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Hi. It’s been a while. How are you? If you are reading this, I sincerely hope you have been taking care. I’m back with a sequel to an old video from over 7 years ago, titled Mutable Instruments Clouds as a Lo-fi Tape Delay. This is Mutable Instruments Beads as a Lo-fi Tape Delay.
The looping delay mode Clouds has been something I’ve long adored, especially with the Parasites firmware installed. When I first got my hands on Beads, I was ecstatic to learn that a delay mode would be included, especially one that did not require a button combination to enter. The delay mode on Beads varies quite a bit compared to Clouds’ looping delay mode. Perhaps the most noticeable difference is how the feedback works. Clouds’ feedback is wild and can be hard to time. You often have to ride the control to ensure things don’t spill over from disintegration into speaker/headphone destruction (unless that’s your objective). Beads’ feedback is not necessarily tamer, but perhaps more limited - I suspect there is some kind of limiter in the feedback path. The way Beads’ feedback is set up makes it better suited as a component for physical modeling (to be explored in an upcoming video).
One of the other differences is the built in filter. The filter on Beads (the Size attenuverter when in delay mode) has some slight resonance to it. Initially I found it less to my taste than the filter on Clouds and would often patch up my own feedback loop through Beads with mults and a mixer or a matrix mixer.
With Beads in scorched cassette mode, it acts as a lo-fi tape delay with its own character and flavor. I’ve come to appreciate it more over time. Here is a demonstration of Beads as a lo-fi tape delay.
Some basic patch notes: The pluck is Qu-Bit Surface. The string/pad is Mutable Instruments Rings with a field recording from Purisima Creek Redwoods Preserve patched to the input (via Disting NT). The bass is Mannequins Mangrove through Rossum Morpheus. All sequencing is from Squarp Hapax. The field recording at the end is rain recorded at Wunderlich County Park. All of the sound sources are patched to an AI Synthesis Matrix Mixer. Beads is also patched to the matrix mixer for a little bit of extra feedback in order to add some of its own reverb into the feedback path. Beads’ reverb amount is being controlled by a manual offset from Shakmat Griffin’s Claws.