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Thank you! And I’m glad I could help you find the light haha - it’s really fun and one I wasn’t expecting to like as much as I do! 🙌

All good criticisms if you ask me! Have you tried the polyend one? Def has the bigger screen if anything…

I’ve been thinking on this for a few days and I honestly can’t think of any to be honest. It’s not exactly unique but this blend of effects at this quality isn’t super easy to come by. Hoping someone else may have some ideas for you, but if you have to pick up two pedals to accomplish it - might as well try and score a deal on a used Deco anyway 🤞

@@Duskmos the bounce is insane cant get enough of that sound effect

Haha a little of both for sure, cons (to me) but definitely some of those things can be worked out if you really get into that style of production for sure. It's def a cool box - do you have one? How do you feel about the second gen?

Very cool! I've owned the V1, the Terminal, and the Pro over the years. They all have their perks - Terminal is so small and handy, V1/V2 has that unique octagon shape which works great in some scenarios and not so great in others lol, and the pro is definitely a bit tidier for desktop/perma-install setups for sure. I say if you get the Pro, keep the V2 around before selling and just feel it out. Same outcomes but definitely different setups and you never know which you may end up preferring in the end! =)

@@Duskmos Good advice!

Yes! The swell effect you can bring up with the AMA is one of my favorite features. Cool pedal from a cool smaller builder 🙌

Haha def a fair question! It does just kind of live there for my filming setup - and you’re very correct it doesn’t get more than one input in most of my videos. It mainly serves the purpose of letting me fine-tune level and gain right at my desk instead of fiddling with it on my camera which is anything but easy. It’s a handy mute for when I’m setting up as well. That being said I love the thing and use it all the time for multi input stuff off-camera. It’s also great to just casually set up anywhere I want and have a mixer without a ton of cabling to worry about or lots of setup involved. I’m going to feature it a lot more in 2025 (with more inputs) actually because I plan to do a lot more jam type videos and different stuff like that - so it’s not gong anywhere. Plus I think even when it dies it’ll be going on a shelf - it’s so pleasing to hold and look at from an industrial design perspective as a design nerd haha :)

@@Duskmosit’s definitely a cool little mixer with some good features. I’ve been thinking about the TX-6 or something similar with more features in order to plug a few things into and have fun. Right now I have almost all of my gear going into 2 patchbays then into my interface. It gives me anxiety trying to choose what to use. With a little mixer it would be easier to separate a couple things for the moment and just roll with a smaller setup.

It would be perfect for that. I actually also just picked up an OTO Bebe Cherie to try out and do a video on. It is all analog, has gain you can push into overdrive, a compressor and an airy “bliss” circuit, and it’s all mini jack which is interesting. I don’t know that I *need it* per se, but it might live permanently tied to my main mixer as a sub mixer for little breakout setups, BUT check that one out too if you haven’t. I like it a lot so far!

You’re not wrong! There are some crossover vibes for sure. Less control of the recording than the Mood, and less “washy” than the Lossy I’d say. Makes it difficult to pick just one if you had to! 😅

Definitely, I was geeked about this one too. I have Lossy and Mood Mkii, might skip and just get bonkers with Habit, which seems nutty all around

I take it back, I rewatched. The end part gets thick, good stuff.

Yeahhh man Onward is a solid buy. I personally didn’t gel with Habit. Not really my kind of workflow, but I knew Onward was an instant keeper after using it just a few minutes.⚡️

@@Duskmos from what I’ve heard, Habit definitely has a mind of its own and can’t be tamed

Haha thanks! It was an unexpected journey but I liked where it took me. 😆

Yeah! As far as I understand it the analog path stays clean or colored depending on drive / analog filtering, but the effects are digital on the BAM and BIM, of course mixed in w/ the mix controls. The BOUM is all analog. All unbalanced but from my experience very high quality and low noise. Hope this helps!

Yep! This one is MISO

Pladask is so good at that!

now this is epic

Double stack of CD! Haha =)

Glad you liked it! That’s why I started this channel! Appreciate the kind words. =)

Lol that'll happen! Once you get used to it, the interface on the +FX makes it easier to see what's what for sure.

Hey! No I don’t really do anything in a DAW besides record as I complete a project. I also use Logic, so if I end up trying it out anytime soon I’ll def let you know my findings!

Happy to help! I determined it wasn’t for me, but it’s definitely a curious device. I love Lorre-Mill instruments and had a ton of fun with my Mosstone when I had it. Always hoping for a rerelease of that one someday!

@@Duskmos same i missed the mosstone, ive asked him via insta dm every year for the last 4 years :C not gonna happen as far as i know

LM did a demo 5 months ago.

