AMT Analoger ADG-1 User manual

100% Analog Bucket Brigade Delay
User Manual Revision B
Last Revision 5/03/2021

<2>
Introduction
Thank you for your purchase of Asheville Music Tool’s ADG-1 Analog
Delay. This pedal, engineered by renowned analog delay designer Hawker,
features two reissue Bucket Brigade Delay lines for up to 700mS of delay.
It is coupled with a Low Frequency Oscillator, and uses control voltage
topology to give you the best sound, features, and control available in any
fully analog delay currently on the market. We hope you enjoy many years
of use from your delay and find it as inspiring and fun to play as we have.
The ADG-1 is a marriage of vintage audio processing techniques and
advanced, high-tech electronics. It is designed using modern, quality
components for uncompromising sound, musical expression, features, and
reliability. We started with a high voltage 15V power supply powering a
pair of studio grade MN3005 BBDs, unlike the lower cost MN320x pedal
grade BBDs found in most stompboxes. We then added a special blend of
two tightly tuned 5th order anti-alias and reconstruction filters, VCA
feedback control, a unique 5 amp high current BBD driver, and an analog
clock with exponential modulation technology to obtain unprecedented
sound, richness, clean tails and true fractional delay in a compact footprint.
This is the first in what we hope to be a long line of time, phase and
frequency control voltage based modulation, and synthesizer heritage
inspired effects from Hawker. The ADG-1 is inspired by delay-based
effects that Hawker has previously designed for other companies and
builds on his experience and expertise.
A special thank you and mention is needed for two people:
Kelly Bowers, my life partner, land-mate and co fur-parent for her love,
faith and dedication, and for pushing me to start designing products for
myself rather than others.
John Snyder, from Electronic Audio Experiments, for his friendship,
collaboration and help in bringing this pedal to market. His experience,
patient advice, handholding and support were what made this possible. I
could not have done it without him.

<3>
About BBDs
I am often asked what gives analog delays their characteristic sound. The
answers I usually see given are not what make them sound different to me.
A BBD (Bucket Brigade Delay) works by storing a momentary snapshot
“sample” or charge in a capacitor isolated by a FET network. It passes this
sample from one capacitor to the next via a bi-phase clock until it reaches
the output. These capacitors are like water in a bucket brigade line, passing
the audio sample from one “bucket” to the other until it reaches the “fire”
at the end. BBDs were originally designed for use in radar to determine the
distance to objects. By sending out radar signals, and delaying it through a
BBD one can adjust the delay time compared to the reflection. When the
reflection phase cancels out the delayed sample you have 1/4 the delay
time/distance. Early digital oscilloscopes, like the Tektronix 2440, also
used them as temporary storage since Analog to Digital converters of the
time were too slow. Digital cameras still do this today for the same reason.
Now they are used for audio in delays, chorus and flangers.
The ADG-1 uses a recreation of the Matsushita/Panasonic MN3005 PMOS
BBD from Xvive™. The MN30xx series BBDs use a higher voltage for
more clarity, lower noise, more headroom and lower distortion than the
MN320x NMOS types usually found in most stomp boxes, however they
have lower range of delay time (cannot clock as fast) compared to MN320x
BBDs. These BBDs sound very close to the Panasonic parts but are more
transparent, less animated with less character and appear to have a lower
noise floor. In addition, the clock speed does not change the sound as much
as their predecessors did.
Perhaps the biggest reason BBDs can do what digital often cannot is due to
Fractional Delay, often referenced as the Doppler Effect. Since the clock
moves continuously, the delay time has every single continuous increment
between each step. That is why analog delays make great dive bombing
sounds. The ear is very sensitive to this and perceives this as distance and
movement. This trick is how movies pan sound or make you think a bullet
just whizzed over your head. Most digital delays simply cannot do this.

