In that final year of production, Mosrite shifted exclusively to silicon parts, making germanium components a thing of the past. Of the two, the germanium version is by far the most rare, with original designer and Mosrite employee Ed Sanner estimating that around 250 ever made it out the door. At subtle settings, repeats evolve in a way that sounds natural, but different from analog delays.įrom the years of 1966 to 1968, Mosrite produced two distinct fuzz circuits-one outfitted with silicon transistors, the other with germanium parts. The left and right channels can be shifted by the same amount, a ratio, or opposite directions. The frequency shifter creates flanger-like textures and radical dissonant echoes. The detune setting can dial in micro pitch shifts and chorused repeats. Pitch shifting repeats up or down in semitone steps creates tempo-synced arpeggios and alien organ sounds. Three pitch and frequency shifting algorithms are integrated into the feedback loop. The two delay channels can be arranged in series, parallel or ping pong. The left and right delay times can be set as a ratio, so a single knob changes both in sync. A tone control sweeps from dark analog-style repeats to digital clarity and emphasizes the attack at higher settings. Knob responses are carefully tuned for exploration of self-oscillation and feedback on the verge of blowing up. The feedback control has infinite repeats at 3 o'clock and chaotic, textured feedback loops at higher levels. Three delay ranges allow you to precisely dial in resonant feedback and instantly change delay time with rhythmic shifts. Forward or reverse delay can be shifted once or have continuously shifted repeats. The bypass switch can also mute the output in bypass while always listening, to catch, repeat, and manipulate what you just played.The Raster is a 1600 ms digital delay with a pitch and frequency shifter integrated into the feedback path. Both footswitches can be latching or momentary, for instant pitch jumps or quick blasts of echo. Alternate knob settings are related to the primary knob function, labeled, and off at the center position. The original Raster was praised for its knob response and immediacy, and the Raster V2 maintains that simplicity while adding flexible modulation and extensive stereo functionality. It can be pushed to extremes for ring modulation and inharmonic shifted delays that distort and break apart. Two reverse delay modes can be used for reverse solos or with pitch shifting for crystal echoes.īeyond pitch shifting, a combination phase/frequency shifter creates subtle evolving repeats, dissonant harmonies, and barber pole flanging. Repeats can continuously shift up or down, or shift once and remain at that pitch. Slight detuning creates chorused delay sounds, while wider intervals with feedback create strange organ-like textures. The detuning mode gives smooth pitch changes from a fourth down to a major third up. Repeats can be pitch shifted up or down by an octave in semitone steps. Three pitch shifting algorithms are integrated into the feedback loop. The core of the Raster is a clean delay with delay tim from 20 milliseconds all the way up to 1600 milliseconds, and up to 3200 ms through the online editor. Red Panda Raster V2 is a digital delay and delivers a wide range of sounds including harmonizing delays, phase-shifted repeats, arpeggios, alien textures, chaotic self-oscillation, and continuously evolving soundscapes.