ico1 Modulation

Chorus

Chorus is an effect that takes a single voiced instrument and gives it the sound of many instruments playing together. This is achieved through randomly modulating several delay lines to create pitch and timing imperfections and then panning these voices in the stereo field.

  • Intensity: Dry / wet mix.

  • Type:

    • Liquid

    • Organic

    • Shimmer

    • Classic

  • Depth: Sets the modulation sweep range from narrow to wide.

  • Speed / Sensitivity: Sets the modulation sweep rate. Speed becomes Sensitivity when Shape is set to Envelope or ADSR.

  • Shape: Selects the waveform, or source, of the modulation. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

  • Feedback/Delay Offset/Filter: Controls feedback for Liquid and Shimmer. For Organic, used to scale a manual delay offset. For Classic, used to control a filter.

  • Depth Mod: Controls the amount of modulation of the Depth parameter. Analogous to AM (Amplitude Modulation).

  • Speed Mod: Controls the amount of modulation of the Speed parameter. Analogous to FM (Frequency Modulation).

  • Mod Rate / Mod Sens: Sets the secondary LFO rate – determines how fast the Depth Mod and Speed Mod “wiggle” their targets. Ranges from 1/8th to 8x the Speed value. Mod Rate becomes Mod Sens when Mod Source is set to Envelope or ADSR.

  • Mod Source: Selects the secondary LFO waveform, or source. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

Performance Parameters

  • Retrigger: Retriggers the primary and secondary modulation LFOs to the beginning of their cycles. Useful for re-syncing during playback, or creative effects.

  • Speed / Brake: The Brake engages while this switch is pressed. Short-press to toggle between Fast and Slow. Long-press to engage Brake.

  • Fast / Slow: Press to toggle between Fast and Slow, which slows the primary and secondary LFOs by a predetermined factor. The Brake does not engage while this switch is pressed.

  • Brake (M): Slows the LFOs at a constant rate and pauses the LFOs until the switch is released.

Factory Presets

  • 70s Guitar Chorus

  • Big Clone

  • Chorus Bumps

  • Liquid Sweetener

  • PhasyChorus

  • Polymodelicious

  • Pulsating

  • Spinning

  • Warmth

Even-Vibe

A faithful emulation of the classic Shin-ei Uni-Vibe™ in stereo! Imagine owning two Uni-Vibes and being able to control their LFOs for a true stereo effect, plus an envelope follower as an added bonus. A clunky foot controller is not required or included, but feel free to map your expression pedal to Speed for maximum vibes. This is not your grandad’s Uni-Vibe!

  • Mix: Controls the mix between the unprocessed input and the modulated output. Set to 50% for a Uni-Vibe in chorus mode. Set to 100% for Uni-Vibe in vibrato mode.

  • Speed: Determines the rate of the modulation. Tempo Sync off, Hertz. On, subdivisions. Like a classic Uni-Vibe, Speed will also subtly effect the intensity of the modulation. Don’t overthink it.

  • Intensity: Adjusts the depth of the modulation.

  • Width: Adjusts the stereo width of the output.

  • Env Speed: Adjusts how much the envelope controls the rate of the modulation. Negative values will result in slower modulation while the envelope is open, positive values will result in faster modulation.

  • Env Inten: Adjusts how much the envelope controls the depth of the modulation. Negative values will result in less intensity of the modulation while the envelope is open, positive values will result in more intensity.

  • Softclip: Adjusts the amount of gentle transistor soft clipping.

Performance Parameters

  • Retrigger: Retriggers the LFO to the beginning of the cycle. Useful for re-syncing during playback, or creative effects.

Factory Presets

  • Air Bubbles

  • Ebb & Flow

  • Even-Vibe

  • Indigo Fog

  • Slowly Drifting

  • Widevibe

Flanger

Flanging is similar to Phasing but more intense – deeper, more numerous frequency notches.

  • Intensity: Effect level.

  • Type:

    • Positive: Mixes the feed-forward and feedback signals, non-inverted.

    • Negative: Mixes the feed-forward and feedback signals, inverted.

    • Jet: Uses a special arrangement that creates a very extreme effect (like a jet taking off).

    • Thru-0: Uses two different delay line that flange against each other, so the flange offset goes through 0.

  • Depth: Sets the modulation sweep range from narrow to wide.

  • Speed / Sensitivity: Sets the modulation sweep rate. Speed becomes Sensitivity when Shape is set to Envelope or ADSR.

  • Shape: Selects the waveform, or source, of the modulation. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

  • Delay Offset: Set Delay offset.

  • Depth Mod: Controls the amount of modulation of the Depth parameter. Analogous to AM (Amplitude Modulation).

  • Speed Mod: Controls the amount of modulation of the Speed parameter. Analogous to FM (Frequency Modulation).

  • Mod Rate / Mod Sens: Sets the secondary LFO rate – determines how fast the Depth Mod and Speed Mod “wiggle” their targets. Ranges from 1/8th to 8x the Speed value. Mod Rate becomes Mod Sens when Mod Source is set to Envelope or ADSR.

  • Mod Source: Selects the secondary LFO waveform, or source. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

Performance Parameters

  • Retrigger: Retriggers the primary and secondary modulation LFOs to the beginning of their cycles. Useful for re-syncing during playback, or creative effects.

  • Speed / Brake: The Brake engages while this switch is pressed. Short-press to toggle between Fast and Slow. Long-press to engage Brake.

  • Fast / Slow: Press to toggle between Fast and Slow, which slows the primary and secondary LFOs by a predetermined factor. The Brake does not engage while this switch is pressed.

  • Brake (M): Slows the LFOs at a constant rate and pauses the LFOs until the switch is released.

