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Generation Loss
By Joel Korte
October 2019
I’ve not been shy about the fact that the original Generation Loss is one of my favorite pedals ever. I was ecstatic a year ago when we implemented elements of its tone in the Dark World “mod” reverb. That was the first time I actually met Tom Majeski, owner of Cooper FX.
Needless to say, I am a massive fan of Tom’s work. I find him to have incredible taste in effects, he is a wonderful communicator, and very pleasant to work with. This all led me to float him a job offer at Chase Bliss after the success of Dark World. I figured there was a very small chance he would be seriously interested, after all, he has one of the coolest brands around. So it came as no surprise when he politely declined, in order to pursue his full vision at Cooper FX. One of the many reasons I was interested in bringing Tom aboard is that I really wanted to do a version of the Generation Loss in the Chase Bliss platform; however, I never communicated this to Tom because it seemed like an absurd idea at the time.
Several months later, I saw a post in the Chase Bliss facebook group. Ryan Worthley of EAR electronics had successfully modded a Dark World to have Generation Loss DSP within. It wasn’t a perfect implementation (there are some things about Dark World that make some of the controls a little weird), but it really brought back all those old feelings. By all appearances, it looked like an extremely useful pedal. It prompted a little back and forth with me and Tom and I was completely floored to learn that he would be interested in doing a one-time, official collaboration. It really only made sense to do a one-time thing, direct through Reverb.com because we wanted to keep the price as affordable as possible.
Tom and I, in our typical fashion, made it a little bit difficult on ourselves and decided to make some changes to the pedal based on the Chase Bliss implementation. The biggest thing for me was adding a wet volume control. I am absolutely obsessed with the textures you can get from the original pedal, but it’s easy to shave off volume on the wet side with the two filters and other attenuation that can happen from the generation knob. So having a wet make up gain circuit is really nice. Anyway, that’s it for now. This is one of the most fun and rewarding experiences I’ve had in the pedal industry, and I hope you enjoy this pedal as much as me.
By Joel Korte
October 2019
I’ve not been shy about the fact that the original Generation Loss is one of my favorite pedals ever. I was ecstatic a year ago when we implemented elements of its tone in the Dark World “mod” reverb. That was the first time I actually met Tom Majeski, owner of Cooper FX.
Needless to say, I am a massive fan of Tom’s work. I find him to have incredible taste in effects, he is a wonderful communicator, and very pleasant to work with. This all led me to float him a job offer at Chase Bliss after the success of Dark World. I figured there was a very small chance he would be seriously interested, after all, he has one of the coolest brands around. So it came as no surprise when he politely declined, in order to pursue his full vision at Cooper FX. One of the many reasons I was interested in bringing Tom aboard is that I really wanted to do a version of the Generation Loss in the Chase Bliss platform; however, I never communicated this to Tom because it seemed like an absurd idea at the time.
Several months later, I saw a post in the Chase Bliss facebook group. Ryan Worthley of EAR electronics had successfully modded a Dark World to have Generation Loss DSP within. It wasn’t a perfect implementation (there are some things about Dark World that make some of the controls a little weird), but it really brought back all those old feelings. By all appearances, it looked like an extremely useful pedal. It prompted a little back and forth with me and Tom and I was completely floored to learn that he would be interested in doing a one-time, official collaboration. It really only made sense to do a one-time thing, direct through Reverb.com because we wanted to keep the price as affordable as possible.
Tom and I, in our typical fashion, made it a little bit difficult on ourselves and decided to make some changes to the pedal based on the Chase Bliss implementation. The biggest thing for me was adding a wet volume control. I am absolutely obsessed with the textures you can get from the original pedal, but it’s easy to shave off volume on the wet side with the two filters and other attenuation that can happen from the generation knob. So having a wet make up gain circuit is really nice. Anyway, that’s it for now. This is one of the most fun and rewarding experiences I’ve had in the pedal industry, and I hope you enjoy this pedal as much as me.