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Walker Manual Glitch Pedal DESCRIPTION

about my newly invented *Walker Manual Glitch Pedal*,
Daryl wrote:

"Details please!!"

I wanted a pedal that could utilize a hand drummer or string or wind 
ability to move their fingers rapidly,  either in arpeggiation modes,  
static ostinato rhythms 
or even just randomly.

I wanted to be able to either glitch silence into an already existing 
sound file 
or to take a random ambient loop as a sound source and be able to 
constrain it to a very articulate rhythm 
(including micro clusters of rhythmic 'rolls').

This meant that the pedal's four momentary switches had to be able to 
create sound out of an inaudible but preexisting track (buttons cause 
sound to pass)
or to take sound away from a preexisting track (buttons cause sound to 

Additionally,  Bill Putnam (who graciously made and programmed this puppy) 
and I had 
been talking about how cool it would be to have a rhythmically controlled 
noise box.

Bill built both functions into the unit with both Pink and White Noise 
generator on board.

So, here's how it works:

The pedal has four momentary switches (like the kind used on the original 

The best way to show how it works is to diagram it.
There are two basic states controlled by these four momentary switches

1)  *DOWN or PRESSED state* which can trigger either:

     B) AUDIO IN

All four of these states can be further controlled by
           1) Volume
           2) Frequency Band (Sweepable)
           3) Q (or width of band) (Sweepable)

or, (and this is important)  simultaneously the same can effect the 

2)  *UP or UNPRESSED* *state*   also controlling:

     B) AUDIO IN

All four of these states can be further controlled by
           1) Volume
           2) Frequency Band (Sweepable)
           3) Q (or width of band) (Sweepable)

IMPORTANTLY each STATE (UP or DOWN) cancels the other state so that 
whatever two sound sources 
are eventually chosen only one can be on at any given instant.

A very hip aspect of this machine is that one can control volume, 
frequency and bandwidth size (Q) 
of both sound sources (pressed and unpressed) while playing the four 
buttons with the other hand 
(and sorry lefties,  though I am one,  it is arranged for a right hander 
to play though it's not difficult 
to cross one's arms' to play it backwards).

I've been having a ton of fun by merely using Pink and White Noise states.

With NOISE CLINIC,  I've been running this box into a bunch of distortion 
pedals (changing from gig to gig),
a BOSS Slicer pedal and an IBANEZ Demon Wah and then finally, into my 
LOOPERLATIVE LP-1  (soon to be LP-2 MINI looper).

The pedal is in workable prototype phase now and our intention is to 
add the ability to LOOP the data (NOT the Audio) and then be able to sync 
(or be synced) to MIDI for further control.

This ability will eventually let one use a random length loop which can be 
used as an external sound source 
for a repeating rhythmic figure.   Because only the data will be looped 
and not the audio,  then 
the rhythm's timbre will be continually changing as the Data Loop and the 
previously recorded Audio Loops 
cycle against each other.   I think some really interesting and organic 
rhythmic possibilities can come 
from such an approach.

The plan is then to put it into a smaller box than it is in now 
and depending on time and finances,   actually sell them.   
Due to time constraints of Bill's and mine this won't be any time soon, to 
be honest.