mutations like Pitch and Stretch are saved, whether the pedal always boots into the last-used Slot, etc.
MIDI — choose the MIDI channel, assign CC or Program Change, and decide which parameters can be controlled externally (Pitch, Stretch, Damage, Record, Load, Play Phrase, etc.). No forced templates — you assign what matters.
FOOTSWITCH BEHAVIOUR — define whether Play Phrase is momentary or latch, whether Retime is quantized or free, whether Record overwrites or keeps the last sample.
SYSTEM SETTINGS — LED display mode, USB behavior, boot Slot, Live mode on/off, and other small but practical things.
RECORD
Press and hold the REC footswitch to start recording. Recording starts as long as the switch is held down and stops when you release it.
Maximum phrase recording time is 12 seconds, but the recorded phrase can be as short as you like — even less than a hundred milliseconds.
Short captures behave like static filters, timbre captures, resonators, glitch artifacts. Long captures become looping “landscapes,” rhythmic machines, spectral vocoders, ghost riffs, etc.
PLAY PHRASE
Press both footswitches at the same time | REC + ENGAGE | and the RECODER will play the phrase directly through the output — with all of the RED parameters applied:
pitch, stretch, tone, damage.
This is extremely useful for:
– Checking what you actually recorded;
– Hearing how the Red Layer settings changed the phrase;
– Using the RECODER like a tiny sample playback or drone/phrase looper!
It’s not a looper pedal —
but yes, you can loop.
PHRASE RETIME
This is a clever shortcut for quickly re-timing or “stretch-aligning” the recorded phrase to match what you are playing now without changing pitch, stretch values, or any of the spectral content.
Let’s say you recorded a rhythmic pattern and you’re using it as a modulation source — but now you want to switch to a different tempo:
PRESS & HOLD the ENGAGE footswitch for the necessary amount of time (for example 1, 2, or 4 beats), and the entire phrase will re-align to match your new timing — without changing pitch!
THIS IS A LIMITED RELEASE
The RECODER is available NOW as a special Black Friday / End-of-Year release. We’re taking orders for a short window only, and once that window closes — that’s it.
No second batch, no rerun, no secret stash in the warehouse.
A special glitch in the timeline which only happens once, but leaves a permanent mark: just like a typo on your birth certificate.
ORDERS WILL BE OPEN TIL END OF DEC 10TH, 2025
MATH SERIES is our new playground for digital invention — a space where sound isn’t just processed, but interpreted, reshaped, deconstructed, and reborn through code. We call it Creative Signal Processing..
Yes — we’re still the PLASMA People. We’re still the MOTOR people. We’re still the team that pulled reverb out of infrared reflections on a metal spring. That mission continues – always. But now, we’re venturing into a parallel universe —and we’re approaching it the only way we know how:
Inventing new digital-native instruments that are unique, strange, expressive, and unpredictable – and the RECODER is the very first creature to walk out of that laboratory.
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Gamechanger Audio
Tomsona str 33A
Riga, LV-1013
Latvia