The folks at Chase Bliss Audio (CBA), Old Blood Noise (OBNE), and DroloFx really came up with an excellent array of algorithms for Mood. With on board ramping, in addition to midi and expression control, you can do a lot of cool things with this pedal. I’m going to share a few patches I’ve come up with. Hopefully they inspire your exploration of Mood.
Mood can be a bit confusing and daunting to tackle at first since the looping side is always recording. Recording a symmetrical loop is really not feasible, but that is where a lot of the magic of this pedal resides.
For me, the most immediately accessible way to tackle Mood was to start with clock time at noon or past noon. There you get short to average long delay times on the OBNE (Wet) side and can use the Drolo side for longer freeze-style holds to micro sampling with relatively little noise – the noise is definitely fun, though.
Side note: I’ve been a big fan of DroloFx for a while. Previously owned the Molecular Disruptor and Stammen, which both do all kinds of hold, glitch, time-stretching, and micro-sampling type effects. Mood’s Drolo side algorithms definitely do not disappoint and they pair really well with the Wet side of the pedal.
Now onto the effects list:
– Strandberg Classic 8 w/Eclipse Pickups
– Laney Ironheart IRT-SLS (clean channel) DI out
– Dunlop Mini Volume Pedal
– Chase Bliss Audio Mood
– Meris Mercury 7 for a bit of Ultraplate reverb
– Recorded direct into Logic
Looping Delay + Stretch
This is good for impromptu ambient ideas. At greater time stretching, and lower mixes, it really fills out an ambient background. This is great for building other ideas and recording asymmetrical ideas full of swells and different rhythms. Punch in different chords as you would with a standard hold pedal.
On this patch, I use the dip switches to ramp up the repeats on the Wet side. Slower ramping allows for greater crescendos. As you feed in more audio, periodically the Wet side will sound like it’s about to self-oscillate. This is an ideal example of how you interact with this pedal vs. you just playing it.
I highly recommend also turning off the Drolo side entirely, and use only volume swells with the Wet side.
Looping Delay with Expression Pedal
This is similar to the previous patch but instead, you manually control the looping delay’s repeats with an expression pedal.
You can use solely the looping delay to create evolving swell harmonies, but this also sounds great when you incorporate the Envelope mode. First, run some swells into the Wet side, leave the repeats at max, and then bypass it. Then, run some percussive audio into the Drolo side, lock those into a loop, and then utilize some swells over it to trigger the loop to stutter. It sounds like controlled chaos.
Using the dipswitches, I narrowly ramped the time knob creating a pretty cool chorus-flanger sound. Ramping controls rate on this. The time knob acts like your depth knob. I like it best just above minimum for a subtler sound. Higher gets more seasick. Clock time is at minimum (completely clockwise).
This patch was inspired by my irrational obsession to recreate the unique envelope stutter effect from Hologram Electronics’ Infinite Jets Glitch A algorithm. To do something similar on Mood, it requires you to be able to send midi-cv to trigger CC 103, which controls the state of both bypass switches. Using envelope midi-cv you can engage the Drolo side and Wet side in various combinations according to your playing dynamics. For example, lower sensitivity only turns on the Drolo side, and higher sensitivity turns both on. The result is something kind of similar in style to the Glitch A envelope stutter effect.
I achieved this using Empress’ Zoia to read my input signal and then generate envelope midi-cv to Mood. I’m sure you can achieve this using anything that can analyze your input signal and generate midi-cv. I have the patch uploaded up on Zoia’s Patch Storage channel. I also have a thorough explanation of my settings there.
Listen to this patch on Instagram here.