My Favorite Sounds with Mako D1 by Walrus Audio

Описание: In this edition to the Fiddling with Knobs series, we dive into the incredibly versatile Mako D1 Delay. This is a new take on the classic multi-mode delay with full midi-control and expression packed into an impressively small stomp-box.
It’s clear Walrus Audio had the artist in mind when they built this pedal; granting the users access to everything they need and nothing they don’t. The face is laid out intuitively, keeping the workflow quick and easy. One might be concerned that simplicity may be synonymous with a lack of tweak-ability, but you can put those fears to rest. The controls that are made available allow for a diverse swath of sounds.
Another thing that jumps out is how much ground the D1 covers in just six programs. Most multi-mode delay pedals will boast upwards of eight to ten programs; usually including tape, analog, digital, and half a dozen other delay engines. Walrus Audio took a different route with D1. In place of the typical Analog or Tape programs, you’ll find a single program called Vintage. By adjusting the Tone, Mod, and Age (the three parameters found inside the Tweak knob), you can dial in delay sounds reminiscent of a dark Oil Can, degrading Analog, warbling Tape, or just about anything else, all the while leaving you in control of just how pronounced the effects are.
Walrus Audio also ventures to set themselves apart with some interesting idiosyncrasies. Many will flock to this pedal for the Attack knob; a feature not often seen in delay pedals, but instantly fills the mind with new possibilities. Then there is the bit-crushing and sample reduction in the Digital program; a feature that is especially fun to experience with an expression pedal. Lastly, the Dual delay option really caught my interest. Running two parallel delays with different delay divisions gives a great sense of stereo depth and creates interesting patterns to play with. There’s a lot to discover in this pedal, but it’s never overwhelming.
The same rules that apply to all Fiddling with Knobs videos apply here. No tweaking or tone sweetening took place after the initial recording. I use the Plumes, Timmy, and Foxy Tone Machine to add some dirt to the signal. The TC Electronic Hall of Fame is used so you can clearly see how much reverb is being added. All settings are shared below so you can try them out, if you like.

I’m playing:

Squier - Classic Vibe 60’s
EQD - Plumes OD
Paul Cochrane - Timmy OD
Warm Audio - Foxy Tone Machine
TC Electronic - Hall of Fame reverb
Dunlop - Volume X Mini
Line 6 - Helix LT (for amp modeling)

I’ll share the settings below for anyone who’s interested in trying them out.

Slow Dance
Engine - Dual
Time - Max
Repeats - Noon
Mix - Noon
Mod - 9 o’clock
Tone 3 o’clock
Age 11 o’clock
Attack - Min
Division - Eighth Note (1/8 note and 1/4 triplet repeats)

Washed Out
Engine - Dual
Time - Midi Tempo (100 BPM)
Repeats - 5 o’clock
Mix - 10 o’clock
Attack - 3 o’clock
Mod - 11 o’clock
Tone - 2 o’clock
Age - 8 o’clock
Attack - 2 o’clock
Division - Dotted Eighth (1/4 note and 1/8 note)

Back Talk
Engine - Rev
100 BPM
Repeats - Min
Mix -11 o’clock
Mod - 10 o’clock
Tone - Max
Age - Noon
Attack - Min
Division - Quarter Note

Get To the Chorus
Engine - Mod
Time - Min
Repeats - Min
Mix -1 o’clock
Mod - 10 o’clock
Tone - Noon
Age - Min
Attack - 10 o’clock
Division - Dotted Eighth

Quarter Note For Your Thoughts
Engine - Mod
Time - 100 bpm (midi)
Repeats - 1 o’clock
Mix - 12 o’clock
Mod - 10 o’clock
Tone - 1 o’clock
Age - 3 o’clock
Attack - Min
Division - Quarter note

Grainy Swells
Engine - Digital
Time - 10 o’clock
Repeats - 10 o’clock
Mix - 10 o’clock
Mod - Noon
Tone - 2 o’clock
Age - 2 o’clock
Attack - Max
Division - Quarter Note

Blood Pressure
Engine - Vint
Time - Min
Repeats - 9 o’clock
Mix - Noonish
Attack - Min
Mod - 9 o’clock
Tone - 2 o’clock
Age - Min
Attack - Min
Division - Eighth Notes

Dotted Digital
Engine - Digital
Time - 110 bpm (midi)
Repeats - 11 o’clock
Mix - Noonish
Mod - 10 o’clock
Tone - Noon
Age - Min
Attack - Min
Division - Dotted Eighth