This Is Why I Like You - Signal Blender+Excess

Dan did an experiment with Signal Blender and two Excess Distortion+Chorus/Delays. Below is Dan’s takeaway from the experience, Enjoy the video; shot and editing in-house by Old Blood Noise Endeavors.

“My first goal with the Signal Blender was an effect parallelizer: a simple tool to let you blend two effects in parallel. Over time, it grew in little ways that continually opened up new possibilities, but I always come back to the joy of parallel effects. One of my first joys in that world was the Excess; a heavy distortion riding alongside a clean chorus was sort of a revelation. So I thought, with Signal Blender alive in the world, why not parallelize two Excess set to parallel?

I started with a Korg Volca Beats, which is a great tool to quickly craft a beat to guide an exploration. I love the way a long kick gets squashed and tonal when heavily distorted, so I let that be my starting point. On one Excess I had a light and bright overdrive running alongside a chorus. On the other I had a heavy and dark distortion running alongside a short delay with a lot of feedback. I love the variable comb filter created by that delay, so I started sliding the time around with the Expression Slider and initialized the loop.

For the guitar parts, I just knew I wanted it to be in a major key. I tried to get in the tonal range of the drums and push it somewhere uplifting. At this point things get murky: continued expression slider usage, shifting of other controls, switching to series on both Excess… by the end I’d maxed the feedback on the delayed Excess so it would harmonize to a fifth, and that’s the sound I rode out on. Big chords with a perfect fifth harmony, so distorted that they’re ready to feedback at the slightest nudge. This was a five or six minute improv, but I probably could’ve lived in that sound for the rest of the day.”

Signal Blender

Signal Blender


The Signal Blender provides a number of parallel routing solutions through its use of a pair of send/returns, primary input and output, switching, and volume control.

Signal Blender can be used as a:

  • Parallel effect blender

  • 3-to-1 mixer

  • 1-to-3 splitter

  • Active ABY in either direction

  • Volume level setter 

  • and more

A courtesy 9V power outlet and phase correction switches for both Sends add further versatility to this box. Clever switching allows for latching or momentary on/off action with trails.

The Signal Blender uses standard 9V center negative power, and has a current draw of 31 mA.

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SNAMM 2019 Recap

Summer NAMM in Nashville, TN USA came and went. It was a whirlwind. But a fun whirlwind. We attempted to create a booth atmosphere that was both socially comfortable while also allowing for private engagement with the effects. We brought both the MAW and Signal Blender prototypes with us in the interest of getting feedback from people as they experienced them firsthand. We listened carefully to critiques and comments and are already in the midst of making changes for the production models (keep up with MAW progress in the MAW Blog). Also we were awarded Summer NAMM 2019 Best In Show. Totally unexpected but very welcome.

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MAW is a stompbox designed around mic signals.

Featuring a preamp fed into three footswitchable effects, it can be an all-in-one for vocalists looking to control their live sound or a versatile tool for studio tinkerers. Use the on-board saturation, rotary, flange, delay, and reverbs, and integrate additional effects pedals with the send/return. Let its voice become yours. Here you see its prototype which was announced at Summer NAMM 2019. Many Changes already underway, Keep up with this blog for progress and video updates!




We collaborated with Drolo FX and Chase Bliss Audio on the M O O D Granular Micro Looper and Delay and are very pleased with how it came out. If you’re feeling in the MOOD, below you will find the video we produced for the project w/ Knobs, Andy Othling, Drolo FX, and Chase Bliss Audio, as well as every other video we can find about MOOD.

Coffee & Riffs


Sam Porter was at the shoot we did with Andy and Mason in Los Angeles and got some good stills. Thanks for Sharing the photos, Sam. Check out more of Sam’s work on his social media profiles.

Michael Loveland & Will Muir of Guestroom Records

We all love Guestroom Records, and all of the amazing people that work there. So we decided to do a showcase on two of our favorite employees, Will and Michael. Watch and take a little virtual tour of the shop while be serenaded by Michael and Will. We also have a demo board + some custom pedals for sale at the Guestroom Records Oklahoma City location, so be sure to stop in and check that out if you find yourself in the big city.

Michael plays a Fender Jaguar through the Old Blood Noise Endeavors Dweller out of a Fender Champ.

