Triplets come next, then there’s a more unusual option, ‘Shift’. The first of these is ‘Even’, placing the heads at 1/16th, 1/8th, dotted-8th and quarter-note intervals.

Having control over each head’s feedback, panning and level is pretty cool - and you can set the spacing too, in musically useful values. If you prefer to work in mono, a connection to the left input will be sent to both outputs. Magneto is a stereo effect, in the sense that the quartet of tape heads can be panned freely, with several preset configurations instantly available from a switch. If you crank the Repeats towards the maximum, the tape-style regeneration becomes a sweet source of drones. The end result is a great deal of flexibility, whether Magneto is paired with a single instrument or used as a send/return effect. Starting with the first mode, Echo, I was pleased that space was found for Wet and Dry mix controls, along with a record level knob, its range taking the input signal from clean through to heavy saturation. A dedicated button toggles the behaviour and changes the switches’ colour to ensure maximum clarity. For example, the transport controls double up as feedback switches for each playback head. Very little multi-functionality is present and where it does crop up, the user interface is carefully primed to assist.

Spin the large Speed/Pitch knob and the impression of an analogue delay is unmistakable.įrom the smooth and trusty knobs to the clear, unambiguous panel, this is a module to touch, tweak and interact with. While Magneto is entirely digital under the covers, its behaviour is anything but. The first module released into the wild is Magneto, an echo machine based on tape simulation, with four playback heads, phrase sampling, looping and a lush spring reverb. It’s not surprising, therefore, that rumours of Eurorack versions generated a degree of anticipation. Strymon’s effect pedals are revered for their high quality and for that certain intangible something - musicality.

Imagneto mac