<4>
With a fixed clock frequency, they can only take a sample step every 48 or
96KHz and step at that increment. This only simulates fractional delay and
is not true fractional delay. The ear can perceive this difference and so it
does not feel correct to the brain. Note early digital delays like the Lexicon
PCM 41/42 did use a variable clock using a different, now obsolete,
process, but these are the exception not the rule. Most hybrid analog delays
that use a MPU digital clock do not use steps small enough for true
fractional delay, so while they may use a BBD the modulation does not
sound as natural as some picosecond step clocks or true analog modulation.
In addition, BBDs have some other “artifacts” that give them their unique
sound. The transfer characteristics, noise, distortion and frequency
response vary depending on the bias voltage and clock frequency making
the sound change as the delay time changes. They also do not put out the
entire signal at the same time. Half the signal is a ½ clock behind the rest
of the signal, yet combined at the same time, making for a strange smeared
time domain merger and mixing of the signals slightly out of time.
Other components also affect the sound. The design of the companding and
emphasis/de-emphasis network, designed to improve the signal to noise
ratio, affects the animation, breathing, overshoot and tightness of the sound
like a compressor with a slow attack and fast release. The design of the
filters affects the frequency response, peaking or ringing, and potential
aliasing or ring modulation. There are many more parts of the analog
design often overlooked in digital recreations that affect the sound as well
including the clipping, feedback network, clock stability modulation wave
shaping/curves (exponential or linear, etc.) that are all important to get that
great analog delay sound.
For more reading about BBDs check out these great websites:
https://www.electrosmash.com/mn3007-bucket-brigade-devices
https://www.premierguitar.com/articles/25035-behind-the-bucket-brigade
https://pedals.thedelimagazine.com/bbd-chips-the-magic-behind-analog-
delay-pedals/

<5>
About the Firemen and the ADG-1 Artwork
Our pedal artwork, drawn by artist Geoff Sebesta, is homage to Hawker’s
past pedals and old modular synthesizers. The lines and boxes around
function blocks lend themselves to classic modular synthesizer layouts,
which were organized by function. You may notice the use of synthesizer
terms such as “LFO, VCO, CV” and very literal function knob names
rather than the more sonic based names of guitar pedals (FEEDBACK and
TIME rather than Regeneration and Manual for example). This helps the
user see the logical function blocks, signal flow and understand what is
happening without obscuring the meaning.
Our firemen, also drawn by Geoff, have a historical background. In the
1990s Panasonic released an applications note and data sheet book for their
BBDs (and Digikey used in their marketing). On the cover and back of this
book was a picture of firemen in a bucket brigade line. This represents the
BBDs function of passing the sound from one capacitor or “bucket” to
another 4096 times before it goes out (8192 times for us) by varying the
clock, thus delaying the sound.
Panasonic drew the men inspired by how the core of the product behaves.
Alas, I do not have that manual anymore and I cannot find it on the
internet, but I did scan it once as shown below. Note the distortion where
the book was damaged.
I used this on the back of the PCB of a certain well-known analog delay
previously designed by myself. I felt it would be a nice tribute to use a re-
drawn version here for our BBD based delay.

<6>
Set up
Use only standard, 9VDC REGULATED, center-negative power supplies
rated for at least 200mA from a reputable vendor for all your Asheville
Music Tools effects. Classic old style, rectified & filtered, but unregulated,
supplies are not acceptable for use with this product. We like the
Truetone™ One Spot® and similar products.
The ADG-1 will draw over 150mA when engaged, so be careful when
using multi output supplies that are rated for only 100mA. Use the higher
current outputs when using this type of supply. Never use a higher
voltage supply with this product. There are no sonic benefits and you will
risk damaging the pedal and void the warranty. The pedal will not turn on
if it detects an overvoltage supply. The Analoger Series of pedals high
current draw makes it impractical to use with a conventional 9V battery.
Your ADG-1 is shipped with a clear plastic protector over the knobs. Feel
free to peel this off if artifacts from its presence show on the knob top.
The ADG-1 has an input level control and flexible bypass making it able to
be used in various configurations for guitar, synthesizer or line level
applications, including:
Standard pedal use: ADG-1 connected into an amplifier input,
with or without other pedals. You may use the pedal in either
Buffered or True bypass mode in this configuration.
Insert Effect: Connect the ADG-1 to the effects send/return of
your power amp or mixing console. Alternatively, use the ADG-
1 to replace the existing preamp if connected to just the return.
Use this way in buffered Bypass mode only.
DI (Direct Input): The ADG-1 can be used to line match to a
mixer or DAW input for the correct drive and signal conversion
from the guitar’s high impedance out to a console or DAWs low
impedance line in. It can also be used as a buffered drive pedal
placed before other pedals. For best results use with 10K or
higher line input. Not suitable for 600ohm input impedance of
some classic consoles. Use this in buffered Bypass mode only.

