Hell yeah! Looking forward to it! Thanks for all you do, Ivan!Fair enough. I’ll say this: it even surprised me when i used it and i got my reaction on video
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Darkglass Anagram Multi FX Announced
- Thread starter Elmstreet
- Start date
It might be worth mentioning that there are some midi pedals that are able to generate LFOs and control their tempo via tap tempo from the the midi pedal itself. Of course it is a work around, but could it solve some of the use cases you have in mind @JRMK?
Talking about
- Morningstar MC series
- Pirate Midi
- Judahs kedeem
- ... maybe more...?
The main scenario for me is being able to dial in timed delays and store those as Presets for specific songs.
That said, I'd rather dial in and store the specific delay time and store that, than use the Delay block with Subdivision enabled because I like to know what the delay value is, and know that it won't change from possibly unexpected outside variables.
E.g. I have a song at 114bpm that I need a 1/8 note delay on. I know the delay time is 263ms.
The current delay blocks only offer a time range selector (OK, fine), but then the Time parameter is a relative control (0.1-1.0)
So if I have Range set to 0.1-1s, then the closest I can get to the correct delay time is to set the Time parameter to 2.6 (which based on time range should be a delay time of 260ms). OK, technically no-one is realistically going to hear the fact my delay is 3-4ms off the exact tempo, but still, the delay blocks on a device of this quality should let you dial a specific delay value (in ms) into your Delay block.
Now, I could use Tap Tempo and just set the Subdivision parameter to 1/8.
If I could set the Tap Tempo value via MIDI CC (as I can with my guitarists' Line 6 Helix and Hotone Ampero II Stage), then I'd also get the desired result. In theory, I also have a bit more flexibility as if we decide to change the song tempo, all I have to do is adjust the Tap Tempo MIDI value being sent to all effects devices and the delays will adjust to suit.
Equally, if I have a song with tempo changes throughout (which I don't, but others might), then as long as I'm sending those MIDI CC to adjust the tap tempo value in the same places as our backing has the programmed tempo changes, then everyone's delay effects stay 'in sync' with the song.
I know this sounds like I'm contradicting my initial position about preferring a 'hard-coded' delay value, which I do. But I can see that there are scenarios where basing delay times off tap tempo has its advantages.
That said, I'd rather dial in and store the specific delay time and store that, than use the Delay block with Subdivision enabled because I like to know what the delay value is, and know that it won't change from possibly unexpected outside variables.
E.g. I have a song at 114bpm that I need a 1/8 note delay on. I know the delay time is 263ms.
The current delay blocks only offer a time range selector (OK, fine), but then the Time parameter is a relative control (0.1-1.0)
So if I have Range set to 0.1-1s, then the closest I can get to the correct delay time is to set the Time parameter to 2.6 (which based on time range should be a delay time of 260ms). OK, technically no-one is realistically going to hear the fact my delay is 3-4ms off the exact tempo, but still, the delay blocks on a device of this quality should let you dial a specific delay value (in ms) into your Delay block.
Now, I could use Tap Tempo and just set the Subdivision parameter to 1/8.
If I could set the Tap Tempo value via MIDI CC (as I can with my guitarists' Line 6 Helix and Hotone Ampero II Stage), then I'd also get the desired result. In theory, I also have a bit more flexibility as if we decide to change the song tempo, all I have to do is adjust the Tap Tempo MIDI value being sent to all effects devices and the delays will adjust to suit.
Equally, if I have a song with tempo changes throughout (which I don't, but others might), then as long as I'm sending those MIDI CC to adjust the tap tempo value in the same places as our backing has the programmed tempo changes, then everyone's delay effects stay 'in sync' with the song.
I know this sounds like I'm contradicting my initial position about preferring a 'hard-coded' delay value, which I do. But I can see that there are scenarios where basing delay times off tap tempo has its advantages.
Is it possible to have macros affect only a single scene?
My goal is to be able to jump from any one sound to another requiring only one well-timed button press (with any additional stomp buttons pressed ahead of time). For example, maybe my scenes are (A) clean, (B) crunch and (C) fuzz, then I want a midi controller to toggle a phaser for the clean scene only. If a song requires scene A without phaser, then scene B, then scene A with phaser, I'd like to toggle the phaser on for scene A while playing scene B so that when I switch to scene A, it's ready to go, but I can't figure out how to do that.
I don't have a midi controller yet so I'm trying to figure out how powerful a midi controller could be before I decide how much I want to spend on one and how many buttons it should have. Maybe I'm missing something that would be possible with a midi controller that's not possible with stomp macros, which is how I'm currently experimenting with this.
My goal is to be able to jump from any one sound to another requiring only one well-timed button press (with any additional stomp buttons pressed ahead of time). For example, maybe my scenes are (A) clean, (B) crunch and (C) fuzz, then I want a midi controller to toggle a phaser for the clean scene only. If a song requires scene A without phaser, then scene B, then scene A with phaser, I'd like to toggle the phaser on for scene A while playing scene B so that when I switch to scene A, it's ready to go, but I can't figure out how to do that.