Factory Presets

  • Barrel Roll

  • ClassicFlangeSweep

  • ClassicFlangeSweep2

  • Long Flyby

  • PulserFlange

  • PulsingFlange

  • PulsingFlange2

  • PulsingWowFlange

  • Rotator Flange

  • Subtle-Drastic Flange

  • SubtleFlange

  • SubtleFlange2

  • SugarFlange

Harmadillo

Harmadillo is a flexible harmonic tremolo, offering everything from soulful lush tremolos to psychedelic mind-bending weirdness.

An ordinary tremolo automatically fades your signal up and down using a low frequency oscillator (LFO). Because your sound is faded down for part of the waveform, the overall sound seems quieter. Many tremolo pedals provide a gain or volume control to help offset this volume loss.

A harmonic tremolo takes a different approach. It splits the signal into low and high frequency bands and then applies the LFO to the low band and an inverted copy of the LFO to the high band. When the low band becomes louder, the high band becomes quieter, and vice versa. This way, the overall volume doesn’t drop as much because one part of the sound spectrum is always audible. This also means that the upper harmonics receive a different tremolo than the fundamental, hence the name “harmonic tremolo”.

Harmadillo features three ENV (envelope follower) controls that use your picking and playing dynamics to affect the tremolo’s rate, depth, and crossover frequency. These controls can make subtle or drastic changes to your sound and add flexibility to the effect. When first getting to know Harmadillo, we recommend setting the ENV controls to 0 so that you can get a feel for the basic controls first. Once you are familiar with those, it will be easier to see how the ENV controls can be used to add expression to your playing.

  • Depth: This is the depth of the low and high bands of the tremolo. At 0, the tremolo will have no effect on the volume of the bands. At 100, the bands will be completely faded in and out.

  • Rate: This is the base rate of the tremolo. When Tempo Sync is ON, this becomes a multiplier on the tapped BPM value. The Env Rate control can change the apparent rate, so if the rate that you are hearing is different from the value of the Rate control, try setting the value of Env Rate to 0.

  • Shape: The shape of the tremolo waveform. The same shape is used for both high and low bands. The shapes describe what happens to the low band, since it’s usually the main part of your sound; the high band will change in the opposite direction. Options are:

    • Sine: A sine wave. This shape works well for producing a smooth, subtle tremolo.

    • Fat Sine: A “fat” sine wave that spends more time near its minimum and maximum values. This waveform sounds similar to Sine, but with slightly more throb.

    • Phat Sine: An even “fatter” sine wave that spends even more time at its minimum and maximum values.

    • Triangle: A linear up/down ramp. Like sine, this is a good shape for smooth, subtle tremolo.

    • Ramp Dn: A downward ramp for the low band, and an upward ramp for the high band. The low band will have a plucked attack while the high band will fade in.

    • Ramp Up: An upward ramp for the low band, and a downward ramp for the high band. The low band will fade in, while the high band will have a plucked attack.

    • Pulse X: A pulse wave with selectable duty cycle (X). The low band will stay at its maximum amplitude for X% of the cycle, then jump to its minimum amplitude, set by Depth and Env Depth. Options are 25%, 33%, 50%, 66%, and 75%. This shape can be especially interesting when paired with a delay pedal whose time is related to Harmadillo’s rate.

    • Lump: The first half of a sine wave. The low band’s waveform is rounded at the maximum and pointed at the minimum. This shape is good for making fast, vibey tremolos.

    • Rump: The second half of a sine wave (Rump is the inverse of Lump). The low band’s waveform is pointed at the maximum and rounded at the minimum. Like rump, this is a good shape for fast, vibey tremolos.

    • Slope X: A curved ramp wave with an adjustable slope.

      • X = 0: downward curve for the low band, upwards curve for the high band

      • X = 50: symmetric curves for low and high (similar to the RUMP shape)

      • X = 100: upward curve for the low band, downwards curve for the high band

  • X-Over: This control determines where in the frequency spectrum the low band ends and the high frequency band begins. In practice, each band rolls off around the crossover frequency, so they overlap a bit. The X-Over control allows you to adjust the amount of overlap; see below.

    To mimic an ordinary tremolo, set X-Over to its maximum value of 12,000 Hz. Most of an electric guitar’s sound spectrum is below 6,000 Hz. Any audio above 12,000 Hz (i.e., hardly any sound) will be heard in the high band, and everything else will be heard in the “low” band. Change X-Over gradually to morph into and out of an ordinary tremolo sound.

    X-Over is especially interesting when Shape is set to an asymmetric shape such as Ramp Up. This means that for each cycle of the tremolo the portion of the signal below the X-Over value will be faded in and the portion of the signal above the X-Over value will be faded out. If you start playing a scale below the X-Over frequency and continue playing above it, the shape of the tremolo will appear to change as you cross over the X-Over frequency!

  • X-Overlap: This control adjusts the amount of overlap between the high and low bands. Negative values will produce a cut at the crossover frequency, and positive values will produce a boost at the crossover frequency.

    To explore the effect of this control set:

    • X-Over to 100

    • Depth to 0

    • Env Depth to 0

    • Drive to 0

    • Env X-Over to 0

    This removes the tremolo effect so you can hear the filtering. Slowly sweep the X-Over value from 100 Hz to 3,000 Hz as you play a repeated note, and listen for a boost at the crossover frequency.

    Harmonic tremolo effects often have a scoop in the midrange near their crossover. You can emulate this by using negative values for X-Over. To dial in classic sounds, set Env X-Over to 0, set the X-Over frequency between 400 Hz and 900 Hz, and adjust X-Over as needed.

  • Drive: This control adds warmth to the signal by mimicking the behavior of a tube amplifier’s harmonic tremolo.

