Riggs Pedalboard

Four parallel chains of eight fixed spots. A slot's lane and position are its index, not parameters, so moving a pedal copies its settings to the new slot rather than carrying a routing setting around with it.

What feeds this lane: the input, or a point inside another lane. Tapping a lane does not interrupt it - the tapped lane carries on to its own output, so the tap is genuinely parallel. Tapping after a lane's last pedal is just whole-lane chaining.

Whether this lane reaches the mix at all. Off turns a lane into a pure front end for the lanes tapping it.

Per-lane output trim, placement, and a delay to time-align a lane against the others. The pedals are mono; by the mix the lanes have panned, which is why only the eight POST slots carry a second pedal set for dual-mono.

Eight more spots after the lane mix, for anything that belongs on the summed signal rather than on one path.

Level after the pedal, -24 to +24 dB. Bypassing the pedal takes the OUT trim out with it, so a bypassed pedal is exactly transparent.

INPUT (-12 to +24 dB) is the level fed into it - more input means more compression at the same threshold. THRESHOLD (-40 to 0 dB) is where it starts turning down; RATIO (1:1 to 20:1) how hard; ATTACK (0.1-100 ms) how fast it clamps; RELEASE (10-500 ms) how fast it lets go; MAKEUP (0-24 dB) brings the level back up.

A hard ceiling. THRESHOLD (-24 to 0 dB) sets how hard it is pushed; RELEASE (10-500 ms) how quickly it recovers; CEILING (-12 to 0 dB) the level nothing can pass. It is instant with no lookahead: anything that still gets past is clipped at the ceiling.

Mutes the gaps between notes. THRESHOLD (-70 to 0 dB) is the level that opens it; RANGE (0-80 dB) how far it turns down when closed; ATTACK (0.1-50 ms) how fast it opens; HOLD (0-250 ms) how long it stays open after the note falls; RELEASE (5-500 ms) how fast it closes.

Tames harsh top end. FREQ (3-12 kHz) picks where; THRESHOLD (-40 to 0 dB) how loud that area has to be before it acts; AMOUNT (0-18 dB) the most it will cut.

Three bell bands, each with a frequency and a gain of ±12 dB: LOW (60-500 Hz), MID (300 Hz - 3 kHz) and HIGH (2-12 kHz).

DRIVE is how hard it clips. TONE darkens or brightens the result (a filter after the clipping, 800 Hz - 8 kHz). LEVEL is its output. MODE picks the clipping: Soft (smooth overdrive), Tube (warmer, uneven), Hard (tight and aggressive), Fuzz (square and buzzy).

A bass-style drive with a clean path kept alongside. DRIVE is how hard; BLEND mixes clean (0) to fully driven (100), so the low end can keep its body; TONE darkens or brightens the drive; LEVEL is its output. MODEL sets the voicing (CLEAN / CLS A / BRIT / MOD) and CLIP the clipping curve (Soft / Tube / Hard / Fuzz).

Digital destruction: Fold · Crush · Rate · Tone · Mode · Blend. Mode picks the shaper - Fold (the signal reflects at the rails, adding a new harmonic series per fold), Wrap (jumps hard to the opposite rail - the nastiest), Rectify (octave-up fizz) and Sine (rich but rounder); Fold sets how hard. Crush drops the bit depth from 16 to 1; Rate lowers the sample rate down to 500 Hz; Tone is a filter after it (300 Hz - 12 kHz); Blend mixes it with the clean signal. It is deliberately not anti-aliased - the inharmonic ring is the effect.

A resonant sweep into fuzz: Pedal · Rate/Sens · Reso · Drive · Mode · Blend. Because there is no treadle under your foot, Mode picks how the sweep moves - Manual parks it at Pedal (the cocked-wah sound), Auto opens it with your playing dynamics, LFO sweeps it continuously. Rate/Sens is the LFO speed in LFO and the sensitivity in Auto. Reso is how sharp and vocal the peak is. Drive at 0 is clean. Blend mixes it with the clean signal.

Rate (0.1-14 Hz) is the speed and Depth how deep. Shape morphs the wave from a smooth sine to a hard square; Duty skews it, so a short duty with a hard shape is a stutter and a long one a swell. Mode: Amp (classic level chop), Harmonic (the low and high halves move in opposite directions, so the tone rocks dark-to-bright rather than loud-to-quiet) and Bias (breathes and adds harmonics rather than chopping). Level (-6 to +18 dB) makes up the volume a deep tremolo loses. Free-running - there is no host tempo sync yet.

TIME (20-1000 ms) is the gap between repeats; FEEDBACK how many repeats (capped so it can never run away); MIX how loud the repeats are; TONE (800 Hz - 8 kHz) is a filter inside the repeats, so each one gets a little darker.

MIX is how much reverb; DECAY how long it rings; SIZE how big the space is; DAMPING how quickly the highs die away; TYPE picks Plate, Room or Hall; PREDELAY (0-120 ms) is a gap before the reverb starts, which keeps the dry note clear.