RECODER
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 “spectral donor”:
You can call it a Cross-Pollinator, a musical Prism, a ghostly Vocoder, a Formant Shifter, a Granular Echo Creator, or a Sound Imprint Machine…
We named it a SPECTRAL MORPHING WORKSTATION, but honestly – even we don’t fully know what it is yet – because it is specifically designed to sound different in every player’s hands.
LET’S 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 you can do absolutely everything:
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 recordings (50–200 ms) behave like spectral filters, resonators, or timbral imprints;
Long recordings become living rhythmic maps, transient machines, vowel vocoders, spectral landscapes, ghost riffs inside your clean sound.
NOW HOW ABOUT THAT REC INPUT?
The Record 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: Multiband Dynamic Transfer
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: Spectral Fingerprint Transfer
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.
The Yellow Layer allows parts of the actual recorded material to start leaking into your output as an additional moving layer of sound.
SLICES: Extracting little shards of the recorded phrase
Turn Right → slices sound musical, sympathetic, harmonically aligned with what you play. Melodic, vowel-like, almost responsive.
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.
|
Control |
What it does |
|
REPEATS |
How many times those fragments are repeated — from one single blink to long, blooming, ambient tails |
|
DISTANCE |
How widely spaced or tightly clustered those fragments are — like shattered glass vs flowing mist |
Since the RECODER is a pedal that sounds completely differently depending on what you feed into it – we’ve dedicated a whole page 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:
Turn Left → bit reduction, digital degradation, crunchy broken-speaker 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.
STRETCH – Bend time without breaking it!
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.
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.
The circular display shows the passing of time — one segment = one second.
Maximum recording time is 12 seconds, but the recorded phrase can be as short as you like — even less than one 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 — without any manipulation or modulation.
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.
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.
The orders will be open till end of the day 10th of December 2025.
The 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 can call it Creative Signal Processing — not “digital effects,” but living, musical experiments built from zeros, ones, and imagination.
The Math Series will be fast, strange, expressive, and deeply personal — and the Recoder is the very first creature to walk out of that laboratory.
RECODER
This is not just a pedal – it’s a new kind of musical tool that lets you turn any recorded phrase into a living, breathing audio effect. Record a sound, a riff, a vowel, a beat, a hiss, a glitch — and the RECODER transforms it into something new you can play through, bend, distort, and completely reimagine.
Call it a Phrase Recorder, a musical Prism, a ghostly Vocoder, a Formant Shifter, a Granular Echo Synth, or a Spectral Imprint Machine. Or, honestly – call it all of those at once. Because even we don’t fully know what it is yet. All we know is that it lives somewhere between a Quad Cortex and a bag of Skittles – precise and surgical one moment, wildly colorful and unpredictable the next.
CAMPAIGN
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.
The orders will be open till end of the day 10th of December 2025.
SERIES
The 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 can call it Creative Signal Processing — not “digital effects,” but living, musical experiments built from zeros, ones, and imagination.
The Math Series will be fast, strange, expressive, and deeply personal — and the Recoder is the very first creature to walk out of that laboratory.
LET’S ROLL THE DICE
The RECODER is an interactive phrase-based effect generator. It doesn’t just play back what you record – it injects it into your sound. 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.
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 you can do absolutely everything:
Short recordings (50–200 ms) behave like spectral filters, resonators, or timbral imprints. Long recordings become living rhythmic maps, transient machines, vowel vocoders, spectral landscapes, ghost riffs inside your clean sound.
Now, about that second input…
The Record 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 your guitar while recording your synth
Record a vocal vowel while already performing through a drum loop
NOW – LET’S FILL UP THE OXYGEN TANKS – AND TAKE A DEEP DIVE INTO THE FUNCTIONS
The White Layer is all about taking your dry signal and infusing it with the behavior, movement, and personality of the recorded phrase. This layer has four main controls:
AMPLITUDE
Multiband Dynamic Transfer
BANDWIDTH SWITCH
This switch changes how finely the amplitude and timbre transfers interpret your dry signal:
Setting | Behavior | Feel |
LOW | Wide, chunky spectral bands | Thick, raw, lo-fi, expressive |
MEDIUM | Partial spectral resolution | Balanced, musical, textured |
HIGH | Full FFT spectral resolution | Micro-detailed, surgical, |
TIMBRE
Spectral Fingerprint Transfer. It can turn a dry guitar into a bowed string section, a broken tape machine, or a detuned choir of frozen oscillators — depending on what you fed it.
ATTACK & DECAY
Feel the Response Curve. These two knobs control how responsive, smooth, or sharp the transfer feels.
The Yellow Layer allows parts of the actual recorded material to start leaking into your output as an additional moving layer of sound.
SLICES
Extracting little shards of the recorded 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.
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.
Control | What it does |
REPEATS | How many times those fragments are repeated — from one single blink to long, blooming, ambient tails |
DISTANCE | How widely spaced or tightly clustered those fragments are — like shattered glass vs flowing mist |
The Red Layer mutates the recorded phrase.
TONE
The TONE knob is not a standard EQ, it’s a spectral tilt engine that picks its own center frequency – based on what you recorded.
Turn it one way: it pulls the phrase into bright, shimmering, metallic textures.
Turn it the other: it warms, darkens, fattens, and muddies the phrase – almost like pulling a blanket over it.
DAMAGE
Left side: bit reduction, digital degradation, crunchy broken-speaker beauty.
Right side: full-on wavefolding – shredding the phrase into aggressive, harmonic-dense chaos.
PITCH
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.
STRETCH
This is Time-stretching of the recorded phrase but fully separated and decoupled from pitch.
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.
The circular display shows the passing of time — one segment = one second.
Maximum recording time is 12 seconds, but the recorded phrase can be as short as you like — even less than one 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 — without any manipulation or modulation.
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.
This selector determines how the RECODER “reads” and interprets the recorded phrase.
In other words, how the internal playhead moves across your saved material.
LOOP
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.
The playback speed, resolution, and pitch of the phrase (how fast or how slow the playhead moves) is completely up to you — depending on how you set the controls (Stretch, Pitch, Retime).
ADVANCE
Instead of constantly looping, the 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.
LIVE
In LIVE mode, the RECODER stops using saved phrases as the input source – and instead, it uses your live signal as the phrase donor.
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.
Sensitivity: 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 behavior: 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.