  • Env Depth: This control uses the amplitude envelope of the input to increase or decrease the tremolo’s depth. Positive values increase the depth of the tremolo when you attack a note. The depth will return to the level set by the Depth control as the note decays. Additionally, louder notes will have greater depth than softer notes. Negative values reduce the tremolo when you attack a note, increasing the clarity of your attacks and making sustained notes more expressive over time. Playing louder will reduce the depth of the tremolo, and you can use large negative values to create tremolos that only appear when the input is soft.

    The Env Depth control covers a large range, so we recommend starting with values closer to 0, and then adjusting the control as needed.

  • Env Rate: This control uses the amplitude envelope of the input signal to affect the rate of the tremolo. With positive values, the tremolo jumps up in frequency when you attack a note and gradually returns to the original rate set by the Rate or Tap Tempo controls. The harder you play, the longer it will take to return. Negative values will temporarily reduce the rate of the tremolo when you attack a note, and the rate will return to the value set by the RATE knob or Tap Tempo as the note decays. With larger negative values and high Rate values, you can use this control to create bouncing-ball tremolo type effects. This is especially effective with the Shape control set to Pulse, Ramp Dn, Ramp Up, or Slope 0.

    The Env Rate control covers a large range. At 100%, it can push the internal LFO rate up to 80 Hz, so we recommend starting with values closer to 0, and then adjusting the control as needed.

  • Env X-Over: This control uses the amplitude envelope to affect the crossover frequency.

    To create a swept filter effect similar to an autowah, set X-Overlap to 100, set the X-Over frequency to 200 Hz, and then increase the amount of the Env X-Over control as necessary. The frequency of the crossover filter will now track the loudness of the input signal.

    You can create a single-notch phaser by turning Depth to 0, X-Overlap to -100, X-Over to 3500, and then set Env X-Over to a medium negative value, adjusting to taste. Once you have a sound you like, try slowly turning up the Depth control. Try playing long chords with these settings. In addition to the phasing effect, you will now notice that the tremolo also seems to change as a chord dies out. This is because the crossover frequency returns to the high X-Over value (3500 Hz) as the chord decays.

    Try setting Shape to an asymmetric waveform (e.g., Ramp Dn) to produce waveform morphing effects as the crossover frequency changes.

  • Tone: A tone control for shaping the high or low end of the output signal. Negative values roll off high frequencies (High Cut), and positive values roll off low frequencies (Low Cut).

Performance Parameters

  • Retrigger: Retriggers the LFO to the beginning of the cycle. Useful for re-syncing during playback, or creative effects.

Factory Presets

  • Basic Triangle

  • Bass Compping

  • Bass Pulser

  • Bouncing Ball

  • Delta Slide

  • Double Banded

  • Dreamy

  • Echo Morph

  • Epic Windmills

  • Giant Step

  • Lonely Sea

  • Master Of Bands

  • Mostly Harm-less

  • Movin Along

  • Only Tails

  • Phaaaseeey

  • Phriendly Vibe

  • Pluck Fade

  • Pseudo Ring

  • Quicksand

  • Rotophase

  • Rotowah

  • Sandblaster

  • Shades

  • Slowah

  • Strum Pulse Decay

  • Thumpluck

  • Toasted Marsh-molo

  • T-rem-o-ring

  • Tulsa Tornado

  • Tumbleweed

Instant Flanger

The Instant Flanger brings the great sound of vintage tape flanging to your pedalboard. An authentic emulation of the original 1975 studio rackmount, the Instant Flanger Mk II was famously used on David Bowie’s “Ashes to Ashes” and Cyndi Lauper’s “Time After Time.” A truly versatile tool, engineers and producers have used it for stereo sweetening, subtle modulations, double tracking, and extreme flanging effects.

  • Depth: Controls the mix of wet and dry signals. At 0% the output is solely the wet signal. At 100% the output is the sum of the wet and dry signals. At −100% the output is the sum of the wet signal and the inverted dry signal.

    Note

    Many modulation-type effects provide mix controls. The Instant Flanger has a mix knob too, but rather than being labeled Mix, it is called Depth. Why is it called Depth, you ask? As you add more of the dry signal to the wet signal, nulls appear in the output spectrum. These nulls get deeper as the two signals approach equal amplitude. Hence you are controlling the depth of the nulls!

  • Source: Sets the source of the modulation. This can be any combination of the following:

    • Oscillator: The classic LFO-controlled flanging, with a variable rate.

    • Manual: Controls the flanging manually.

    • Envelope: Lets the level of the input signal control the flanging, with adjustable threshold and release time.

  • Mode: Adjusts the stereo width of the flanging: Shallow, Deep, and Wide.

    Note

    The original Instant Flanger had two unique outputs called Main and Aux. The Main output used two bucket brigade devices in series, while the Aux output only used a single Bucket Brigade. This means the delay times of the Main output are roughly double that of the Aux output. The Mode control gives you access to which of these outputs is used by the Algorithm, and it can drastically change the sound.

    • In Shallow mode, all outputs will correspond to the Aux output of the hardware unit.

    • In Deep mode, all outputs will correspond to the Main output of the hardware unit.

    • In Wide mode, the Main output is routed to the left channel and the Aux output is routed to the right channel. Because of the different delay lengths and the fact that Main and Aux are out of phase with each other, Wide mode will sound like it is panning the signal to the left or right, depending on how the Depth knob is set.

    Note that if you are using a mono output, Wide mode will be the same as Deep mode.

  • Rate: Controls the rate of the LFO between 0.01 Hz and 20 Hz.

  • LFO Width: Adjusts the range of the sweep of the Flanger’s LFO. 100 is the widest possible sweep and equivalent to the range of the original hardware.

