ChiralityAudio: effects without compromise
Enrico and Nico are two brothers who joined their expertise as audio and electronic engineers to serve their shared passion: sound. Divided by 2200 Km of land and water, but united by a strong urge to create and a bumpy internet connection, they funded ChiralityAudio to present themselves to the world. They have few, but strong principles: put the sound in front of everything else, stay clear of hype and stereotypes, and never compromise quality, ever. Their current product lineup is growing around effect pedals.
At Soundmit, ChiralityAudio presents
The Splinter offers a modern and versatile overdrive sound that works great on anything with an instrument or line-level output. Its internal wide 16V headroom makes the pedal very responsive to input dynamics, be it the touch of a human or the envelope of a synth. The power runs at 9V center negative, so no special power suppliers on the pedalboard are required. Its tonal palette ranges from subtle harmonics enhancement similar to a clean boost to complex textures typical of aggressive overdrives. The front plate of the Splinter is decorated with an algorithmically generated drawing. The sound of the Splinter is used by Peter Voigtmann and David Ramis Åhfeldt (synth and guitar, The Ocean Collective), Robert Murphy (God Is An Astronaut) and renowned Italian synth guru Enrico Cosimi.
Black Swan Distortion/Fuzz
The Black Swan is a down-to-the-bone no-frills high gain fuzz designed for those players who are not into fuzzes: defined sound, extended bass frequency response, no harsh treble, no farts. A combination of gain staging and high-performance input buffer make the pedal sound great no matter where it sits in the chain. The internals runs on a wider dynamic range than the input to ensure maximum playability and interaction with the instrument controls. The increased headroom is generated internally, so a standard 9V center negative power supply can be used. Despite its solitary knob, the Black Swan can handle rhythms, thick single notes riffing, singing melodies, and solos from modern blues to stoner, making them growl, scream, or sing, but leaving the nuances of your playing intact. The last touch is an algorithmically generated graphic for the front panel. It means that we did not draw it. We created a small system with some simple rules and a few hundred particles, and left it evolve and regenerate itself until we got something we liked. Absolutely unnecessary. Hauntingly fascinating.