TEST: Death By Audio Disturbance

 That's what I call a company name that comes across as a mixture of omnipotent and disturbing. An excellent achievement in terms of marketing, a manufacturer with the name “Death By Audio” knows how to attract attention in advance. It goes without saying that you can't compete with the hundredth TS9 clone with a name like that, which made me even more excited to see what extraordinary sound effects could be achieved with the Death By Audio Disturbance pedal.

The concept of Death By Audio Disturbance

The Death By Audio Disturbance Pedal is a modulation stompbox that can produce the filter, flanger and phaser effects, whereby the phaser name is referred to as “Fazer” due to the more catchy “Triple F” naming. Only one effect can be called up at a time; saving the effects or recalling them via MIDI is not possible.

The pedal, handmade in NYC / USA, comes in a very high-quality, mirrored metal housing and feels like it is in the absolute top league of pedals. Not only does the mirrored look look very elegant, the New Yorkers have also managed to ensure that no fingerprints appear on the surface thanks to an additional varnish. Each switch or controller and each socket also has counteracted axes and a smooth/smooth control path, which indicates maximum durability and a long pedal life. It is not for nothing that the American company gives a lifetime guarantee on its products and promises free repairs if, contrary to expectations, a product should give up the ghost. However, I don't understand how such high-quality controllers and the corresponding housing can be damaged other than through malice or stupidity

The pedal must be operated with a 9V power supply; battery power is not provided. Despite the fact that it is a modulation pedal, which used to have higher demands on current consumption, the Death By Audio Disturbance Prdal only has a current consumption of 67 mA, which even the simplest 100 mA power supplies can easily deliver. The pedal sits on four soft, high-quality rubber feet, which ensure a very good grip even on a glass plate. With dimensions (L x W x H) 126 mm x 100 mm x 66 mm and a weight of approx. 369 grams, the pedal is in the middle class in terms of size and should also be able to be placed on any Nano class pedalboard.

In addition to the self-explanatory “Tensity” and “Width”, two controls attract attention due to their unusual names for guitarists/bassists. We're talking about the "Center Point" and "LFO Speed" controls, which, both visually and by their name, would be more likely to be in the electric sector than in the guitar section and thus also fuel the experimental character of the pedal. Center Point actually allows for modulation of the envelope, which smoothly places the effect deflection at the beginning or end of the envelope, depending on your preference. LFO Speed goes one step further and allows you to control not only the modulation speed of the pedal using an internally installed trim potentiometer via a jack output on the side, but also external effects that have an expression input. The modulation speed can be adjusted using the speed controller and is also displayed visually via a pulsating green LED. The LFO can be switched accordingly using the trip footswitch, while the entire pedal is activated/deactivated via another footswitch.

When the LFO is deactivated, the sound is “frozen” according to the control settings, which in itself brings with it a wide range of crazy sounds. I assume that the tonal approach of a flanger or phaser is known; the filter of a wah wah pedal is a steep-edged bandpass filter, which can either be fixed on a fixed pedal or routed according to the LFO setting.

The choice of positioning within a classic guitar setup is not entirely clear. In terms of construction, the pedal is probably aimed more at the classic amp user, who, depending on the design, also uses the serial FX loop of their amp. Classic modulation effects such as the flanger or phaser would most likely be placed in the FX loop, while filter modulation would often start before the gain stages between the guitar and the amp preamp. Here it is important to find your personal sound. Depending on your approach and requirements, placement in front of the amp or in the FX loop can work. ATTENTION, don't forget, with two 6 meter FX loop cables, unbuffered signal routing is already clearly audible due to the treble attenuation, so always place a buffer amp or a corresponding pedal at the end of the pedal signal chain!

The Death By Audio Disturbance Pedal in practice

Even with the first control settings, the user quickly realizes that the areas of application of the Death By Audio Disturbance pedal go far beyond the guitar area. Especially when it comes to “sick” sounds from the electronic sector in combination with distortion, the Death By Audio Disturbance can clearly score points when it comes to attention. This is less about “beautiful” sounds and more about impressive sounds, which can sometimes polarize. But bass sounds through to drum machines can also benefit from the variation options of the Death By Audio Disturbance pedal as part of an asymmetrical signal routing.

Of course, classic guitar sounds such as the popular Van Halen flanger or phaser sound can also be created, but the Death By Audio Disturbance pedal is not required for this “moderate” use. This is more about really “bad” sounds, which can produce a lot of acoustic noise even without distortion and do justice to the manufacturer’s name. However, whether you want to play through an entire song with a corresponding sound is of course up to the artist.

For the sound files, I switched the Death By Audio Disturbance pedal in front of the amp, so some sounds come out a little sharper than if you looped in the pedal. At the same time, the sounds also gain in “bite” and can assert themselves better in the overall sound. The tonal variation possibilities of the Death By Audio Disturbance are truly diverse and are well beyond what you can get out of a “One Trick Pony” pedal. From the subtly flattering phaser to the flanger, which has a strong regeneration effect, it has everything you can offer in terms of modulation effects. Depending on the setting, you can easily move the sounds to the Rotary area. What becomes apparent in some settings, however, is a reduction in the volume of the original sound, which cannot be made up for due to the lack of a level control. However, this only applies to clean sounds, as the compression effect equalizes the different volumes as the gain increases.