  • Env Thresh: Controls the threshold of the envelope follower, between −60 dB and 0 dB. An input signal will cause the biggest phase shift when it reaches the threshold level.

  • Env Release: Sets the release time of the envelope follower. Release times can vary from 10 milliseconds to 10 seconds.

  • Feedback: Controls the feedback of the flanger output. 0% sends none of the output back to the input to the bucket brigades, and 100% sends the maximum amount of output back to the input of the bucket brigades.

  • Low Cut: Applies a high-pass filter to the input signal before it is delayed. The original signal is still mixed with the output of the delays, but the flanging effect only acts on high frequencies.

  • Manual: Provides manual control of the flanging. 0% corresponds to setting the bucket brigades to their longest delay times, while 100% sets them to their shortest.

Performance Parameters

  • Retrigger: Retriggers the LFO to the beginning of the cycle. Useful for re-syncing during playback, or creative effects.

Factory Presets

  • Bending Corn

  • EXP Pedal Flange

  • Elastic Dreams

  • Fairy Wings

  • Flange the Attack

  • Flanjo

  • Ginormous Bass

  • Instant Flanger

  • Instant Ra Man

  • Mids Come Alive

  • Rotary Flange

  • Through the Tube

  • Vintage Mod

Instant Phaser

Released in 1972, Eventide’s Instant Phaser began the studio effects revolution by successfully simulating tape flanging, an effect that’s been at the core of legendary albums for the last five decades. Modeled on the original hardware unit, the Instant Phaser Algorithm accomplishes the same legendary sound with all the analog personality, smooth modulations, and inherent musicality. Its capabilities have been expanded, and now you can even take your phaser on an excursion from the 70s far into the future with the delightfully characteristic “Age” knob. Outfitted with a complete host of control options, the Instant Phaser is out of the rack and into your pedal arsenal.

  • Depth: Controls the mix of wet and dry signals. At 0% the output is solely the phase shifted signal. At 100% the output is the addition of the phase shifted signal and the input. This will cause a gain of 6dB at certain frequencies depending on the phase shift.

  • Feedback: Controls the feedback of the phase shift sections. 0% sends none of the output back to the input to the phase shift sections and 100% sends the maximum amount of output back to the input of the phase shift sections.

  • Mode: Adjusts the stereo width of the phasing: Shallow, Deep, and Wide

    Note

    The original Instant Phaser had two unique outputs called Main and Aux. The main output had two extra stages of phase shifting compared to the aux out, which means the two outputs are 180 degrees out of phase with each other. The Mode control gives you access to which of these outputs is used by the Algorithm, and it can drastically change the sound.

    • In Shallow mode, all outputs will correspond to the Aux output of the hardware unit.

    • In Deep mode, all outputs will correspond to the Main output of the hardware unit.

    • In Wide mode, the Main output is routed to the left channel and the Aux output is routed to the right channel.

    Note that if you are using a mono output, Wide mode will be the same as Deep mode.

  • Age: Controls the age of the electrical components that make up the Instant Phaser. 0% is a factory fresh unit from 1971, 25% is the box we modeled as it is now, 100% is a very ungracefully aged Instant Phaser.

  • Source: Sets the source of the modulation. This can be any combination of the following:

    • Oscillator: The classic LFO-controlled phasing, with a variable rate.

    • Manual: Controls the phasing manually.

    • Envelope: Lets the level of the input signal control the phasing, with adjustable threshold and release time.

  • LFO Rate: Controls the rate of the LFO from 0.01Hz to 20Hz

  • LFO Width: Adjusts the range of the sweep of the Phaser’s LFO. 100 is the widest possible sweep and equivalent to the range of the original hardware.

  • Env Thresh: Controls the threshold of the envelope follower. This is variable from -60dB to -0dB.

  • Env Release: Sets the release time of the envelope follower. Release times can vary from 10 milliseconds to 10 seconds.

  • Manual: Provides manual control of phasing. 0% moves the nulls in the frequency response to their highest position in frequency, 100% moves them to their lowest position in frequency.

Performance Parameters

  • Retrigger: Retriggers the LFO to the beginning of the cycle. Useful for re-syncing during playback, or creative effects.

Factory Presets

  • Attack the Strings

  • EXP Pedal Phase

  • EXPress Yourself

  • Emotional Width

  • Expansion Pedal

  • Fine Faze

  • Flutter

  • Id Coming Through

  • Instant Phaser

  • Live Wire

  • Low Mid Phase

  • Pink Phase

  • Slow & Low

ModFilter

ModFilter is a set of modulated filters!

  • Intensity: Effect level. Controls a combination of base filter frequency and resonance.

  • Type:

    • Lowpass

    • Bandpass

    • Highpass

  • Depth: Sets the modulation sweep range from narrow to wide. Controls the frequency offset of the left and right channels to create a stereo image.

  • Speed / Sensitivity: Sets the modulation sweep rate. Speed becomes Sensitivity when Shape is set to Envelope or ADSR.

  • Shape: Selects the waveform, or source, of the modulation. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

  • Unused / Stereo Width: In mono, this control is not used. In stereo, this control shifts the phase of the right channel’s LFO creating a tremolo that will move from left to right in the stereo field. When set to Max, the right channel will be 180 degrees out of phase with the left, creating an autopanner.

  • Depth Mod: Controls the amount of modulation of the Depth parameter. Analogous to AM (Amplitude Modulation).

  • Speed Mod: Controls the amount of modulation of the Speed parameter. Analogous to FM (Frequency Modulation).

