Count to 5

Sets how much of the weird processed sound you hear versus your clean sound. All the way right is only the effect; all the way left is only your normal tone.

tip: Keep it around noon while learning so you always have your dry note as an anchor when the effect gets chaotic.

This is the pitch/speed and forwards-vs-backwards knob for playback. Noon is roughly normal; turn one way and repeats get higher and faster, turn the other way and they drop in pitch, slow down, and eventually reverse.

tip: Because DIR 1 is quantized, tapping the Q switch snaps its pitch changes to musical intervals (see the Q switch) so slides land on real notes instead of random glides.

In the three-head looper mode, this sets the pitch and direction of a second copy of your loop playing at the same time, so you can build harmonies or clashing layers.

tip: Set DIR 1 to normal and DIR 2 to an octave or reverse for instant two-part textures; enable it by putting the E switch in the middle.

Adds a third simultaneous playback voice of your loop in three-head mode, each at its own speed and direction, for dense chord-like or chaotic layers.

tip: With all three DIR knobs set to different intervals you get instant drones; push E fully down to hear all three.

Sets the delay time / echo length in the echo mode. Instead of a smooth sweep it clicks between fixed lengths, so you jump from short stutters to long echoes step by step.

tip: Watch the LED color change to know you've landed in a new length; with Transcendence on, changing length no longer wipes what's in the buffer, letting you re-pitch existing audio.

In the random-slice mode, this sets how big each chopped-up chunk of your recording is — short for stuttery grains, long for near-complete phrases.

tip: Short slices plus high RAND makes a granular, sputtering texture; long slices plus high RAND rearranges whole musical phrases.

The 'how many repeats' knob in echo mode. Low gives a few fading echoes; high piles repeats on top of each other into runaway, self-generating drones and noise.

tip: With Q held down, FBK sets LFO depth (fully CCW turns the LFO off); with Q held up in Mode 3, rotating FBK CW enables the step sequencer.

Controls how scrambled the playback is. Turn it down and your loop plays in order; turn it up and the pedal grabs bits from all over your recording in random order.

tip: Nudge it just off zero for subtle glitchy variation, or crank it for full cut-up randomness.

Holding Q down while in echo mode lets you add slow automatic pitch wobble to the repeats (speed on LEN B, amount on FBK) and roll off the harsh high end of the feedback with DIR 1.

tip: Owners note the LFO is intentionally slow and gentle; use it for subtle drift rather than dramatic vibrato. Turn FBK fully CCW here to switch the LFO off.

This makes the pedal react to how hard you play — hit a loud note and the playback jumps to a different spot in the buffer for stutter/glitch effects. DIR 1 decides how loud you must play to set it off, LEN B decides how far it jumps.

tip: Regardless of this setting, tapping the soft footswitch also fires a trigger, so you can glitch on quiet notes or on demand without playing hard.

In three-head mode, holding Q up turns your playback voices into a randomized note sequencer that jumps between pitches in whatever musical scale the quantizer is set to — great for generative, arpeggio-like movement.

tip: Loops aren't reset when a step happens, so it works best on droney or vocal loops; keep your playing in a similar key to the quantizer scale.

Holding Q down in the three-head mode turns the DIR knobs into a little mixer, letting you balance how loud each of the three loop voices is.

tip: Use this to fade a harmony voice underneath the main one instead of having all heads at equal, muddy volume.

The main mode selector. Up is the echo/delay playground, middle is the random-slice sampler, down is the multi-head looper.

tip: With Transcendence enabled the buffer isn't wiped when you switch modes, so you can record a loop in Mode 3 and then flip to Mode 2 or 1 to mangle that same loop.

Does two jobs depending on mode: in the first two modes it picks which knob your foot pedal will sweep; in the three-head mode it turns extra playback voices on and off.

tip: In Mode 3, start with E up for a single clean voice, then move to middle or down to layer harmony voices once your loop is recorded.

Tap it to force pitch shifts into musical scales instead of random glides; hold it while turning knobs to reach the pedal's secret extra features like the LFO, filter, trigger, and step sequencer.

tip: Quantization setting is remembered while powered but resets to 'None' when you unplug. Match the quantizer scale to the key of what you're playing for the best results.

Your record/loop/freeze button. In echo mode, hold it to freeze the current sound into a loop; in the sampler modes, hold to record and let go to play, tap once quickly to erase. Hold it while the pedal is bypassed to toggle Transcendence.

tip: A quick tap in Modes 2/3 cancels the loop (LED flashes blue); tap-and-hold layers new audio on top of what's already playing.

Turns the effect on or off for playing live. It's also the gateway to the Transcendence setup — bypass first, then use the soft switch.

tip: If the pedal passes clean signal but the effect makes no sound, first confirm it's engaged (not bypassed) before troubleshooting further.

The little light tells you what the pedal is doing: red means it's recording, blue means it's playing a loop, blinking blue means it's empty, and a white flash means a trigger just fired. If your blues look green, Transcendence is turned on.

tip: Use the LED to dial in the trigger sensitivity in Mode 1 — adjust until it flashes white on the notes you want to catch.

Plug in a foot expression pedal here to sweep one parameter hands-free — great for foot-controlled pitch dives or feedback swells while you keep playing.

tip: In Modes 1 and 2, set the E switch first to choose what the expression pedal sweeps; in Mode 3 it's locked to DIR 1.

Where your guitar, synth, or other sound source plugs in.

tip: Because the input and output are close together on the top edge, double-check you're using the right-hand one for input.

Where the sound leaves the pedal on its way to your amp.

Standard pedal power input — use a normal 9V negative-tip supply. There's no battery option.

tip: Use a proper 9V negative-tip supply; feeding it the wrong polarity can permanently kill the pedal (as some owners have discovered).

A computer port used only for updating the pedal's internal software — you don't need it for normal playing.

tip: If the pedal isn't recognized over USB, try the update procedure carefully per the maker's instructions; connection issues are usually cable, driver, or procedure-related rather than a dead unit.