Old Blood Noise Endeavors MAW
The Old Blood Noise Endeavors MAW is a microphone audio workstation. It’s a poetic tool. It likes an XLR signal, but will take a quarter inch input too.
It can saturate, reverberate, delay, flange, phase, shift, and rotate that signal with three footswitchable sections.
There’s also a send/return to add your own noise. Multiple outputs and expression control finish out this
versatile toolkit. Let’s talk specifics.
What began as a simple request for a vocal version of an Old Blood effect spiraled into a multi-function device.
It has 10 new effects, together with versatile in out and send return sections. These are oriented toward any instrument you want to throw at it, and ample control over all elements.
It’s the new multi-tool for effects lovers on stage and in studio.
MAW starts with an input jack. When you plug in an XLR, the PAD switch and INPUT knob are active. Flip the PAD switch up to take 20dB off your signal, and use INPUT to set the preamp volume.
The next section is SATURATION. Activate it with the SATURATION footswitch. When it’s active, the BLEND knob blends between a clean boost on the left and a distortion on the right.
The TONE knob is a low pass filter, giving darker tones to the left and brighter tones to the right.
The VOLUME knob is a master volume for the entire section.
The next section is EFFECT A. Activate it with the A footswitch. The MIX knob mixes between clean and affected signals, with the ability to go 100% wet. CTR1 and CTR2 change depending on the mode, selectable via the rotary switch.
CTR1 sets the volume of a lower octave and CTR2 sets the volume of an upper octave
CTR1 sets the rate, CTR2 sets the depth
CTR1 sets the time of the delay, CTR2 sets the feedback, with the ability to repeat infinitely without self-oscillation
CTR1 sets the initial feedback, CTR2 sets the length of trails
CTR1 sets the time of the pre-delay, CTR2 sets the length of trails
After EFFECT A, your signal goes to the SEND jack. You can use this to patch in other effects that you traditionally wouldn’t be able to run a mic into. Simply connect SEND to the input of the outside effect, and connect its output to RETURN. When nothing is plugged in, EFFECT A goes straight to EFFECT B.
The next section is EFFECT B. Activate it with the B footswitch. The MIX knob mixes between clean and affected signals, with the ability to go 100% wet. CTR1 and CTR2 change depending on the mode, selectable via the rotary switch.
Splits your signal into highs and lows. CTR sets the rate of tremolo of your lows, CTR2 sets the rate of tremolo of your highs.
CTR1 sets the rate, CTR2 sets the depth Long Delay: CTR1 sets the time of the delay, CTR2 sets the feedback, with the ability to repeat infinitely without self-oscillation
CTR1 sets the initial feedback, CTR2
sets the length of trails
CTR1 sets the time of the pre-delay,
CTR2 sets the length of trails
Finally, we’re at the OUTPUT. Point the OUTPUT SELECT toggle toward the main output you want to use (XLR or % inch). The DRY OUT is connected to the output of the SATURATION section and allows you to patch your dry and wet signals separately in order to better integrate into some setups.
If that’s all to much, Dan explains it all here
- XLR preamp for use with microphone level signals
- Switchable saturation section with blend, volume, and tone controls
- Two independently controlled effects sections with modulations, delays, reverbs and octaves, and controls over mix and two parameters of each
- A send/return to patch in external effects
- Post-saturation dry output for mixing versatility
- Relay bypass switching with momentary or latching functionality and effects trails
- Standard 9VDC center negative power