  • Mod Rate / Mod Sens: Sets the secondary LFO rate – determines how fast the Depth Mod and Speed Mod “wiggle” their targets. Ranges from 1/8th to 8x the Speed value. Mod Rate becomes Mod Sens when Mod Source is set to Envelope or ADSR.

  • Mod Source: Selects the secondary LFO waveform, or source. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

Performance Parameters

  • Retrigger: Retriggers the primary and secondary modulation LFOs to the beginning of their cycles. Useful for re-syncing during playback, or creative effects.

  • Speed / Brake: The Brake engages while this switch is pressed. Short-press to toggle between Fast and Slow. Long-press to engage Brake.

  • Fast / Slow: Press to toggle between Fast and Slow, which slows the primary and secondary LFOs by a predetermined factor. The Brake does not engage while this switch is pressed.

  • Brake (M): Slows the LFOs at a constant rate and pauses the LFOs until the switch is released.

Factory Presets

  • Bass Auto Wah

  • BubblyFilter

  • HyperWah

  • Jupiter Reacts

  • Nervous Filter

  • TremModFilter

  • WateryFilter Dark

  • WateryFilterBright

Phaser

Phaser is an effect created by a series of all pass filters (phase shifters). When the output of the filters is mixed with the dry signal sharp notches are created in the frequency spectrum of the output; by modulating the center frequencies of the filters the notches move giving a sense of motion to the effect.

  • Intensity: Effect level.

  • Type:

    • Positive: Mixes the feed-forward and feedback signals, non-inverted.

    • Negative: Mixes the feed-forward and feedback signals, inverted.

    • Feedback: No feed-forward signal; Feedback only.

    • Bi-phase: Based on the topology of the Mu-Tron Bi-Phase.

    • PhaseX0: A phase 90 clone (but it also does phase 180 and some others if you check Stages).

  • Depth: Sets the modulation sweep range from narrow to wide.

  • Speed / Sensitivity: Sets the modulation sweep rate. Speed becomes Sensitivity when Shape is set to Envelope or ADSR.

  • Shape: Selects the waveform, or source, of the modulation. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

  • Stages/Direction: This control allows you to select the number of digital filters. For Bi-phase, selects the sweep direction.

  • Depth Mod: Controls the amount of modulation of the Depth parameter. Analogous to AM (Amplitude Modulation).

  • Speed Mod: Controls the amount of modulation of the Speed parameter. Analogous to FM (Frequency Modulation).

  • Mod Rate / Mod Sens: Sets the secondary LFO rate – determines how fast the Depth Mod and Speed Mod “wiggle” their targets. Ranges from 1/8th to 8x the Speed value. Mod Rate becomes Mod Sens when Mod Source is set to Envelope or ADSR.

  • Mod Source: Selects the secondary LFO waveform, or source. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

Performance Parameters

  • Retrigger: Retriggers the primary and secondary modulation LFOs to the beginning of their cycles. Useful for re-syncing during playback, or creative effects.

  • Speed / Brake: The Brake engages while this switch is pressed. Short-press to toggle between Fast and Slow. Long-press to engage Brake.

  • Fast / Slow: Press to toggle between Fast and Slow, which slows the primary and secondary LFOs by a predetermined factor. The Brake does not engage while this switch is pressed.

  • Brake (M): Slows the LFOs at a constant rate and pauses the LFOs until the switch is released.

Factory Presets

  • Ain’t Talkin ‘Bout Phase

  • FunkPhase

  • Lou-nivibe

  • Phaser Wah

  • Phat Phase

  • SawModPhaser

  • StoppedPhase

  • VibraPhaser

Q-Wah

The Q-Wah effect can be a classic wah wah effect, an auto wah, or a combination of both. Use Depth and/or other wave shapes to create more complex wah sounds.

  • Q-Intensity: Increases the resonance of the wah effect.

  • Type:

    • Wah Wah

    • Vocal Wah

    • Bass Wah

    • Bass Vocal

    Note

    The Bass types retain the low end as the wah filter climbs to higher frequencies.

  • Depth / Vowel / End Vowel:

    • When Effect Type is Wah Wah or Bass Wah, Depth sets the modulation sweep range from narrow to wide.

    • When Effect Type is Vocal Wah or Bass Vocal, and “Bottom / Start Vowel” is set to Bottom, Vowel will determine the vowel sound of the vocal wah.

    • When Effect Type is Vocal Wah or Bass Vocal, and “Bottom / Start Vowel” is set to Start Vowel, End Vowel sets the ending vowel for a talk-box style effect.

      List of available vowels:

      • B..EA..T

      • M..I..X

      • S..E..T

      • S..A..X

      • H..O..T

      • R..A..W

      • W..OO..D

      • T..U..NE

      • F..U..N

      • B..IR..D

  • Speed / Sensitivity: Sets the modulation sweep rate. Speed becomes Sensitivity when Shape is set to Envelope or ADSR.

  • Shape: Selects the waveform, or source, of the modulation. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input. Use this to emulate an autowah.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation. Use this to emulate a classic wah.

  • Bottom / Start Vowel:

    When Effect Type is Wah Wah or Bass Wah, Bottom sets the base frequency.

    When Effect Type is Vocal Wah or Bass Vocal, the first half of this parameter sets Bottom and the second half sets Start Vowel for a talk-box style effect.

  • Depth Mod: Controls the amount of modulation of the Depth parameter. Analogous to AM (Amplitude Modulation).

  • Speed Mod: Controls the amount of modulation of the Speed parameter. Analogous to FM (Frequency Modulation).

  • Mod Rate / Mod Sens: Sets the secondary LFO rate – determines how fast the Depth Mod and Speed Mod “wiggle” their targets. Ranges from 1/8th to 8x the Speed value. Mod Rate becomes Mod Sens when Mod Source is set to Envelope or ADSR.

