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Pagina 1/14

Pedal I/O 1U Manual

     

Pedal I/O 1U System     

Effects Pedal Send/Return and High Impedance Instrument Input for Eurorack                  

Manual Revision: 2017.12.06   

Pedal I/O 1U Manual

Table of Contents

Table of Contents    

Overview

System

Features

Installation

Before Your Start    

Powering Your Module    

Connecting The Pedal I/O Jacks 1U Module            

Connecting The Pedal I/O 7U Case Adapter            

Front Panel (Pedal I/O 1U)        

Controls

Inputs & Outputs    

Front Panel (Pedal I/O Jacks 1U)          

Inputs & Outputs    

Technical Specifications  

Page 1  

Pedal I/O 1U Manual

Overview

Eurorack is a synthesist’s toy chest. Stompboxes are a guitarist’s toy chest. Each industry offers                            

a seemingly infinite variety of products that enable musicians to build systems unique to their                            

needs, and to create a signature sound. Each is also somewhat addictive. Rare is the musician                              

who doesn’t eventually need a larger toy chest to house the accumulated toys.                        

Fortunately for the budget conscious musician, Eurorack modules and stompboxes have always                      

existed in separate worlds — someone whose eurorack system consumes an entire wall in their                            

home is usually not the same person whose pedalboard now requires a dedicated roadie just to                              

transport it to the gig.        

But those worlds have now collided. Thanks to the release of the Pedal I/O 1U system, Intellijel                                

has knocked down the barrier between eurorack and stompbox. This seemingly innocuous little                        

product is both a modular synthesist’s portal to stompbox nirvana, and a guitarist’s wormhole to                            

the sonic manipulations of eurorack modules.          

The Pedal I/O 1U system enables the modular synthesist to interact with the impressive                          

assortment of delays, choruses, flangers, phasers, fuzz boxes, tremolos, wah-wahs, amp                    

simulators, compressors and pitch shifter pedals available to guitarists. Conversely, it also                      

grants guitarists access to the myriad filters, ring mods, wavefolders and — most importantly —                            