I think they would be great in that size room! 40s or 50s would be more than enough w/o overpowering the space. There are so many variables to room acoustics though, of course it's hard to say, but I'd consider starting with the 40s and going up if you're not happy. They pack a surprising punch for the size. You'll definitely want to manage your expectations when it comes to low end, but as long as you don't need TONS of definition down low, I think you will be in good "shape" (heh heh)

@@Duskmos Thanks for answering. I used to have the Focal Alpha EVO 50 and felt they worked well in the room, and with the treatment i have. Well, at least at low and moderate volume of course, turn things way up and you just want to escape the room 😅. I should mention I also run Soundworks SoundID room correction, which helps. I am sure both the 40s and 50s will do fine, though the lower range of the 40s seem a little too high, hence thinking about the 50s. Not a huge price difference either. Any thoughts on how these would compare to the mention EVOs by the way? Is the added cost (almost double) worth the difference? Thanks for sharing your experience!

Happy to do it! I appreciate the kind words =)

Thanks for watching! I use a Sony FX30 (with the audio handle) - started off the channel with my iPhone Pro Max though. You can go a long way without a fancy camera setup but it sure does make it easier to have it haha.

@@Duskmos Appreciate the response!

So glad it was helpful! Thanks for the shoutout =)

Shouldn't be a problem! As long as it is line level =)

Ooh yeah all good points!

Not a stupid question! You can do a few things - what I often do is just route either R or L into the pedal, and just make sure things are panned ok. Otherwise you could use a signal combiner to merge L and R into a mono signal OR a mixer. Obviously you lose the stereo output when you do this but a lot of times that’s ok and the mix still sounds interesting enough if you ask me. :)

@@Duskmos Thanks! That makes sense. I was also ran across someone suggesting you run mono and stereo in parallel, which is seems like an interesting idea if you really need to preserve the stereo signal. But like you say, mono is just info too.

Thank you! It was a pretty fun setup

It really is magical with what all it can do in such a compact package! Definitely impressed.

Haha oh man - I’ll let you know what I think after I get a few weeks into mine! ;)

Yesss I’ve heard of people using spreadsheets with formulas lol - sounds intense haha

Haha I’m so so careful lol. Lots of times they’re not on the same surface so I can avoid that risk lol.

I agree so much - it’s super cool on rhythms! Glad you appreciate the vids and I hope you enjoy the pedal 🙌

I agree on many points! Price is so personal it’s definitely hard to say from one person to the next, though I think they’ll always be taking flack for pricing - and yet always still sell tons of products. All the pricing drama is free press too, so hey, whatever keeps them around I’m happy for haha 😆

The sequencers are a bit of a weak point for sure. I like the creative looseness which matches the tape workflow in my mind, but for laying down a beat it’s not super ideal for sure. I’m glad at least the recorder starts when you hold down a key - that’s something. I’m excited to see how well the OP-XY “rights these wrongs” 🤞

Not at all! There are options for everyone. I think this one happens to be expensive, but I don’t think it’s too expensive *for what it is*. Gold is expensive but it’s gold, but you don’t have to buy gold - nothing else is going to be gold, but do you need gold? Can you afford gold? I’m def not saying poor people can’t afford it, although if someone is truly poor, they should probably prioritize other purchases. I’m just saying that if someone can’t afford a thing, does that mean it’s overpriced? No, I think it just becomes not an option for said person. I want a Ferrari F40, it’s millions of dollars, can I afford it? No. Should I buy one anyway? No. Is it worth that kind of money? Apparently, to some, but I’m not going to sit here and say it’s too expensive. It just is what it is and to me, that’s ok. 👍

@Duskmos gold and the op-z1 Field are two different things I don't see to comparison and that at all I mean you can't make music with gold. And not to mention I believe gold is a luxury item. There's other technology out there that does the same thing that that does and maybe more for lots less so I really can't see where it should be that price I think it's a little bit of pocket gouging and the more we keep making excuses for companies to overprice things like that the more they'll do it because we just simply stand aside and say oh that's okay Even though we know it's way too expensive for what it is.

@MrAkkamne It’s an analogy - you can use other metals, you can use other tools - other metals are good, other tools are good, different expense but similar outcomes, etc.

It’s pretty straightforward but since I bought it I wanted to do a quick demo. I mostly bought it to look at though haha. 😆

It does have a high price tag but it does almost everything - so there’s not really any competitors doing exactly what this does. You can spend $10,000 on a rack mount EQ if you want to. For what all the OP-1 crams in, I’d argue it’s actually a good value, but I hear you.

