This creates feedback within the circuit to create new unbridled, experimental effects and results. This controls the amount the SEND (external effect input) is forced back into the RECEIVE (external effect output). A fuzz can also be used ahead of modulation pedals in the loop to increase the effects of the TSA.FEEDBACK: The big knob. With a single fuzz ran through the loop at a lower setting, a nice gain boost is added, making for a harsher, more stand-out fuzz sound. However, this is not to say that noise is the only possible use of the TSA. A delay creates a constant, resonating echo which will inevitably fall into a deafening boom. A phase-shifter produces screeching, harsh tonal waves. The sound of the TSA is totally dependent on what effects are in the loop. The artwork is a pretty keen representation of the sounds produced. Looks: It’s a simple screen-printed design set onto a solid powder blue-ish paint job, yet screams of coolness. Turning to the right will simply increase the maddening sounds produced, which are still quite prominent at 8 O’clock. Classic switch, single large knob, two stereo inputs and to mono outputs.Ĭontrols: Marked by one mysterious, unmarked knob, which is obviously a gain, control is not exactly the correct term. I could not imagine that any sort of touring or general use, short of dropping it into a bucket of water, would effect the stability. Rather, it is an amplifier of feedback produced by other pedals into the loop.Ĭonstruction: Smash it, drop it, put it in a sock and beat your ex’s new boyfriend with it, this is a solid box. This is NOT an effect pedal, in the traditional sense.
Here’s a rundown of this elegant little stompbox, to hopefully end a little bit of the arguments. However, this is most certainly not to dismiss the TSA as a hype-driven, over-priced toy. Devi Ever’s Eye of God runs at a lesser price, with the added benefit of an optical lens. Their claim to have produced the original production feedback looper, as well as the hefty price tag tied to such a simple pedal, has been a call to arms for pedal dorks and soundscape connoisseurs. However, as often as angry nerds argue over the sanctity of Star Wars versus Star Trek, Death By Audio’s Total Sonic Annihilation has received a lot of flak from the pedal community. Because of this, I stand by the belief that for any aspiring contemporary noisy musician, the feedback looper is an essential tool in turning your otherwise subtle and bland effect pedals into weapons of total mayhem. Like my fellow travelers down the path of sonic enlightenment, I have grown a strong distaste for the melodic and classical approach to the musical formula.
I was born into era of electronic beat loops, samplings and incoherent bass drops. Good morning to my fellow noise mongrels and supersonic hounds!
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