Demonstar on real arcade cd demo9/5/2023 When you open the system menu by long pressing the PRGM button, the A knob scrolls through the presets. The same goes for the process for saving and loading presets. Even many pedals with displays don’t feel this intuitive or direct. You’re often only able to assign one at a time, and there’s no way to quickly see what’s assigned. Without a screen, pedals usually rely on obscure button combinations for assigning parameters. All you have to do is turn the knob corresponding to the parameter you want to what the secondary setting should be and voila! But the simplicity of assigning things here and the breadth of options is impressive. You can even set the range of the expression pedal so if you want a full sweep to only make subtle changes, it can do that.Īnd look, there’s plenty of pedals out there with assignable footswitches and expression ports. So, if you want to smoothly turn down the sample rate and while simultaneously increasing the flutter on the lo-fi Delay, you can do that. You can also assign multiple parameters to the footswitch or to an expression pedal, too. Or freeze a reverb to create a pad for you to solo over. Or switch between octaves and fifths on a pitch shifting program. You can use it to crank the delay feedback to the max for wild self-oscillating freakouts. The AUX/Tap footswitch on the left can be either a tap tempo (very useful for delays) or an auxiliary control that allows you to immediately jump to a second set of settings. This is where you can assign parameter changes to the AUX footswitch or an expression pedal. Long pressing the Page button unlocks one of the Arcades’ greatest powers: the assignment menu. One is global settings like wet and dry volume levels, tone and clock speed (again, we’ll dig into this later) the other set is specific to each effect. The Page button on the right swaps between two sets of controls for the knobs. Long pressing brings up a system menu, where you can save and load presets, change the MIDI channel or control the quantization of the DSP clock. On the left is the PRGM button, which cycles through the eight effects on each card when you tap it. They perform multiple duties as well, but they’re easy to master. The two small buttons on the front allow you to navigate the screen. They’re labeled A, B, C and D, and the screen tells you what they’re actually controlling at a given time, whether that’s the decay of a reverb or the dry mix of a synth effect. ![]() Since this is a multi-effects pedal, the knobs have to perform multiple functions. We’ll dive into some of the specifics a bit later, but suffice to say there’s already a lot of effects to play with and the promise of more on the way. And Majeski is actively taking suggestions from the community about effects he should add next. That number has since doubled, bringing the total number of available effects on the Arcades to 64. When it launched in late April there were four cards each with eight effects. ![]() But it wasn’t until 2020 that it would finally see the light of day (after some pandemic-related delays). It’s the shapeshifting power of the FV-1 that drove Majeski to dabble with the concept of a card-based multi-effects pedal years ago. For something originally introduced in 2006 it’s proven surprisingly resilient and malleable. (Don’t worry, I won’t.) It can be found in pedals from the likes of Chase Bliss, Walrus Audio, Red Panda, EHX and countless other manufacturers, big and small. Now, I could easily spend 3,000 words talking about the wonders of the FV-1. It’s also built around one of the most flexible digital signal processors (DSPs) out there: the FV-1. The Arcades, on the other hand, is a pretty straightforward pedal, with lots of thoughtful interface choices.
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