REVERB:
This knob functions like the repeats on any echo unit, it feeds back the wet output back into
the input of the delay line. On oil can delays and the ADINEKO the repeats quality smears into a
soupy foggy due to the low fidelity of the record medium and the fact that the echoes are always
modulating.
BLEND:
This control allows you mix between
100% wet and 100% dry signals. The original
units featured tube preamp stages, the
ADINEKO’s preamp stages are tuned to provide
very much the same experience as a healthy
example of an original unit.
TIMING:
A majority of original oil can units have a fixed rotation speed hence a fixed delay time
and fixed vibrato time (there were models with a mechanical motor brake to slow it down),
however the actual maximum delay time was very short from 80-120ms. The ADINEKO extends
your modulated delay time up to one second.
VISCOSITY:
To really appreciate this control it is helpful to understand how the original units
functioned mechanically. Imagine a slowly rotating metallic disc inside of a paint can. This disc
“holds” an electro-static charge from a static record brush “head” until it is later picked up by one
or two of the playback heads. In order to prevent this charge from leaking into the air it is sealed
in by using a mysterious oil. It was rumored for a long time that this oil was a carcinogen, but as it
turns out the oil was most likely Union Carbide LB-65 oil. But I digress, the oil’s main purpose is to
seal the charge from the air. The problem with oil is viscosity reduces (making it less warbly)
based on how warm the unit has gotten. If it gets too hot the oil no longer can effectively store the
charge. So in summary, the VISCOSITY knob controls the modulation depth!
Содержание ADINEKO
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