The Crushturnal by Collision Devices is an ambient soundscape machine built around three sections you can mix and match: a shimmer reverb, a delay that crushes down into sample-rate rubble, and a clock sequencer that automates the whole thing into shifting, glitchy textures. Everything centers on the big Clock knob, which sets the pedal’s core resolution, from 1kHz up past 72kHz. Turn it down and the signal degrades into lo-fi grit; keep it up top and things stay pristine.
I really like how immensely deep the Crushturnal is. You can spend hours exploring glitchy textures and land on sounds you didn’t know you wanted, yet it stays intuitive enough to be instantly gratifying before you ever touch the sequencer.
Three color-coded sections surround that central Clock knob: orange for the Sequencer, grey for the Digital Repeater, white for the Ambience reverb. On the far left, the Sequencer’s footswitch and LED sit below Step Size and Crush. Step Size sets the step interval in musical pitches, tiny to a full octave, while Rate sets how fast steps fire, from 0.5Hz to 200Hz. Mode, labeled Sequencer Mode on its sweep preset, picks the pattern: up or down in two, three or four steps, running infinitely, alternating up-down, or a Random Pattern keyed to Step Size, with up settings acting as a multiplier and down settings as a divider.
Clock dominates the center, noticeably larger than the rest, with the Digital Repeater’s FX Level knob and its footswitch and LED below it. To the right, Diffusion (reverb decay with a generative pitch-shifting flavor) and Time (delay interval) share a column; a lone FX Level knob handles the Ambience reverb’s wet mix; Filter (reverb brightness) and Feedback (repeat count) sit above the main bypass footswitch. Crush blends delay against dry signal before the sample reducer, and Sample Rate sets how far it degrades.
In the demo above I’ve set up sweeps for Clock, Diffusion, Sample Rate, Mode and Crush, so you can hear each one working rather than taking my word for it.
The four named presets show how differently the sections combine. Parallel Worlds runs the Digital Repeater with Clock at 8 and Filter wide open, so repeats stay bright while a moderate Crush and low Sample Rate add grit under a lush reverb tail. Lo-fi Ambience drops Clock to 3, murking up the entire signal rather than just the repeats. Pixy Soundscape switches to the Sequencer instead, Step Size at its smallest interval, so Clock gets automated in real time instead of held steady, a genuinely different texture from the static presets. Robot in Space is the most aggressive: Crush and Filter maxed, Diffusion down to 2, tightening the reverb into something clipped and metallic instead of washy.
The Walrus Audio Lore is the other dedicated ambient soundscape generator on this site, and both reward exploration over precise dialing in. The Lore stays in reverb and pitch-shifting territory: five programs combining reverse delay, reverse reverb and octave voicing across two DSP chips. The Crushturnal’s shimmer reverb is only one of three sections; its sample-rate crusher and Clock-driven sequencer push into robotic, glitchy territory the Lore never touches. The Lore’s programs are curated destinations, while the Crushturnal’s sections are blocks you combine yourself. If pitch-shifted reverb is what you want, the Lore is the more focused tool. Want that depth plus a genuine bitcrush and a self-sequencing clock instead? The Crushturnal covers more ground.
Ambient, post-rock, shoegaze, drone and experimental electronic players are the obvious home for this, and the footswitchable sections suit a slow-evolving pad under a loop just as well as one dramatic glitch moment live. The honest caveat: this is not a quick, one-knob reverb or delay, and the Sequencer takes real time to learn even with the demo’s sweeps to lean on. If your ambient needs are simpler, a straightforward reverb or delay gets you there faster. If you want a box that can shimmer, crumble and sequence itself into something you didn’t plan, the Crushturnal delivers.
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