Scattering is a stereo reverb built around a complex network of delay lines. Forsaking the diffuse atmospherics of traditional digital reverb, it instead creates a lively dance of fluttering echoes strewn into space. Here the boundary between analogue and digital is thin. The core timbre can be harsh and ringing, or murky and saturated. Four modes, each representing permutations of the lost MN3011 bucket brigade device, offer branching paths into proto-algorithmic realms. Within, you can find all manner of textural reflections. But, far from just an ambient effect, Scattering is able to saturate, modulate, and spatialize with an immediacy worthy of rock-and-roll practicality. Building upon our analog/digital hybrid ecosystem, Scattering has a deep interface with presets, MIDI, assignable modulation, and extensive expressive control over all parameters. The I/O and analog/digital processing are true stereo—a first within our catalogue. Reverb gives our music a sense of space. We hope Scattering is a fun one to explore. Controls Space: Sets the length of the individual delay taps which make up each reverb mode. Turn clockwise to increase the delay time. At longer settings, the individual taps become more distinct. This control works by changing the sample rate of the DSP, which will create artifacts at longer settings. Mix: Blends between the input signal (post preamp) and the reverb output, from fully dry to 100% wet. Preamp: Controls a stereo analogue gain stage located at the input. It affects both the wet and dry paths. At higher settings, it will introduce warm analogue saturation. (Note, this can get fairly loud if you let it. The Level Alt function is useful here.) Filter: Controls a stereo, analogue, two-pole low pass filter applied to the reverb output. The cutoff extends below 20Hz, which is handy for creating swells. Dwell: Applies feedback to the reverb taps to increase the decay time. In some modes, high Dwell settings will lead to runaway oscillations. LFO Rate+ Amount: Controls for an LFO (low-frequency oscillator) modulating the Space control to produce chorus and vibrato. Rate and Amount adjust the speed and intensity, respectively. The Wave button selects a periodic or randomised waveform. Engage Activates the pedal. Long press to toggle Trails on and off. The Engage LED will briefly flash to acknowledge the change. With Trails enabled, the preamp remains active at all times and the reverb will decay naturally when the pedal is bypassed. Aux (Footswitch): A multi-function performance tool. The behavior of the Aux footswitch is selected using the corresponding Aux button. In Morph mode, the Aux footswitch allows for dynamic ramping between two control states. For more info about morphing, refer to Section 3.5. In Preset mode, the Aux footswitch can be used to scroll through saved presets. To learn more, refer to Section 3.3. Aux (Button): Toggles the state of the Aux footswitch. Long press to access Alt functions Mode: Selects one of four reverb algorithms. – x1 – Six taps with lengths derived from the MN3011 BBD. x2 – MN3011 taps with double the length; more like a delay. Matrix – A network of parallel delay lines, capable of stable infinite reverb. Nonlinear – Tapped delay line read with a swelling envelope.
Electronic Audio Experiments Scattering Stereo Reverb Pedal
This is a New Electronic Audio Experiments Scattering Stereo Reverb Pedal from Electronic Audio Experiments, listed in Reverb Pedals on Just Pedals. Read More below.
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Brand
Electronic Audio Experiments
In the current JustPedals catalogue, Electronic Audio Experiments is represented by Preamp & DI Pedals, Overdrive Pedals and Distortion Pedals. Current listings include Prismatic Wall, Surveyor Preamp and Model feT Preamp. That makes the range relevant to players looking for drive, gain and clipping, plus time-based effects and ambience. Check each model for its exact circuit or processing platform, controls, power requirements and connections, particularly where the catalogue includes both pedals and supporting gear.
Category
Reverb Pedals
Reverb pedals create the impression of rooms, plates, springs, halls or other spaces by surrounding the dry sound with a field of reflections. Decay controls length; pre-delay separates the attack from the ambience; damping, tone, modulation, diffusion and mix set size, brightness and movement. Short settings can add depth without washing out a part, while long tails become a deliberate texture. Check trails, spillover, stereo routing, presets, tap or MIDI control and the pedal’s headroom after drives.
Tags
Analogue
Analogue products use continuous audio circuitry for some or all of the signal path, so clipping, filtering or modulation arises from physical components rather than sampled algorithms. The label does not guarantee a particular tone; component choice, headroom, bias, noise and the surrounding gain stages still matter. Check whether the switching, presets, control section or cabinet stage is digital when the exact signal path is important.
Digital
Digital products use conversion and processing to create, store or control the effect. This can provide presets, complex routing, repeatable algorithms, USB, MIDI and firmware features, but conversion, latency, power requirements and clocking depend on the design. Check the input and output levels, sample or impulse-response support, bypass behaviour and current draw when combining a digital unit with analogue pedals or a direct recording setup.
Hybrid
Hybrid products combine analogue audio circuitry with digital control, conversion or processing. The useful question is which part of the signal path stays analogue and which functions—such as presets, filtering, modulation or USB—are handled digitally. This can provide hands-on response with modern recall, but latency, power and bypass behaviour vary. Check the signal path and routing rather than assuming the label describes the entire product.
MIDI
MIDI sends, receives or responds to Musical Instrument Digital Interface messages rather than carrying instrument audio itself. Program changes can recall presets, continuous controllers can move parameters and MIDI clock or transport messages can synchronise timing. Check the connector or USB method, channel and message support, clock direction, latency and whether the device needs a separate MIDI host or adapter. MIDI control is powerful, but compatibility depends on the exact messages each product understands.
Stereo
Stereo products provide separate left and right audio paths, which may widen modulation, preserve independent delays or route a pedalboard into two amplifiers or a mixer. Input and output behaviour is not always symmetrical: some units sum a stereo input, while others create stereo from a mono source. Check whether the effect collapses safely to mono, how the dry signal is routed, the socket format and the destination’s panning and phase requirements.
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