I can already hear the first voices calling for MIDI management, which would fundamentally change the basic concept of the pedal and would certainly lead to a price increase. Still, it's a shame that you can only change the unusual sounds manually and who wants to kneel on the floor and adjust the parameters of their pedal after a song or, worse, during a song. Of course, you could also buy several of the Death By Audio Disturbance pedals and use them for different sounds, but only very few musicians will actually do this.

In summary, you have to give Death By Audio Disturbance a very good rating. The pedal offers a very wide variety of sounds and opens up new playgrounds, especially for sound tinkerers, where they can let off steam. Anyone who also takes a look at the pedal prices in the boutique area, which are currently quoted for a pedal with a single function, will come to the conclusion that this is a comparatively inexpensive pedal, especially in view of American development and production.

Conclusion

With the Death By Audio Disturbance, the American company has a top-class modulation pedal in its portfolio. The pedal offers a control range in three types of modulation that goes far beyond the usual representatives of this type of effect. Whether subtle floating to brutal noise attacks, the Death By Audio Disturbance pedal meets all requirements and also shines with excellent workmanship on all levels.

If you are looking for a special kind of phaser, flanger or filter, this pedal is the right choice. Be sure to try it out!

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Additional Informations:

In the vibrant landscape of the music industry, where innovation and creativity reign supreme, Death By Audio Pedals emerges as a beacon of ingenuity and sonic exploration. Founded in the heart of Brooklyn, New York, this trailblazing company has carved a niche for itself in the world of guitar effects pedals, earning acclaim for its boundary-pushing designs and commitment to craftsmanship. In this comprehensive exploration, we delve into the rich tapestry of Death By Audio's origins, tracing its humble beginnings to its meteoric rise and enduring legacy.

### Inception and Early Days:

The story of Death By Audio Pedals begins with its visionary founder, Oliver Ackermann. A musician and artist with a penchant for experimentation, Ackermann established Death By Audio in 2002 as a communal workspace for artists and musicians in Brooklyn's burgeoning underground scene. The space served as a hub for collaborative projects, DIY ethos, and sonic exploration, embodying the spirit of creativity and innovation that would come to define the company.

### The Genesis of Innovation:

Driven by a passion for both music and engineering, Ackermann began crafting custom guitar pedals for himself and fellow musicians using salvaged parts and repurposed electronics. These early creations, born out of necessity and a desire for unique soundscapes, laid the foundation for Death By Audio's signature aesthetic – gritty, unpredictable, and relentlessly creative.

### DIY Ethos and Community:

At its core, Death By Audio Pedals embodies the do-it-yourself ethos that permeates Brooklyn's artistic community. Ackermann and his team embraced experimentation and imperfection, eschewing mass production in favor of handmade craftsmanship. This commitment to quality and authenticity resonated with musicians seeking to push the boundaries of their sonic palette, fostering a loyal community of enthusiasts and collaborators.

### Breakthroughs and Milestones:

As word of Death By Audio's innovative designs spread, the company gained traction within the music industry, attracting attention from both independent artists and established musicians alike. Key breakthroughs, such as the release of the Total Sonic Annihilation pedal in 2008, solidified Death By Audio's reputation as a force to be reckoned with in the world of effects pedals. Characterized by its feedback loop and self-oscillation capabilities, the Total Sonic Annihilation pedal exemplified the company's willingness to challenge conventional wisdom and push the limits of what was possible in guitar effects.

### Collaborations and Cross-Pollination:

Throughout its journey, Death By Audio has embraced collaboration as a cornerstone of its philosophy, partnering with like-minded artists and musicians to create unique, limited-edition pedals. These collaborations not only expanded the company's creative horizons but also fostered a sense of community and camaraderie within the music industry. From collaborations with renowned musicians like Wilco's Nels Cline to partnerships with experimental music festivals such as the Northside Festival, Death By Audio's collaborative spirit has helped shape its identity and foster a diverse ecosystem of sonic innovation.

### The Legacy Continues:

As Death By Audio Pedals continues to evolve and innovate, its legacy remains firmly rooted in the principles of creativity, authenticity, and community. From its humble beginnings in a Brooklyn warehouse to its status as a global leader in effects pedals, the company has stayed true to its DIY roots while continually pushing the boundaries of sonic possibility. With each new release, Death By Audio reaffirms its commitment to empowering musicians to explore new sonic frontiers and redefine the possibilities of music.

### Conclusion:

In a world where conformity often reigns supreme, Death By Audio Pedals stands as a testament to the power of innovation, creativity, and community. From its inception in the heart of Brooklyn's underground scene to its status as a pioneering force in the music industry, the company's journey is a testament to the enduring spirit of DIY ethos and sonic exploration. As musicians around the world continue to seek out new ways to express themselves, Death By Audio Pedals remains a guiding light, inspiring generations of artists to defy convention and forge their own path in the pursuit of sonic perfection.