<7>
Getting Started
Let us explore the range of controls of your ADG-1.
Connect your guitar or other instrument to the INput jack. Connect an
amplifier, mixer or DI box to the OUTput jack. If you have an expression
pedal (or 0-5V control voltage source like a synthesizer output), connect it
to the EXPression input.
Use a 9V regulated 2.1mm, center-negative, power supply, capable of
providing at least 200mA of power and connect it to the 9V DC input.
Be sure to power up the ADG-1 BEFORE turning on your amplifier to
prevent speaker pop and the potential to damage your speakers or
headphones.
Note: If not using the expression input; be sure the expression switch is
NOT SET TO THE TIME POSITION to start. We recommend setting it
to AMT if not using this feature.
To start, set the ADG-1 to the
Home position as shown in the
graphics to the right.
Set TIME, MIX & TONE
straight up (12:00).
Set FEEDBACK,RATE &
AMOUNT switch fully
counter- clockwise (7:00).
Set DRIVE slightly up, around 9:00.
Set the Bucket and LFO switches to the down position.
There is no way to damage the ADG-1 through knob settings so feel free to
explore how each control works. Go ahead, play with your ADG-1 and
have fun. There are some hidden tricks, gotchas and advanced possibilities,
so once you are done having fun read on to learn more about the ADG-1.

<8>
Operation
The ADG-1 is laid out in homage to modular synthesizers with three main
modules. They are the DELAY Module, the LFO (Low Frequency
Oscillator) and the LEVEL Module. Let us look closer at these modules.
DELAY MODULE
TIME: The TIME knob adjusts the delay
time from 35mS to 700mS. If you change
the delay time while playing you will also
notice a pitch change as the signal currently
captured in the BBDs is spit out faster or
slower compressing or expanding the delay
time. This is how analog delays make that
great pitch-up or dive-bomb sound. Try
playing with a short delay with lots of
feedback then quickly turning the knob
clock-wise for massive dive bombs.
BUCKET SWITCH: selects whether the sound you are hearing travels
through 1 or 2 BBDs (4096 or 8192 stages) and so halves or doubles the
delay time (17-350mS vs 35mS –700mS). While there clearly is some
overlap in the settings, as you can often get the same delay time from either
setting, the tone is slightly different in each, so you may prefer one position
over the other. In general, use the down position for long reverberant
delays. Use the up position for more sparkly shimmering delays, or when
doing chorus or flange-like sounds.
FEEDBACK: The FEEDBACK knob affects how much post TONE
delayed signal is fed back into the buckets. This affects the number of
repeats and fade-out time. Past around 3:00 it puts the ADG-1 into self-
oscillation for some wild swishing sounds that change as you move the
TIME knob. Try it out, get lost. Come back after and read the next section.
Be sure to read the control voltage section for information on this module
with expression pedals or control voltages.

<9>
MIX MODULE
The LEVEL modules provide level matching, wet/dry blending, and tonal
control of the ADG-1.
DRIVE: The DRIVE knob
provides up to +23dB of drive
and level matching as well as
some attenuation for hot input
signals. Unity gain is around
9:00. Try cranking it for some
soft clipping & limiting, or to
drive the BBDs hard. The DRIVE affects both the wet and dry signals but
each has a separate limiter with a different knee and threshold.
MIX:The MIX knob provides a cross-faded wet/dry mix between the
delayed and clean tone. In order to make it easier to adjust and less tweaky,
this knob does not go 100% wet or dry but very close. It gets to almost
100% wet with only a slight “ghost” dry signal but does not approach as
close to fully dry so you will still hear a slight delay sound in the mix. This
is to make the knob easier to adjust and dial in an exact MIX.
Note: If you are applying a sustained steady pitch to the ADG-1 and have the MIX knob set
near 12:00, you may find that the direct and delayed signals alternately reinforce and cancel
each other in rapid succession as the DELAY TIME is varied. This is a normal result of mixing
a steady pitch with a delayed replica of itself. This phase cancelation is the analog delay
equivalent of “standing waves” in a reverberant room.
TONE: The TONE knob is Hawker’s new touch on tonal control for his
delays. It is a modified, non-symmetrical, “tilt type” filter with a soft curve
and center flat position. It provides both high pass and low pass control
with a knee around 605Hz. It is placed after the buckets and INSIDE the
feedback loop, hence used to make each repeat sound progressively
different with each repetition. You may use it either in Low Pass mode to
make the sound fold under your playing, or in high pass mode to make
each repeat punch and stand out with a bright metallic sound.