  • Mod Source: Selects the secondary LFO waveform, or source. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

Performance Parameters

  • Retrigger: Retriggers the primary and secondary modulation LFOs to the beginning of their cycles. Useful for re-syncing during playback, or creative effects.

  • Speed / Brake: The Brake engages while this switch is pressed. Short-press to toggle between Fast and Slow. Long-press to engage Brake.

  • Fast / Slow: Press to toggle between Fast and Slow, which slows the primary and secondary LFOs by a predetermined factor. The Brake does not engage while this switch is pressed.

  • Brake (M): Slows the LFOs at a constant rate and pauses the LFOs until the switch is released.

Factory Presets

  • Auto Wah

  • BigModdedPlanetSweep

  • High Quack

  • LazyPhasyWah

  • LessEvenAutoWah

  • Low Quack

  • Mumbler

  • Nervous Wah

  • OttaWah

  • PhasyWah

  • SlowSweepWithTreats

  • SoftChopper

  • SquareModWah

  • Talking Back

  • Talking Bass

  • VibraPhasyWah

  • Vintage Wah

  • Wah-Bravibe

RingMod

Ring Modulator is an effect created by multiplying an input signal by an audio frequency waveform; the result is a waveform containing the sums and differences of those frequencies and their partials. This creates a waveform with complex (and usually nonharmonic) bell-like overtones. By using the Speed Mod control to modulate this carrier frequency you can create useful and interesting sounds.

  • Intensity: Effect level.

  • Type:

    • Ring

    • String

    • Pitch

  • Pitch: If Type is set to Pitch, RingMod will pitch track the incoming audio and modulate it by a waveform that is shifted up to +/- 1200 c from your input, giving you a consistent synth-like tone across all notes. This parameter is unused when Type is set to Ring or String.

  • Speed / Sensitivity: Sets the modulation sweep rate. Speed becomes Sensitivity when Shape is set to Envelope or ADSR.

  • Shape: Selects the waveform, or source, of the modulation. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

  • Tone: Rolls off the high frequencies as it is turned clockwise.

  • Depth Mod: Slightly detunes the right and left voices, which creates a stereo field.

  • Speed Mod: Controls the amount of modulation of the Speed parameter. Analogous to FM (Frequency Modulation).

  • Mod Rate / Mod Sens: Sets the secondary LFO rate – determines how fast the Depth Mod and Speed Mod “wiggle” their targets. Ranges from 1/8th to 8x the Speed value. Mod Rate becomes Mod Sens when Mod Source is set to Envelope or ADSR.

  • Mod Source: Selects the secondary LFO waveform, or source. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

Performance Parameters

  • Retrigger: Retriggers the primary and secondary modulation LFOs to the beginning of their cycles. Useful for re-syncing during playback, or creative effects.

  • Speed / Brake: The Brake engages while this switch is pressed. Short-press to toggle between Fast and Slow. Long-press to engage Brake.

  • Fast / Slow: Press to toggle between Fast and Slow, which slows the primary and secondary LFOs by a predetermined factor. The Brake does not engage while this switch is pressed.

  • Brake (M): Slows the LFOs at a constant rate and pauses the LFOs until the switch is released.

Factory Presets

  • BuzzBells

  • ElectricityRing

  • Guitar Drums

  • HellsBells

  • Interference

  • Ring Whammy

  • Ring’s Chorus

  • Ring’s Leslie Fast

  • Ring’s Leslie Slow

  • Ring’s Trem

  • Ring’s Trem 2 Faster

  • Ring’s Trem2

  • Static

  • Trem Turns Ugly

  • What’s That Smell

Rotary

A rotating speaker (Leslie) simulation, with Standard or Giant flavors. A Leslie is built using a rotating speaker for low and mid-range frequencies and a rotating treble horn for highs. With Rotary Mod you can control the speed of the rotor and horn independently, adjust the mix of the two, and modulate the speeds themselves, for interesting and dynamic effects.

  • Mix: Wet/Dry mix, where 100 is an all wet signal. It has a special nonlinear taper which puts most of the knob travel in the most usable range.

  • Type: Select the size of the cabinets.

    • Standard

    • Giant

  • Rotor Spd: Sets the rotation speed of the Rotor (low frequency) speaker, from 0.10 Hz to 20 Hz.

  • Horn Spd: Sets the rotation speed of the Horn (high frequency) speaker, from 0.10 Hz to 20 Hz.

  • Rtr/Hrn Mix: Sets the balance between the Rotor level and Horn level.

  • Tone: Rolls off the high frequencies as it is turned clockwise.

  • Depth Mod: Controls the amount of modulation of the Depth parameter. Analogous to AM (Amplitude Modulation).

  • Speed Mod: Controls the amount of modulation from the secondary LFO that is applied to the Rotor Spd and Horn Spd parameters. Analogous to FM (Frequency Modulation).

  • Mod Rate / Mod Sens: Sets the secondary LFO rate – determines how fast the Depth Mod and Speed Mod “wiggle” their targets. Ranges from 1/8th to 8x the Rotor Spd value. Mod Rate becomes Mod Sens when Mod Source is set to Envelope or ADSR.

  • Speed: Sets the modulation sweep rate.

  • Mod Source: Selects the secondary LFO waveform, or source. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

Performance Parameters

  • Retrigger: Retriggers the primary and secondary modulation LFOs to the beginning of their cycles. Useful for re-syncing during playback, or creative effects.

  • Speed / Brake: The Brake engages while this switch is pressed. Short-press to toggle between Fast and Slow. Long-press to engage Brake.

  • Fast / Slow: Press to toggle between Fast and Slow, which slows the primary and secondary LFOs by a predetermined factor. The Brake does not engage while this switch is pressed.

