Curious, did you update the hardware or firmware?
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Nope.
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Nice. These are all excerpt from a longer āmini docā on Thermae. There they also show the origins of the title track, which I really like.
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thanks, I didnāt know thatā¦ will check out the whole cut
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Actually, never understood the debauchle around it. So maybe Iām missing out.
I hardly ever use the Pitch Shifting, but I love Thermae for its unique sound. My only issue with it is that it runs so easily into self oscillation, so I have to be very deliberate with MIX and REGEN levels. In the documentery they mention how complex the calibration process is, so Iām wondering if mine is perhaps not perfectly calibrated or if this is a general issue.
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Interesting, do you mind sharing some music you made with it?
Ironically, CBA just shared a bit of a looking back in Thermae in their latest newsletter. In it, they also announced that there will be a Max for Live plugin for it.
They also shared that it is in stock right now and that itās their pedal that is most difficult to make.
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This may be a silly question, but is the filter on the Thermae analog or digital? Canāt seem to find out anywhere.
Not an expert, but I think Thermae is all analog.
Yeah, in the video a few posts back Joel says at the time of developing the Thermae he was still of the mindset ādigital brain, analog heartā. A full analog signal path, but the ability to control aspects of it digitally. So I think itās fair to assume the filter is analog.
Yup, see also part of their latest newsletter:
ā Thermae has always been a bit different from our other pedals. It was the first real weirdo, but itās still an analog design. It was kind of a bridge between those early analog days and the wilder digital stuff we make now. It was the furthest I felt I could go in the analog domain.
The control scheme is more like a synthesizer than a pedal and turning it on for the first time is just flabbergasting (in a fun way). Itās like a musical partnerāit helps you write melodies, or generate new rhythms.
To be honest it probably would have just been a one-time detour if nobody was into it. But you were into it, and are into it, and that longevity is so, so meaningful for Chase Bliss. For many reasons.
For one - and Iām just going to say this so itās not weird - yes, we are a business and need money. And the success of Thermae gave us the freedom (and time) to invest in a big project like Blooper. So yes, thatās a thing. But it also tells me weāre on the right track and it gives me the confidence to try things and trust people. It tells me and the whole team that the things weāre making everyday are actually making a difference in someoneās music.
The hype is long gone and thereās something weirdly wholesome and fulfilling about that.ā
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Thanks @Azzarole and @aloud, really appreciate your replies! I had assumed so but wanted to double check. I have a Mood and really enjoy it. Contemplating the Thermae for all the praise its received and to add some nice analog touches to my setup.
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I wonder if the older Thermaes will be considered ābetterā since they were all tuned by the original guy versus a team of new people.
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Today Iāve tried what happens when assigning the time parameter of BBD Delay on Rev2 to aftertouch. You can get kinda into the Thermae sound and play the delay time in a really musical way. I have to dive deeper into this. As you can assign the parameter to LFOs and mod matrix as well, there should be some nice possibilities.
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It is an issue which stems from line level vs instrument level. If you process a line level signal through Thermae, it will distort and self-oscillate much faster. The solution is to reduce the input volume, either by reamping or by using a passive helper like the Radial Engineering StageBug 6. Reducing the volume on the sound source can be a solution too, however within the limits of its ideal signal-to-noise ratio.