Hot on the heels of the Eos 2 reverb is Grind, an extreme distortion and filtering module. The effect itself basically gives the reverb an infinite decay. It is a subtle control, and only really apparent with a long decay. The response is somewhat different depending on the mode; in Plate mode, the first early reflection will occur at the set time, and so on. Together with the Decay control, this describes the personality of the reverb. There are also effects like tape simulation, filtering and chorus.
At full clockwise, only the wet signal appears. The effect itself basically gives the reverb an infinite decay. At full anti-clockwise, no diffusion is applied, and the early reflections are very clear. Panel Memory - The Algorithm and Lock buttons remember their state. On Friday, Audio Damage rounded out their offering by adding Dubstation 2 to the list, following up Rough Rider 2 compressor , Grind Distortion, and Eos 2 reverb. So just a beta-testing round and then that will be shipping. This is unavoidable, as the control changes the times of over a dozen delays.
It has an on-board regulator, and does not require +5V. The effect itself basically gives the reverb an infinite decay. At full anti-clockwise, the reverb tail will be icy and clean, while at full clockwise, it will be rich and full. At full clockwise, an exponential decay occurs, with the initial reflection being much louder. From subtle tube-style saturation to full-on mangled wavetable distortion, Grind is a Swiss Army Knife of sound design.
This can be applied, positively or negatively, to the filter cutoff Frequency and Wavetable parameters, at unsycned rates from 0. All those bells and whistles aside, the heart of Dubstation is our painstaking bucket-brigade delay model. Facebook event page with all the deets is here. Make no mistake: this is not a subtle, polite tool. The Infinite jack responds to a +1V trigger when locked which turns Infinite on and off and a +1V gate in unlocked, where the Infinite will be activated for the duration of the gate. We're done with the hardware design, and are working on the software now.
An equal-power crossfade mixes between the two. Note that this control has no modulation input, and you will experience some noise bursts if you adjust it while there is audio circulating in the reverb tank. An equal-power crossfade mixes between the two. At full anti-clockwise, only the dry signal appears at the outputs. Size - This controls the physical size of the simulated hall or plate. Grind really impressed me in its filter types as well as how the distortions can take a plain sound and add a ton of movement and character. This results in a more percussive and rich reverb tail.
Gain can give you up to 30+db of additional gain along with a soft internal saturation emulating an analog circuit. At full anti-clockwise, the reverb tail will be very dark, and have no high end, and at full clockwise, it will be very bright, and have no low end. This module is code-identical to the Eos plug-in, with the Superhall and Plate algorithms made famous in the original. Diffusion - This controls the amount of diffusion applied to the early reflections. At full anti-clockwise, the reverb tail will be very dark, and have no high end, and at full clockwise, it will be very bright, and have no low end.
Modulation - This controls the amount of modulation applied to the delays in the reverb tank. For mono to stereo the normal configuration as a send effect , use the left input and both outputs. Attack - This controls the presence of the initial early reflections. After that, you can overdub additional layers without stopping playback. This module has an on-board regulator and does not require +5V.