  • Brake (M): Slows the LFOs at a constant rate and pauses the LFOs until the switch is released.

Factory Presets

  • AutoFastSlowRotary

  • AutoFastSlowRotary2

  • BassStillRotary

  • Big Fat Cabinet

  • Black Sun

  • Hyper Rotor

  • JazzyRotary

  • Leslie

  • OldTyme Radio

  • Slowly Rotate

  • Spaceship Rotary

  • Treble Spin

  • Whirling Dervish

Sticky Tape

Classic Tape echo effects are loved for the character, grit, and modulation that they impart. Sticky Tape opens up a world of tape tone possibilities, without the complexity. Dial in a bit of drive and compression to sweeten up your clean tone, or turn up the Wow & Flutter and embrace the lo-fi. Dual tape machines with offset and width controls offer a wide range of doubling or slapback echo effects, with bonus Flange performance parameters to get that classic, dramatic, studio style tape flange. Just like a reel tape machine (pun intended), Sticky Tape will chew up anything you can throw at it and spit it out sounding warmer, fatter, and full of tapified goodness.

  • Mix: Controls the amount of dry and tapified signal.

  • Compression: How much compression is applied. This is based off of the compression section of the DBX compander found in many professional tape machines.

    NOTE: Gain is automatically applied after the compression to try and maintain constant signal level. The Compression knob has been tuned for both Guitar and Bass. It is especially important to have the Instrument Type set correctly for Bass input and high Compression amounts.

  • Rec Drive: How much gain is applied before going in to the tape emulation.

  • Tape Speed: Controls the nominal speed at which the two tape machines are running. This affects the tone of the signal.

  • W&F Amount: Adjusts the amount of wow and flutter applied.

    NOTE: With no offset, or no flanging engaged this will sound like detuning. With offset, or a flange engaged this sounds like modulation.

  • W&F Rate: Controls the speed of the wow and flutter. 10 is a faster, more fluttery sound and 0 is more wowy.

  • Filter: A simple tone control applied after the tape processing.

  • Width: When stereo outputs are connected this pans the two tape machines to opposite sides.

    Note: When Offset is 0.0, or only a single output is connected, this control will do nothing.

  • Machine 2 Offset: Controls how delayed Machine 2 is from Machine 1 by adjusting its speed. At 0, the machines are running perfectly in sync. 10 adds enough delay to get into slapback territory.

    NOTE: When no offset is applied, a default range is used when using the Flange performance switches. If an offset is applied, then the offset is treated as the range.

  • Flange Length: Controls the rate of the flange performance parameters. This represents the time it takes for the flange to travel 1/2 of its period.

Performance Parameters

  • Flange (M): A momentary performance switch to engage the flange. This changes Machine 2’s speed by an amount determined by either the offset, or a default setting, and a rate determined by the flange length knob. Hold it down and it’s like your thumb is on the reel, lift up and the speed of Machine 2 will return to its original setting.

  • Flange: A latching performance switch which simply turns on or off an automatic flange.

TremoloPan

Tremolo is an effect that is created by modulating the level of the incoming audio with a LFO. With this effect, as you turn the Width knob, it will shift the phase of the right channel’s LFO creating a tremolo that will move from left to right in the stereo field. When the Width is full clockwise, the right channel will be 180 degrees out of phase with the left, creating an autopanner.

  • Drive / Edge:

    • When Effect Type is set to Bias, this controls the amount of Drive. For high input levels, setting this to high levels can cause overload distortion.

    • When Effect Type is set to Opto, this controls the input’s slew rate (Edge) and, depending on the input signal, may only have a subtle effect.

  • Type

  • Depth: Sets the modulation sweep range from narrow to wide.

  • Speed / Sensitivity: Sets the modulation sweep rate. Speed becomes Sensitivity when Shape is set to Envelope or ADSR.

  • Shape: Selects the waveform, or source, of the modulation. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

  • Spread / Width:

    • Mono Out: In mono, this control spreads the tremolo and make the sound more smooth.

    • Stereo Out: In stereo, this control shifts the phase of the right channel’s LFO creating a tremolo that will move from left to right in the stereo field. When set to Max, the right channel will be 180 degrees out of phase with the left creating an autopanner.

  • Depth Mod: Controls the amount of modulation of the Depth parameter. Analogous to AM (Amplitude Modulation).

  • Speed Mod: Controls the amount of modulation of the Speed parameter. Analogous to FM (Frequency Modulation).

  • Mod Rate / Mod Sens: Sets the secondary LFO rate – determines how fast the Depth Mod and Speed Mod “wiggle” their targets. Ranges from 1/8th to 8x the Speed value. Mod Rate becomes Mod Sens when Mod Source is set to Envelope or ADSR.

  • Mod Source: Selects the secondary LFO modulation source. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: Mod Rate becomes Mod Sens and is driven by the amplitude of the audio input.

    • ADSR: Mod Rate becomes Mod Sens driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

Performance Parameters

  • Retrigger: Retriggers the primary and secondary modulation LFOs to the beginning of their cycles. Useful for re-syncing during playback, or creative effects.

  • Speed / Brake: The Brake engages while this switch is pressed. Short-press to toggle between Fast and Slow. Long-press to engage Brake.

  • Fast / Slow: Press to toggle between Fast and Slow, which slows the primary and secondary LFOs by a predetermined factor. The Brake does not engage while this switch is pressed.

  • Brake (M): Slows the LFOs at a constant rate and pauses the LFOs until the switch is released.