Not gonna lie, I'm about to do the same I think! I plan to keep both for a while and see how I feel after using them side by side for a year or so maybe and then go from there. I picture making beats on the XY and then live jamming on top with the OP-1 - maybe - probably haha.

Haha it’s so timely! Gah I’m just getting the hang of the OP-1F 😅

I could see it! It does basically everything, does it well, and in a small package with great battery life. If you're keeping only one piece of gear, this is definitely one of the most well-rounded options for sure.

Me too 👍🏻👍🏻

Wait to see the op xy 😏

@@michaelayassa6930Yeah, I thought so at first, since I prefered the the step sequencer concept of the OP-Z for faster results and wilder jamming at first. I was about to put up my field for sale to get the XY, then I jammed with it for a few hours, and fell in love all over again. And its quirky and unique tape core clicked with me more than ever before. So, while the XY might be TE‘s best product yet, my heart‘s with the field. So, I won‘t sell, and won‘t purchase. OP-1 remains my 1 and only :D

Me too

Exactly! It's really not that bad, especially when factoring in resale. Honestly that's partly why I don't mind buying anything in the music gear space. I take such good care of my things that I'm always able to sell pieces on after trying them out and I barely lose anything - especially if you're able to get a good deal or buy during a sale. Most music gear really holds its value.

It's interesting that nobody sets out to clone the op-1. It seems completely doable from a software standpoint to reproduce the strict tape emulation workflow, but no other company wants to adopt the inherent limitations that come with tape. It makes sense, because on paper devices like the MPC One are strictly superior from the production angle. I just think tape has a fun factor that makes op-1 uniquely enjoyable to use

@@orrin-manning Agree on both accounts!

Breaking it down to “leasing” and monthly payments is hilarious. 😆

@@Me-ne5uu lol it is kinda funny but if you think about it, you're pretty safe to try out anything in the music gear space without much risk - the most risk I've faced is buying something expensive and then realizing you can't live without it haha - and then you own it for real 😅

1000% different way of working. I did an extensive video on that too, and while I think it’s amazing for what it is, the M8 is just def not for me. I wanted to love it though haha.

Mannn that's tough. I haven't used anything from Meris, but the main differentiator is that the Ottobit JR is stereo, where the Crushturnal is mono. If you don't care about that, then I definitely wouldn't hesitate to suggest the Crushturnal!

Mannn I feel your pain on the lack of UNDO, I've definitely been burned by that too many times. This one is missing the noise issues for sure, which some consider a drawback haha. I think I'm happy with what I've got since adding noise is a lot easier than removing haha. Reliability wise I've been good so far, knock on wood. Being out of service for 3 months sucks though, one would hope they're better at that sort of thing now and/or the screens are more reliable - preferably both haha.

Reliability and support are the only reason I don't commit to an OP1f. I briefly owned one and really loved it, but it seemed less durable than the original OP1. I could afford to buy one but not replace one if it broke and TE isn't known for having good support unfortunately.

@@james.tupper Interesting that it seemed less durable to you - why was that? I've never owned an OG so I'm genuinely curious what areas feel downgraded

@@Duskmos The main reason is that the keys are raised above the edge of the device and it's easier for them to get caught on something. The keys are seemingly a bit thinner and the switches feel more delicate (that part could be my imagination, but the OG just feels a bit more robust). Additionally, because it's made of anodized aluminum, it's more scratch prone than the OG which has a pretty durable hard painted coating. Don't get me wrong, it feels nice and premium, but it feels more like a piece of jewelry that you have to be careful with rather than a fun tool you can just toss into a bag. I'm sure the price has a lot to do with that. Aside from that, it's a pretty amazing instrument and I'd still love to own one if I can get it at the right price.

or just an IN would have done it for me

Totally! It's really hard to believe they didn't add that. I think partly due to this issue I'm always going to just sample the OP into something else - which I'm liking ok so far, but there are so many reasons why having midi on board would helpful/useful. Oh wellll.

@@Duskmos indeed. Different work flow for different folks. Great content as always!

​@@Gummo22 Thank you! Going to be putting out a bit more varied content in the new year, looking forward to seeing where that takes the channel - keeps things interesting for me too =)

Does it not have TRS MIDI?

It's perfect for drums! Definitely my favorite use-case. =)

Thank you!! Had fun with this one

It's great! If you don't have any Digi boxes, it's the perfect gateway. I like M:C for what it is, because even when I had the Digitone too - there's something immediate about the Model Series with the knob per function that makes it fun and fast.