This is the Deep Animation and it's so good it hurts. This crazy goofball responds to how you play, enveloping and filter sweeping and overdriving. Finally, the perfect wave-thumping bass moving with how hard you hit your strings. It multiplies your dynamics into a hyper, exaggerated dance. Or it adds just the right amount of movement to punch through the mix. Or it moves around with an external trigger to lock you in. The sounds are wild, the thump is thick, and the animation is deep.
Input: Plug an instrument in to this jack.
Trig: Plug another instrument in to this jack to trigger the filter sweep with that instrument.
Out: Connect this to the amplifier.
Sensitivity: Determines the point at which the filter kicks in and how dynamic the filter shifts to the input amplitude.
Intensity: Simultaneously blends in the resonance, amount, and grit of the filter.
Vol: Adjusts the output volume of the DEEP ANIMATION.
Frequency Selector: Selects the frequency range of the filter.
Bypass: True bypass the effect.
Up / Down: Controls the direction the filter travels when decaying after being triggered. UP sweeps the frequency from higher frequencies to lower ones.
Additional Features: There is a subtle light which indicates when the trigger is being triggered behind the main bypass LED.
Controls are for Volume, Fuzz, and Tone. The tone control is a specially designed multi-curve shaping filter which changes the timbre of the pedal from super deep bass sludge to screaming highs. Smoke on this and it will fuzz you up. No playin. The clearest most sustainy feedback wall of fuzz. This is the jam.
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Death by Audio was conceived in 2002 with the most insane pedal of all time: the Total Sonic Annihilation. Here was a pedal that literally transformed all of your pedals into different effects by force feeding them back into themselves. Fast forward to present day - through painstaking redesign and improvements, the original circuit has been reborn as the Total Sonic Annihilation 2. Totally new functionality and additional controls create even more wildly warped alien space sounds than the original. Go get some!
The TSA2, like its predecessor, works on a simple premise: what if effect pedals were patched back into themselves? What does it sound like for a filter to be multiplied by infinity? Or if your modulator was modulating its own modulations? The TSA2 creates a controllable feedback loop, causing your pedals to cycle back on themselves, feeding the output back into the input as much or as little as you want. Experience true sonic exploration: every unique pedal array will produce a vast world of textures and possibilities.
FEEDBACK: The big knob. This controls the amount the SEND (external effect input) is forced back into the RECEIVE (external effect output). This creates feedback within the circuit to create new unbridled and experimental effects and results. The more this knob is turned up the more intense and explosive the effects are. The ACTIVE BOOST is also in this loop and (if engaged) will be forced back into itself to create its own wild and interesting sounds if nothing is plugged into the loop.
ON: This toggle switch when in the ON position turns on the ACTIVE BOOST circuit.
PHASE: Flips the phase of the effects loop, only when the ACTIVE BOOST is on.
GAIN:Controls the amount of gain of the ACTIVE BOOST circuit.
LIMIT:Limits the output volume of the entire pedal only when the ACTIVE BOOST is engaged.
STOMP SWITCH: Bypasses the effect.
NOTE: When the TSA2 is turned off the TSA2 is bypassed but every pedal in the loop is still part of your signal chain. Any effect(s) in the loop works as usual.
THE NEW FEATURES OF VERSION 2
If you've used a feedback loop pedal before like the 1st edition of the Total Sonic Annihilation then you know the vast world of insane and wild sounds that you can get. With this new updated version of the original the ACTIVE BOOST really makes this usable for so many more applications where the original fell short. For example if the effect in the feedback loop is out of phase with itself, the loop would turn the pedal just into a volume or blend pedal and not be that interesting. With the TSA2, just flip the PHASE switch and all of a sudden those once dormant possibilities are awakened! The BOOST also has a boatload of gain to awaken even the faintest effect into an unearthly behemoth and a LIMITER to tame the most unruly beast into a purring kitten. Experiment with as many different pedals in the FEEDBACK loop for unique and incredible results!
Dimensions: 4.7" x 2.7" x 2.5" (includes knobs and jacks)
Weight: 11.1 oz.
Power: 9V (runs on standard 2.1mm negative center 9V adapter or included 9V battery).
This might be our most insane pedal yet. Showing little to no respect for what instruments normally sound like, or even what many people want them to sound like, we pushed this thing until it sounded totally disgusting. Want a thick, gnarly fuzz sound? Sure, you can do that, and it'll sound really, really good. But you can also push the OVERLOAD slider into blooming, octave nastiness. Push it further and starve the circuit so that your signal starts to eat itself. Push it all the way and your sound will completely duck down before violently coming back to life.
Master Volume: Controls the output volume of the effect.
Overload: Sets the ceiling at which the pedal overloads. All the way up the pedal doesn't overload at all and as the control slides to the left it pulverizes the sound more quickly.
Gain: Sliding this control to the right increases gain and distortion.
Horizontal sliders recessed close to the enclosure to protect them from being bent or accidentally moved while playing.
Harnesses a power amplifier IC to generate its insane sound. Its Gain and Overload sliders interact to create a wide range of "unique" sounds in various positions. You choose how much to absolutely destroy your sound. The farther the Overload control is set to the left, the faster the effect slips into absolute destruction and gets totally disintegrated. Blow it out even harder and faster by slamming Gain and Overload opposite one another. Lower one or the other for smoother attack and release. Screaming octaves, thick fuzz, and the sound of your guitar reaching back from the depths of destruction are at your fingertips. Think of it as a psychotic compressor, or the sound your amp might make when literally on fire, or any number of things that your boring friends wouldn't call music.
Dimensions: 5" x 2.6" x 2.6" (includes knobs and jacks)
Weight: 10 oz.
Power: 9V (runs on standard 2.1mm negative center 9V adapter or included 9V battery).
The Soundwave Breakdown takes the idea of a screaming fuzz pedal and turns it inside out utilizing specially matched transistors turned backwards to get it's bombastic sound. The one knob controls extreme biasing of one of the transistors and the other controls intense filtering. The combination of allow a vast universe of fuzz | distortion | buzz | grind | bleeps | synth sounds | and soundwave manipulation. The exact positions of the knobs yield completely different sounds. Be forewarned, it is only balls to the wall fuzz all the time.
The Reverberation Machine is a synthetic atmosphere creator. Use the effect on any instrument to add depth and simulate different environments. Experiment and combine a variety of settings to obtain the perfect ambiance for your sound.
Two modes Blend control Gain control Volume control 9v jack
Super great sounding syrupy delay sounds with all the mayhem and vapor trails you want. Sounds super demented with fuzz and twisting the time knob. Has an internal trimmer to adjust the feedback point so it can go up to self oscillating noise mayhem sound machine control freak pressure plastic perfect walking snowball mixup or not.
Psycho HP/BP/LP filter with LASER ETCHED ENCLOSURE. Can be pushed past the limit to glitch out into octaves up, down, and envelope folds. The EVIL FUZZ is just that total balls to the wall or balls to the wall times 2 with blooming inverted compression. The CV/Expression in enables you to move the filter up and down in sync with an arpeggiating synth or control it with an expression pedal. Sounds amazing with synth, guitar, and amplified skateboard.
Lush modulating delay. Push the feedback for wild sound worlds. Bring in a warble or absolute warp. Overdrive the delay with the fuzz control. This is the preferred echo for recording engineers and touring pros around the world because it sounds just that darn good.
Time control up to 1000 m/s Feedback control Gain control Modulation with speed and depth control in square and sine wave modes