New tricks
Scrolling the main panel downwards reveals ARP Odyssey’s effects section, which houses six signal processors, each one adjusted using the same style of sliders as those festooning the synth.
The Distortion module features Valve, Soft Clip and Hard Clip modes, a Tone slider for tilting the frequency response, and a Mix slider for parallel processing. Even with the Drive all the way up, it’s not the most shredding distortion we’ve ever heard, but it’s great for rubbing a handful of grit into overly polite basses, leads and FX.
The two modulation-based effects – Phaser and Chorus/Flanger/Ensemble – make a fine fist of adding their various kinds of movement, width, depth and wobble to the sound. The Phaser’s Resonance parameter is a nice touch.
The three-band EQ is as basic as they come, but is certainly useful for quick frequency tweaks.
The Delay is similarly rudimentary, with separate left and right delay times (set synced or free, the latter on a 1-10 scale, rather than Hz, slightly unhelpfully), and adjustable feedback and output level.
Finally, the Reverb packs passable Hall, Room and Plate algorithms, plus the enigmatic but colourful Apollo, which doesn’t even get a mention in ARP Odyssey’s half-hearted manual.