I don't have a midi controller yet so I'm trying to figure out how powerful a midi controller could be before I decide how much I want to spend on one and how many buttons it should have. Maybe I'm missing something that would be possible with a midi controller that's not possible with stomp macros, which is how I'm currently experimenting with this.
Probably the easiest way to approach this would be using a MIDI controller to send multiple messages. Rather than "preactivate" the phaser while in scene A while in scene B, you would send a message to activate scene A immediately followed by a message to activate the phaser binding for scene A (bound to the same button on your external controller). Would probably end up being an extra button on the external controller to differentiate between "A" and "A + Phaser". May be other, better ways to make this happen, but this approach should work.
Yes. Make three presets in a row with the exact same blocks but different macros
Is there a way to send my signal chain through only output 3 or 4 without using an output block? I want to use global EQ after my processing and then send that mono signal output to either the input of my TT800 or to one of the effect loop returns. After reading the manual, this doesn’t seem possible right now. I could use an EQ block with every preset, but I wouldn’t have global EQ control for all presets. Thanks. I really want to give the Anagram a go.
What’s your end goal? Asking because there may be alternative solutions, but I’m not clear on what you’re trying to do.
That's not the intended purpose of the global EQ on the Anagram, and therefore you might find trying to use it for that purpose adds to difficulties in achieving your goals.
Darkglass added the global EQ for those 'in the moment' quick tweaks, like when you get an especially boomy room and need to rein in some low mids, You can whip it up on the global EQ and it will apply across all your Presets and the Sound Guy loves you.
Now, not saying it can't be used for more than that, but just know that if you try to use something in a way that is not intended, it may not be a great fit.
Then, exactly what the guys asked above - share the bigger picture end goal, rather than just the immediate problem as you see it, as the community may have other ways to achieve it.
KosmOS v1.11.0
Release Date: 2025/12/30 Darkglass announcement on YouTube - New Features Fruity Horror Bass 500 amplifier (likely source - Orange Terror Bass 500W hybrid bass amp) Mood 2 Fuzz (likely source - 3Leaf Audio Doom 2) Bugfixes & Improvements Fixed: Loading bindings with file-lists parameters...
anagramanswers.com
Yay. Another fuzz overdrive block that sounds 20% different to the existing combinations of overdrive/fuzz/envelope filter blocks....
So glad we're now up to 13 different overdrive and distortion blocks because 12 just wasn't cutting it!
KosmOS v1.11.0
Release Date: 2025/12/30 Darkglass announcement on YouTube - New Features Fruity Horror Bass 500 amplifier (likely source - Orange Terror Bass 500W hybrid bass amp) Mood 2 Fuzz (likely source - 3Leaf Audio Doom 2) Bugfixes & Improvements Fixed: Loading bindings with file-lists parameters...
Yay. Another fuzz overdrive block that sounds 20% different to the existing combinations of overdrive/fuzz/envelope filter blocks....
So glad we're now up to 13 different overdrive and distortion blocks because 12 just wasn't cutting it!
The Mood 2 is very clearly a 3Leaf Doom 2 block, which I think a lot of folks will be happy with, assuming it is fairly accurate. I have captures of my Doom 2. So this frees up some processing power and gives me more control on the fly. I'd bet I'm not the only one...
I'm also stoked to try the Orange block.
Not possible is what I’m thinking also. If I use an output block to let’s say output 3, that bypasses the global EQ at the end of the signal chain. That’s to be expected. I wouldn’t want to send EQ changes to the monitor or FOH desk during a show. However, if I’m in a boomy room, I would like to adjust a HPF being sent to my amp for all presets.
I’d like to send processing to either the instrument input or to one of the effects returns. There are two channels in the TT800 that I can select from a footswitch. One preset would drive the instrument input from output 3 into the 1st channel preamp, then out to my stage cab. The 2nd preset would drive the 2nd channel post-preamp from output 4 into the effects loop return, then out to the stage cab. The TT800 has 2 independent effect loops. Global EQ would be very handy to tame, let’s say a boomy stage by effecting all presets at once. And this lets me use one of the Mesa preamps with effects in front of it along with bypassing the other preamp to use any Anagram processing directly to the power amp section. That’s the idea. But I think I’ll need output and EQ blocks in each preset (that will bypass global EQ) to do this.
Haven't been able to try it yet, but I really like the sounds in the video. Definitely more in direction of synth I am looking forKosmOS v1.11.0
Release Date: 2025/12/30 Darkglass announcement on YouTube - New Features Fruity Horror Bass 500 amplifier (likely source - Orange Terror Bass 500W hybrid bass amp) Mood 2 Fuzz (likely source - 3Leaf Audio Doom 2) Bugfixes & Improvements Fixed: Loading bindings with file-lists parameters...
Yay. Another fuzz overdrive block that sounds 20% different to the existing combinations of overdrive/fuzz/envelope filter blocks....
So glad we're now up to 13 different overdrive and distortion blocks because 12 just wasn't cutting it!
Okay @IvanBassist I’m loving what I’m hearing in the video
