Chase Bliss Big Time: Delay, Character, and Creative Control in One Box

The heart of Big Time’s signal path is a voltage-controlled 4×2 matrix mixer at the input of the delay line. This mixer, borrowed from the technology behind Chase Bliss’s Clean pedal, allows for dynamic routing and even compression effects, opening up a playground for automation and nuanced control. The walkthrough demonstrates how this matrix interacts with a variable bias circuit, letting users dial in everything from subtle asymmetry to outright broken, gated textures. The interplay between these controls is a highlight, offering unexpected sonic destinations and a sense of unpredictability that modular enthusiasts will appreciate.

The preamp section is another standout, designed as a fully stereo circuit with a +12 dB boost switch for extra gain. It’s not just a guitar dirt box—the creators emphasise its suitability for synths, drum machines, and studio applications, likening it more to a studio saturator than a typical pedal overdrive. The preamp’s coloration, saturation, and volume boost all interact with downstream processes, setting the stage for the delay and modulation sections. The voicing control applies a global filter, while the Tilt EQ shapes only the repeats, giving further control over the pedal’s tonal footprint.

Big Time’s creative arsenal is expanded through its modulation and sequencing features. Modulation parameters such as rate and depth are accessed via an alternate menu, entered by holding the shift button. This alt menu approach allows for quick toggling between primary and secondary settings, making it easy to dial in movement and texture on the fly. The walkthrough shows how these modulation options can be used to animate delays, from gentle warble to more extreme pitch and time variations.

Sequencing and the looper function further broaden the pedal’s capabilities. The cluster slider introduces multiple delay heads, gradually morphing from simple doubling to complex, washy textures as more heads are added and modulated. The looper operates with the full signal path active during overdubbing, meaning all the pedal’s effects—including feedback and saturation—are in play. Once overdubbing ends, the loop is locked in place with DSP feedback, preserving it indefinitely without further degradation. This setup encourages experimental layering and the creation of evolving soundscapes.