Will plays a Fender Jaguar through the Old Blood Noise Endeavors Reflector Chorus V3 out of a Fender Champ

This Is Why I Like You - Reflector V3 ft. Dan Pechacek

When Seth, Brady, and Kilyn asked if I could do a This Is Why I Like You exploring some of my favorite nooks and crannies of  Reflector V3, I found myself unsure where to start. It’s a strange chorus pedal - it does chorus very well. It’s lush and tweakable. But it also does so many other things that live in extremes or very precise spots in a knob’s turn. To find those sounds, craft a piece, perform the piece… how much can one do in an afternoon. So I thought, maybe let’s explore this together. I’ll find a sound in the top mode. Roll cameras please. We’ll start a loop and go from there. I started with a harmony - a perfect fifth below my signal, with no chorus to speak of. Suddenly it felt like someone was playing a baritone while I played guitar. Lovely and deep. From there, I moved to the middle mode and found a slow pitch vibrato. I turned on the Greer Amps Lightspeed for light grit that gave the entire signal the sense of a grainy record. I thought of Graham Coxon’s singular contribution to Blur’s “Think Tank,” the simultaneous grandiosity and uncertainty of a gritty guitar waving in and out of pitch. While there I introduced reverb with the Modulate control, and because my Mix control was already all the way up it created a swelling effect. More dirt from the Fender Pelt fuzz and we were off to the races. I switched to the bottom mode and brought the rate all the way down so I could find a fixed resonant filter that would goose the fuzz, setting the frequency with Modulate. I figured I’d rip a solo until I remembered I cannot rip a solo. So I touched the Depth knob - here’s a fun thing. You don’t hear the very minor delay introduced by the Depth until you start to move it - counterclockwise to pitch up, clockwise to pitch down. With a sustained note it resettles very quickly. From there I imagined it was time to let the rate start moving again, so I pushed that control out and got a little noisy. When making the tweaks that would become V3, I wanted subtlety, nuance, restraint. Everything must be pretty, I thought. And it has to play well with dirt. Before and after. But I’d forgotten: this pedal is fun. It’s really fun. It’s music, and music is fun. We were maybe 15 minutes deep and it had been a nice meditation on the Reflector V3. I turned my loop and pedals off and we resumed the afternoon. I hope you enjoy these minutes.

Thanks to our friends for lending their wares for this video:

Island Instruments Anzol Guitar

Greer Amps Light Speed Overdrive

Fender Pelt Fuzz

What is Series Vs Parallel?

Perhaps you've wondered the same thing. Perhaps no one with a demeanor as calming as Dan's has explained it to you. Here it is, a clear definition of how In-Series and Parallel routing work. Take this knowledge with you and apply it your musical export. 

Atiya Jones of Twelve Twenty Studios and The Art of the Excess


For every Old Blood Noise Endeavors pedal release I contract a different artist to create the artwork—It's one of my most favorite parts of the job. For the Excess I was looking for something that visually summons tumult and unpredictable undulation, much like the excess does sonically. I was explaining my loose concept/ idea to a  close friend and she pointed me in the direction of Atiya's work. I immediately reached out to Atiya because her style and vibe were perfect for the project.  Below are some words from Atiya on her process and approach, be sure to check out her website and follow her on social media @_twelvetwenty. We're honored to and grateful to Atiya for lending her skill and craft to the Old Blood line. -Seth McCarroll


All photos used with permission via Atiya Jones. Color photo of Atiya by Jenna Houston.

"My work conjures apophenia, which is the psychological concept of finding patterns where they do not exist. People have a propensity to fight for definition and sense where it does not exist. I find it to be both a really beautiful and detrimental trait in our strange species. 

I use my art and creative workshops, above all else, to connect with people. Making contributions towards building a sense of community is my purpose, and these Wildlines allow me to just that. As a non-musician, this project places my work within a community to which I am normally just a voyeur. I’m very proud of this project and grateful for the opportunity to share it with your team and clients."

Giveaway with Strymon

It's been a while since we've done a giveaway. This one is about sharing too, which is nice. Tag a friend for the chance for you to both win  a Strymon Sunset Overdrive, Ojai power supply, and Old Blood Noise Endeavors Excess Distortion Chorus/ Delay. Sharing is caring. Sharon is Karen. Have fun I hope you win. Full contest terms can be found below the giveaway image.

Strymon Rulez