I’ve been playing with the clock in extensively in the last week. Quite reliable. I use a Molten Voltage CTRL SYNC to act between the MIDI clock and the Super Pulsar. It took me a long time to figure out the sync because I realized after awhile that my cable was shorting out. Talk about pure frustration.

I’m not the sharpest tool in the shed, but trying to find my way around the super pulsar’s custom rhythms and presets was a bit of a challenge, even with the manual in front of me the whole time. It can be a bit unforgiving if you don’t figure out the exact sequence of steps. At one point I thought that the mode switch died on me and I almost sent it back. Luckily I persisted. I think I get it now.

The key is to go into preset mode, select the preset number you want to work in, then go into normal mode to adjust the settings you want. Once you have the settings, go back into preset mode (But do not load a preset) and save immediately while the preset you loaded earlier is still in queue.

Very cool! Seems like it has to be a prototype.

A yellow wire connects the power jack to the node at the bottom right corner of the board. There is no other wire from the jack.

I have an old ZVex Fuzz Factory that definitely fluctuated a bit from winter to summer. I actually love when analog gear does that, like analog synths that need to warm up and recalibrate. It’s a delicious reminder of an older era when we appreciated simpler things.

I also have the Germ OD and the Germ 4 BMP, and so far they seem consistent. Awesome pedals!

Is this something that a 3D printer could do? :question:

Send the midi out to the midi in of a 2nd 45000 receiving the external clock. That should sync them. If you are only recording from one sound source, you’ll need something like
the switch blade + to choose between the 2 inputs.

Love that song. I always just assumed it was a keyboard synth. If not, maybe a Roland GR-300? Those were in vogue at the time.

I’ll have to listen again and see if I can take a stab at it. Definitely lots of chorus if I recall correctly.

Electro-Harmonix is sort of like the David Bowie of music gear:

– Emerged during the late 60s making waves in Psychedelic Rock
– Took some provocative photos in the early 70s (Freedom Amp?)
– Made phasers funky and smooth circa 1975
– Pioneered, innovated, and created some of the most cutting edge art throughout the 70s
– Hit a major peak from about 1977 – 1980 inventing some of the weirdest and most forward-thinking sounds that musicians of all ages would still seek out 40 years later
– Temporarily lost the way after 1983
– Revived and reinvented themselves again in the mid 90s
– Proved themselves legendary in the 2000s while all generations, young and old, still buy their stuff
– Can look back on 40+ years of innovation history and say, “I’ve always pretty much done it my way, but now I’m going to release some really crazy stuff just because I feel like it!”
– Has always worked with an impeccable and talented team

Congratulations to one of the Great Masters of Sound Synthesis Innovation!