<10>
LFO MODULE
The Low Frequency Oscillator (LFO) module is a modulation source for
animating your delay time and for varying of the pitch and time. Unlike
traditional delays, our LFO uses exponential modulation for musical and
balanced movement in a musical frequency domain, the way the ear and
brain want to hear it. In the synthesizer world this is the familiar
Volt/Octave tracking used for pitch and amplitude. Our modulation is
symmetrical around the TIME setting, changing above and below it. This
means that as you reduce the LFO amount the pitch and time will stay
centered, where you have it, and not shift offset with the AMOUNT setting
(requiring TIME to be adjusted) as with traditional modulation.
RATE: The RATE knob adjusts the speed
or rate of modulation from about 0.08Hz
to 40Hz (wider range via control voltages).
Lower settings provide a slow whoosh or a
rhythmic pitch shift. Medium speeds are a
chorus like effect while faster rates
provide a gargle, bubble or vibrato sounds.
AMOUNT: The AMOUNT knob controls
the range of pitch movement at the speed
of the LFO, or the amount of effect. Use low amounts for subtle shimmer
and larger amounts for octave or greater pitch shifts or spaceship warbles.
LFO SHAPE SWITCH: Selects a slewed square wave(up), a rounded
triangle wave (down) or off (center). At higher speeds the shape becomes
more and more rounded or slewed. Use triangle wave for traditional
gradual ramped modulation and square waves for rapid pitch jumps above
and below the note played.
Be sure to read the control voltage section for information on this module
with expression pedals or control voltages.

<11>
CONTROL VOLTAGE or EXPRESSION SECTION:
Using the EXP knob and an external control voltage or EXPression pedal
with your ADG-1 will greatly increase the dynamic playing and tonal
possibilities as well as expand the control range beyond the extent of the
knobs. Use a standard 10-50K linear expression pedal that takes the +5V
voltage supplied on the ring jack and outputs the control voltage on the tip,
or use a 0-5V external CV voltage from a Eurorack module, Synthesizer,
DAW or similar source.
CAUTION: Voltages over +5V or below 0V may damage your ADG-1.
Use only standard 0-5V control voltages. If your expression pedal has a
trim knob you may find it helpful to use this feature to reduce the range of
the expression pedal to less than a full knob sweep to make it easier to dial
in the exact sound you seek.
Please note in order to give a wider playing capability with expression
inputs, the control setting selected by the EXPression switch will reduce
the minimum knob setting slightly. The FEEDBACK, RATE & AMOUNT
control voltages are additive (CV is offset from knob position). This means
that the knob position is added to the expression position. For full control
voltage range set the knob to the most Counter Clock-Wise (CCW) setting.
TIME behaves differently as it is bi-polar. This means that, as the TIME
level is decreased around a 2.5V midpoint the pitch will not shift, resulting
in not having to re-adjust the center delay time based on the modulation
amount. This means that for full expression range the TIME knob must
be set near the center position when using an expression pedal.
Use only your fingers, a plastic screwdriver, guitar pick or similar plastic
device to turn the 4-position EXP rotary switch. Never use a metal object
that could damage the shaft. If you use this feature frequently we have
included a knob, C&K part number 297F02000. Note this knob will turn
the shaft but there is not enough shaft length through the enclosure to
permanently secure the knob to the shaft and it may fall off. Do not glue
the knob to the shaft or your ADG-1 will not be serviceable.

<12>
FOOT SWITCHES
BYPASS FOOTSWITCH: Turns the effect on or off. The LED is lit
when engaged. The switch is user selectable for true bypass or buffered
bypass by a selector switch inside the ADG-1.
TAILS / MOD FOOTSWITCH: Depending on the mode (set internally),
this switch will either engage or disengage the LFO modulation or provide
Tails (also known as Spill-Over or Trails). In Tails mode any sound in the
buckets and feedback loop will continue to sound or fade out (depending
on the FEEDBACK setting), however any new sound will play over this
sound and not add to the delay. The LED will flash at the LFO rate
(triangle only) while either of these modes are engaged and turn off when
not engaged.
UNDER THE HOOD SWITCHES
If you carefully remove the 4 screws holding the cover on to the back of
your ADG-1 you will see 2 switches underneath the jack board on the
edges of the PCB. These are the ONLY user accessible options on your
ADG-1. They select two functional options for the pedal’s behavior. Do
not adjust any of the carefully calibrated factory set trim pots.
TRUE BYPASS / BUFFERED BYPASS: Use this switch, on the left
side of the jack board, to select true bypass (Default) or buffered bypass. In
true bypass when the effect is not engaged the input is coupled directly to
the output and does not pass through any electronics. If you have loading,
tone or noise issues from long cable runs select buffered bypass to use the
internal JFET as a simple buffered output with approximately 4K ohm
output impedance. Buffered bypass may have a slight gain loss depending
on the impedance match. This is normal.
MOD / TAILS: Use this switch to select if the 2nd stomp switch acts as a
modulation kill switch (default) or engages Tails mode. See above for an
explanation of how these two modes behave.

