I’ll be honest with you; I barely know anything about Cooper Fx’s Outward. I know it’s a time-stretching device that yadda yadda yadda. I could be really into it, but I just haven’t thought about buying a pedal for over $200 in a long time.
Anyways, this is kind of what I think the Outward might be able to do, possibly. I don’t know. Think of this patch as if Mark Johnston had Alzheimer’s in his late 90s and is trying to talk about what he did to make his sound.
First of all, this bad boy is stereo, so make sure you’re plugging in both sides. If you don’t, it will likely be far less enjoyable. I don’t know. I’ve never tried it in mono properly.
So for the people who just want to play:
Your right footswitch will grab the last second of your playing and start to scramble it up. Really good for some higher-register twinkly bits. Do that. It’ll get good.
So, make sure you hit the right footswitch, because the middle and left don’t do anything without it.
Once you’ve grabbed some audio, let it envelope you. Let it settle. Enjoy it bouncing around the stereo field, with different parts jumping out in unpredictable patterns.
A little too jarring for you? Hit the middle footswitch. This will slowly swallow your noodly bits into a massive modulated reverb. Now you’ve got a beautiful pad that is always changing.
Suppose it’s a bit too muddy. Apply moderate pressure to the left footswitch to see your signal go “Upward.” Beautiful.
Once you’re coming off the high, hit the right footswitch again to let your held signal flutter away in the breeze. It was never meant to be captive. It deserves to be free.
Okay okay okay okay. More bits.
Page 0 is UI. I did a pretty good job with this one.
Page 1 is IO and stuff. Points of interest are the connection between [C] and [I], which if you bring that up to .2, you get two octaves up on left footswitch instead of one, .3 for 3 octaves, et cetera. At the bottom are four LFOs modulating each others speed, signal panning, and signal volume. Have fun.
Page 2 is four granular modules and four LFOs modulating their grain position. Adjust the grain length to something smaller maybe. Change the density for sparser blips. Note your freeze triggers ([G][O][W]) are connected back to [I] on page 1. Delete that connection or strengthen it if you want the modules to not all be doing an octave up at the same time.
Page 3 is the reverb. Slowly fades in via audio panner and slew limiters. Unfortunately, it has to Reverb Lite. But I like Reverb Lite.
Page 4 animates the Upward. Nothing fancy. Don’t touch it.
And there you go. Cooper would be ashamed that his ripoff does so little, but you know what? I wouldn’t put this out there if I wasn’t proud of it. It’s an intriguing riff on the Freeze effect, and it’s one that I hope inspires you to always aim Upward.