With the MidiLink I can both press the three switches on the D.Loop and Max receives the current position, or, I can recall all eight possible positions of the D.Loop from Max.Ī Buffer is probably rare in synths, but the Buffer of the Lehle D.Loop can also be used as a Booster - and this creates a very fine, harmonic distortion. Together with the MidiLink Mini Interface it works - however, I also have a cheap USB to MIDI interface cable with which it doesn't work. For this purpose the three needed wires of both DIN plugs are simply connected together, so they are identical. Since the MIDI cable built by Lehle (left in the picture) came with my D.Loop (second-hand purchase) and D.Loop both receives and transmits program change - depending on whether the (DIN) MIDI plug is in an In or Out MIDI socket - and because I can look at the MIDI processes in detail with Max, I built a TRS jack to 2x MIDI. To extend this bidirectionality to my Max patches, I made a dangerous-looking (and only for this application to use) cable, so that the menu in Max (with all 8 switch positions) will be updated to the current position if a switch is pressed on the D.Loop. A "PGM-Send" is triggered only by pressing a switch. In order to enable bidirectional MIDI communication via TRS cable, Lehle uses a trick: Lehle-Boxes are always in "receive mode". as Pgm 1-8, own configurations (Pgm 11-19) can still be stored in the boxes. However, all 8 possible switching states of a single box can also be stored and recalled via MIDI. The switches can send either MIDI Pgm 11-13, 14-16 or 17-19. With two of these boxes, 6 presets can be called up via the switches, with three boxes, 9. Up to 3 Lehle Boxes can be connected and thus all large switches can be used as program buttons. On the device itself, 3 presets can be called up (3 switches). Presets can easily be stored on the D-Loop - the operation is kept very simple and intuitive. The D.Loop is also variable in terms of power supply: 9 to 20 volts DC may be connected. The box accepts Mono ( bal./unbal.) or Stereo signals (TRS) - even CV signals can be routed, which makes the D.Loop also interesting for modular synthesizers. The whole - modular - concept quickly reveals that everything has been thought through to the end and the design was uncompromising. Lehle Boxes are little masterpieces! This can be perceived immediately. I once measured it: to avoid MIDI messages being swallowed, there should be 75ms between MIDI PGM change commands. The D.Loop is switched via relays and, in order to keep everything clean and crisp, the signal is muted in ms range when switching (which is not audible) before it is released again in the new configuration. The small buttons next to the LEDs can be used to manually activate or deactivate buffers and loops individually. Three switch combinations (buffer and looper A/B on/off) can be set (saved) for the big switches. In addition, the D.Loop is equipped with MIDI, allowing the switching to be sent, or - for me a blessing - the eight possible switching states (presets) can be recalled via MIDI. The D.Loop has two loops (A+B) and a Buffer, which is provided with a Booster (up to max. The term "loop" is also used for send/return paths. I noticed that a lot has also evolved in the pedals during the past 10 years! I therefore expanded my stompbox setup and built a slightly larger pedalboard with a better power supply. With the arrival of the 2600 Gray Meanie (March 2021), the pedalboard has come back into focus for me, because the Gray Meanie (a re-interpretation of the ARP 2600 "Gray Meanie" from 1971) will not be integrated into my computer synth setup in the way MOTM and Buchla are, but more towards "standalone" and as a completely independent instrument (without computer). The Stereo Phaser (top right) I use only on the 2600 Gray Meanie (behind the Main Stereo Out), because I already have Phaser modules available in the MOTM and Buchla. The effects are organized in two loops and are mono. The board has Boost, Overdrive, Fuzz, Compressor, EQ, 2x Delay (analog and digital) and Reverb. Therefore, the sounds first run back into the synthesizer - hence they are still required to pass a VCA or LPG before they are delivered to amp and speaker. in the Buchla as an insert in the Matrix Mixer or in the 2600 between VCF and VCA. In my system, the pedalboard is placed in the "Aux path" of the synthesizer, e.g. The stompboxes allow a much improved and more multifaceted shape of the synthesizer sounds. With the effect boxes, exciting colors and a significant individualization of the instrumental sound can be achieved.įor the pedals I built myself a Pedalboard - however, I mostly don't switch it with my foot, but with my hand and via MIDI. Stompboxes are also popular with synthesizers, however rather in smaller quantities than with guitarists, as synthesizers already have filters, waveshapers, etc.
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