I think it’s fair to say that GL and Microcosm are doing a special thing and have a certain sound to them that makes them recognizable. On the other hand, there is so much algos and parameters for variation that I think it should be possible to use them without making everything sound the same. But I am not a pro and can see the argument.
@Brockstar: have fun with your Microcosm, it feels more like an instrument to me, accompanying what you are playing with its own ideas.
That’s actually kind of the thing I missed with microcosm. There’s not much to control weirdly enough. The presets are the thing that changes the effect in a big way. The controls it has don’t change the sound in a big way. If that makes sense. It does sound lovely on certain types of sound though. Especially for pads and melodic content it’s great 
Hoping that gen loss is a bit more controllable.
But yeah both very distinct in their sound.
Sorry for the OT.
Mine too
Same! I just don’t want to discourage others from trying out things just because I didn’t like them, unless asked specifically how I felt about those things.
Unit 2724 arrived.
Incredible how it mindf*cks sounds into oblivion.
I only used it w / microcosm and synths so far.
Loving the results so far. 
Just had a total customs nightmare with a parcel from UK via DPD to Germany.
First it got stuck, then wrong labelled (different recipient with a wrong ZIP !) , then for a week not delivered, then delivered to somebody in a town 10km away. In the end, that (honest) man brought me my MERIS LVX.
All the time, DPD did NOT communicate with me (“We only communicate with the shop you bought it from”) only to in the end (just before the man brought it to me ) ask ME to fill out a form about details on the parcel.
I told them basically to f.o. and ask the shop where I bought it.
DPD seems to be a total nightmare when it comes to customs and such.
Yeah I think that‘s a fair point. Big difference between algos. Several parameters within an algo that can drastically change behavior of the effect (e.g. waveforms, intensity and repeat knobs). But no fine control allowing you to predictably influence how an effect behaves and sounds in the end. I think that makes the pedal great, as it frees you from detailed sound designing and just plays along with you, with some ways to influence and replicate it. But not ideal if you want to have control and make it your own tool. Sorry for off topic as well 
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Phew! (for you).
I (order #489) on the other hand received my shipping email from CB last night (Hold back those celebrations).
They have sent it to my old address, despite assuring me a couple of months ago that it would be shipped to my new address.
FFS
Luckily for them, family lives at the old one, but if it makes it through customs, I’ve got a long day of traveling to go get it.
It feels like EU CB might have been hitting the bongs hard out in Amsterdam.
Mines arrived too, upon initial inspection it’s got a loose Model/LP knob but hoping I can just tighten that up myself. The pin badge is a nice touch tho.
I can’t work out if I bloody love this thing or hate it lol.
Not had much time to play. Doesn’t seem to like a hot input from a mixer - even when set to line in (stuck it on Bus B on my SSL so I can turn the send down and the return up - will try to on a normal send tomorrow so I can mix it with the original a little easier).
On a full mix its quite amazing - if you want EVERYTHING to sound like a fucked tape. Its defiantly a game of trying to add it subtly as possible. to the point of almost not knowing its on until you turn it off - then you miss it.
Will check it out on individual tracks over the weekend.
Don’t you miss the deep bass when you run a full mix over it? I mean in a subtle setting (not fucked up tape)
Is there a reason why you do not use it as an Insert FX?
@volcarock My buss B was easy to wire up but it’s acting like an insert anyway. I’ve only had an hour or two to play with the pedal to be honest. Thought I’d try it on a send tomorrow so I could mix it and also hear it fully wet easily
I know there was something about bass loss on a Ricky T video mentioned on here, but I didn’t watch it and to be honest, haven’t listened to any videos or insta clips as I just wanted to have a go at it with fresh un biased ears when it arrived - so I’m not sure where the bass loss has been occurring?
lovely tones. placed it end of chain here?
Testing yourself with unbiased ears is of course the best, but I’m only in the 2nd batch and therefore curious 
You only notice the bass cut with a kick, bass or something similarly deep - not in the frequency range of a guitar
Thank you
Nope, actually, I recorded each section separately with subtle changes and tweaks per track. So while all parts go through the GenLoss one way or another, they all have a different signal path. Also, the field recording stuff is its own, recorded directly into the OP-1.
thanks for the insight - looking forward to receiving mine
Not sure if I’ll end up keeping mine or not. It’s great at what it does, but not really something I use much (I knew this when I preordered it, but wanted to try it anyways).
What do you think of Thermae over Tonal Recall. I have an RKM and it is my favorite delay, kinda bummed they arent made any more. I see Thermae is kinda pitched as its successor but its main feature seems to be pitch modulation which I’m just not that interested in. I just love the filtered sound of TR’s delays as they fade out.
Impressive pedalboard. Hows the new 29 pedals overdrive compared to the 1981 drv? And its essentially a mono pedalboard since you end with the pink 29 pedals oamp?