<13>
Technical Overview
Utilizing over 400 carefully selected components, the entire ADG-1 was
designed for a 100% analog signal chain. We began with a classic delay
architecture using a pair of Xvive™ MN3005 reissue BBDs and a step up
boost power supply to power our premium audio-grade op amps and high-
tolerance, non-microphonic capacitors, providing performance, temperature
& voltage stability, low noise and maximum headroom.
We then implemented a vintage-style compander with emphasis/de-
emphasis coupled with two discrete transistor, 5th-order, anti-aliasing and
reconstruction filters to provide a familiar character with superior clarity,
noise reduction and dynamic feel. The feedback circuit uses a voltage-
controlled transconductance amplifier as a VCA, to provide classic, warm
regeneration tone while offering an accurate method of dialing in infinite
repeats without runaway or for achieving total feedback overload.
The input preamplifier consists of a discrete, high impedance, JFET input
stage that can be used as an always-on buffer. The preamplifier circuit
provides gain and impedance matching or can be used to overdrive the
delay line and mixer section for unique artifacts and character that only an
analog delay can provide.
The analog clock generation, modulation, oscillator, and even the switch
logic are all fully analog. Our VCO, with temperature compensated
exponential modulation, drives the BBDs at extremely high current to
eliminate artifacts and provide a clear tight sound. An assignable
Expression input increases the flexibility and control available to the user.
The ADG-1 was designed using a multi-layer PCB with dedicated split
power and ground planes for the lowest noise and cross talk. The power
input is fully protected from reverse polarity and over-voltage conditions.
Our MHz range, step up, high voltage power supply is designed to
eliminate sources of noise and radio frequency interference (RFI/EMI) and
the I/O is designed to protect from electrostatic discharge (ESD) spikes to
ensure carefree operation in any studio or performance environment.

<14>
Functional Specifications:
Note: All specifications subject to change at the whim of our overloads.
Time, Feedback, Rate and Amount control range all extended with the
use of Expression Pedal or control voltage input.
Delay Time: 35mS –700mS Bucket switch down (all BBDs),
17.5mS –350mS with switch up. 24mS –900mS with LFO or
Control Voltages
Feedback: 0 to greater than infinite. Capable of self-oscillation.
Rate: LFO RATE, from 0.08Hz to 40Hz (75Hz with CV control)
Amount: LFO depth control from OFF to 56% of TIME sweep.
Drive: up to +23dB of control or level matching.
Mix: Center 50%. Adjust from near 100% wet to -44dB dry
Tone: ~605Hz center tilt like filter. Center = Flat to 0.25dB
High +5dB - -12dB, Low +4dB - -7dB.
Bucket Toggle: 1 or 2 BBDs (4096 or 8192 buckets)
LFO toggle: Rounded Triangle, slewed Square wave or OFF
Bypass Footswitch: effect on/off user selectable True Bypass or
JFET Buffered
Tails/Mod Footswitch: User selectable modulation kill or engage
tails bypass (sometimes called Spillover).
Expression Switch: 4 position rotary selects Time, Feedback,
Rate or Amount controlled by expression pedal. Time is bi-polar
modulation (0V=-50%, 5V=+50%) all others are additive control.
Under the hood switches: (Accessible by removing ADG-1 Cover)
True Bypass / Buffered bypass: Selects between true bypass and
classic JFET buffered bypass
2nd Stomp Switch function: Selects if 2nd stomp switch
enables/disables modulation or is Tails mode.

