Parting is a glitch pedal made in collaboration with Emily Hopkins. It combines chance-based delay or reverb, modulations, degradation effects, and randomized clock changes, to give pleasant surprises at each turn of a knob. Happy with many different signal sources, consider it your ready-made ambient texturizer.
https://oldbloodnoise.com/parting
The artwork looks very distracting, much of the text is unreadable .
I’m too old for these influencer collabs
I will never buy a glitch pedal.
I think it might be nice to stick into a send/return channel and/or the feedbackloop of a delay
MIDI synced random ear candy or so
I thought this was a RIP news. Phew don’t do that!!!
well I already have tons of this stuff in synths and stomp boxes. Plus the writing on the pedal is too difficult for my old weak eyes to decipher.
If these had Make Noise written on them you’d all be soiling yourselves over them.
The panel is too readable to be made by Makenoise.
The art is gorgeous. I have nothing else nice to say so I will leave it there.
I like the idea of OBNE much more in theory than practice. They seem like cool guys, and their podcast on design philosophy is fun to listen to. But the range on their pedals is too extreme for me. I have no problem with being able to reach weird places, but the sweet spot is small compared to the range of unusable sounds.
Anyways, this sounds like another repackaging of their clock-driven engine from Mood (which is lovely) with additional utilities/automation. Which could be cool if the writing weren’t totally illegible due to the coyote ugly design.
This is the first of these kinds of pedals that has legitimately piqued my interest.
Very well thought out, quite obviously with musical applications in mind.
Emily being an instrumentalist was clearly a huge asset in designing a glitch pedal.
This one will be mine. Good work, Emily. And congratulations!
Cheers!
I tried a couple of their reverbs. I liked those, but also couldn’t make good use of them and the sound didn’t fit into my music. There is a dude in my old city who regularly uses Sunlight (I think it’s that one) really well.
Im getting tired of “ambience” pedals.
None of the ambient music that I listen to - which is amazing - uses any of the kinds of sounds these things generate.
I feel like “ambience” in effects pedals has become coded language for “you’re not even in a band, you just play by yourself in a room” (which is fine btw, I’m just getting fatigue from the trend I guess).
Its becoming like wallpaper. Flipping through a depot catalogue to see what pattern or colour you want.
I think “ambience pedal” is code for “device that adds a lot of shimmery bird chirp noises and random bullshit to your playing.” So yeah, bedroom musician. If I’m playing with other people, I’m bringing a distortion, delay and spring reverb. Maybe phaser if I’m feeling sassy
I think with some of them they impart such a strong footprint on the sound that the creativity and sound sits more with the pedal designer than the person playing the music.
This is such an astute point.
A break pedal?
Sounds great on drums.