<15>
Electrical Specifications: (subject to change)
Type: 100% Analog signal and control path
Power: 9VDC @ <150mA. 75-125mA typical. Up to 250mA
start up. Standard pedal center negative 2.1mm x 5.5mm barrel.
Bypass: Switchable true bypass or JFET-buffered bypass with
switchable tails
Expression / CV input: TRS input assignable to Time,
Feedback, Mod Rate or Mod Amount, (CV range is 0-5V). Ring
supplied current limited 5V output. Control input on Tip.
Delay Time: <35mS –700mS Dual BBD mode, 17mS - 350mS
single bucket mode. 24mS –900mS with LFO or Control
Voltages
Input impedance: >1MΩ
Output impedance: 1KΩ Max (5k max for buffered bypass)
Max input level: +15dBµ (4.3V RMS)
Max output level: +14dBµ (3.9V RMS)
Maximum drive: >23dB (covers attenuation to gain)
Noise Reduction: 2:1 broadband with 12dB HF emphasis
Physical Specifications:
Genuine Hammond™ die-cast aluminum enclosure
Dimensions: D=4.95” (12.5 cm), W=3.75” (9.4 cm), H=2.25”
(5.8 cm)
Weight: 15oz (425g)

<16>
Presets:
The following are ideas for setting your ADG-1. Since all analog
products have some variability, the exact knob setting may be slightly
different from that shown in these presets. Experiment and enjoy.
Reverberant Lead: Subtly modulated
long delay with overdrive. Great for
lead licks. Crank up the DRIVE for an
even more aggressive sound or dial it
back and try it with arpeggios.
Cavernous Hallway: Hello? Hello?
Hello? Is there anybody in there? Do
we have an echo in here? Reverberant
echoes. Try dialing up some
modulation for more fun.
(Modulation off)
Fold Under (low pass) Delay: Long
repeat delay where each echo slowly
becomes less and pronounced as it
fades out. Each repeat loses detail and
folds under your mix allowing you to
play over without delay tails getting in
the way. Perfect for late night ambient
jams. (Modulation off)

<17>
Springy Bubbles: Silly gurgling
nonsense. Have fun and don’t laugh
too hard, especially if you dial up the
AMOUNT more. Pro Tip: Use an
expression pedal on the RATE or
AMOUNT to get audio rate
modulation. Adjust AMOUNT or flip
the wave shape for stuttering warbles
like a broken film projector (younger
players, ask your parents about 16mm school projectors)
Faux Flanger: Phased hollow delay
with peaky and present movement. It
is similar to a Flanger, yet with
longer delay times. Adjust the
FEEDBACK to find that sweet spot
right before oscillation and the
AMOUNT to bring out the tone the
best.
Wet Pseudo Chorus: A long drippy,
lush, chorused sound with longer than
average delay times. Dial in RATE
and AMOUNT until you get it just
right. TIME sets the level of drip.
Way out dude! Only use a chorus
pedal on one song? You are covered!

<18>
Tin Pan Alley. A unique hollow,
peaky sound that is more tonal than
delay. Sounds like you are at the end
of a tunnel talking through an old
telephone. (Modulation off)
Square Jumps: Tune this by ear
(using AMOUNT and TIME
controls) for a bouncy, whimsical
octave echo or a chaotic, atonal
warble!
Tape Wash: Bright repeats fade
away into the ether. No motor repair
necessary. Wow others with the
flutter. (Modulation off)

<19>
Lead Fattener: Make your solo
stand out of the mix. Bonus points
if you turn your amp to 11.
(Modulation off) Alternatively, try a
hair of modulation with RATE
around 12:00 and just a hair on the
AMOUNT knob
Lofi Vibes: Take advantage of the
ADG-1's lush filter to construct a lo-
fi vibrato evocative of vintage
recordings.
Slap Back Delay: Short delay
doubling. Chicken-Pickin’ and finger
licken’good. (Modulation off)

<20>
Tools To Inspire Your Creative Muse
Proudly Designed, Manufactured, Machined & Assembled in the
mountains of Western North Carolina
Changelog
Revision
Date
Notes
Rev B
4/30/2021
Small updates and clarifications
for Rev B PCB
Rev A1
12/28/2020
Production: Web Release:
Small formatting and typo fixes.
Rev A
12/12/2020
Pre-Production Release:
Rev 1
11/20/2020
Prototype Manual
Visit our website for more information, mods, hacks, and presets.
www.AshevilleMusicTools.com