Factory Presets

  • Chopper Trem

  • Flutter Trem

  • HyperChopTrem

  • I Walk Alone

  • Modacity

  • Panning Tremo

  • Pulsing Trem

  • RampChopper

  • Special Agent Factor

  • Square Chopper

  • Tumbleweed Trem

Tricerachorus

TriceraChorus is inspired by the classic tri-choruses and stompbox choruses of the 1970s and early 1980s. These units used bucket brigade delay (BBD) chips to create chorusing. TriceraChorus pairs rich BBD-style trichorusing with another classic effect of the 1980s: Eventide MicroPitch detuning. This effect can be used to thicken the sound, to add static chorusing, and to spread the stereo field by detuning the left and right signals in opposite directions.

TriceraChorus has three chorus voices: Left (L), Center (C), and Right (R). Each voice uses a dedicated LFO to modulate a delay at the frequency set by the Rate knob. The modulated signals for the Left and Right voices are -120 and 120 degrees out of phase relative to the Center modulation signal. The combination of the three modulated delays creates lush chorus sounds.

The Depth L / Depth C / Depth R knobs control the depth of the respective voices. Larger depth values increase the amount of delay modulation, creating greater changes in pitch. When a depth control is set to Off, that voice is removed from the output, and the volume levels of the other voices will be automatically adjusted to maintain a constant level.

  • Chorus Mix / Vibrato / Chorale Mix: Global mix control for chorusing and has two modes, Chorus and Chorale. Chorus and Chorale Mix levels are independent of Detune Mix (see below).

    • Chorus Mode (0 - 99 range on left half of the knob), all three chorus channel mixes, Left, Center, and Right are affected together. At 100 (Vibrato), no dry signal is present. In Chorus mode, LFO shapes are triangular from a range of 0 to 75. After 75, the LFO morphs from triangular to sinusoidal at 100.

    • Chorale Mode (99 - 0 range on right half of the knob) adds two fixed rate LFOs, one slow and one fast, to the primary LFOs creating an effect similar to combining the Preset and Manual modes on the DYTRONICS TriChorus. This increases the complexity of the modulation, producing a richer sound. In Chorale mode, all LFO shapes are sinusoidal throughout the range of the control.

  • Rate: This is the base rate of the chorus modulation, from 0.1 Hz to 20 Hz. When Tempo Sync is On, this becomes a multiplier on the tapped BPM value. The Env Rate control can change the apparent rate, so if the rate that you are hearing is different from the value of the Rate control, try setting the value of Env Rate to 0.

  • Depth L: Chorus modulation depth of the Left voice. From Off, to 100. When Off, the voice is removed from the mix, and the levels of the other voices are automatically adjusted to preserve the wet-dry blend.

    In mono to stereo routing, if Depth R is Off but Depth L is active, the chorused signal will be routed to the left and the dry signal will be routed to the right. This is a classic technique for producing a wider stereo image.

  • Depth C: Chorus modulation depth of the Center voice. From Off, to 100. When Off, the voice is removed from the mix, and the levels of the other voices are automatically adjusted to preserve the wet-dry blend.

  • Depth R: Chorus modulation depth of the Right voice. From Off, to 100. When Off, the voice is removed from the mix, and the levels of the other voices are automatically adjusted to preserve the wet-dry blend.

    In mono to stereo routing, if Depth L is OFF but Depth R is active, the chorused signal will be routed to the right and the dry signal will be routed to the left. This is a classic technique for producing a wider stereo image.

  • Delay: When Chorus Mix is in Chorus Mode, DELAY sets the minimum delay time for all voices, ranging from 0.39 mS to 200 mS. Short delays can be used to create light flanging. Typical chorus delays range from 1.5-10 mS. You can create a chorused slapback sound by using values between 50 and 100 mS.

    When “Chorus Mix / Vibrato / Chorale Mix” is in Chorale Mode, the delay amount for each voice becomes a function of the Delay setting and the Depth level of each voice. In this case, the Delay becomes a range of possible delay amount for each voice. As you increase the Depth of a voice, its delay amount decreases.

  • Detune Mix: Mix control for the Detune section of the Algorithm. The Detuners are fed from the stereo output of the Chorus voices. Detune Mix controls the stereo left and right channels at the same time and is independent of “Chorus Mix / Vibrato / Chorale Mix”.

  • Detune: Controls both detune amounts for the left and right channels. Range is +/- 40 cents. Left and right channels get opposing amounts of detune (for example -30L/+30R). For enhanced versatility, the channels can be set with different opposing amounts. Left channel is the base detune amount and right channel can be adjusted around an 8 cent opposing window (for example -16L/+12R to -16L/+19R).

  • Env Mix / Env Rate: Controls Amplitude Envelope assignment as well as Envelope Depth. There are two assignable Envelope modulation destinations:

    1. Env Mix: Envelope to Mix. Playing dynamics modulate the global “Chorus Mix / Vibrato / Chorale Mix” and Detune Mix amounts. Range is -100 to 100. Negative values decrease the mix levels when you attack a note, and can be used to increase the clarity of your attacks or make sustained notes more expressive over time. Playing louder will reduce the chorusing effect, and you can use large negative values to only allow chorusing when the input is soft. At zero, the envelope will not affect the chorus or detune mixes. Positive values increase the internal mix levels for chorus and detune from 0 up to the levels set by the mix knobs when you attack a note. For example, with Detune Mix set to 50, Chorus Mix set to 0, and Env Mix set to 50, when a note is attacked, the internal detune level will increase to 50, then decay towards 0 with the note. The chorus level, however, will not increase because it is at 0.

    2. Env Rate: Envelope to Rate. Playing dynamics modulate the speed of the LFO. Range is -100 to 100. With negative values, the rate of the primary LFOs will be slowed down when you attack a note, gradually returning to the value set by the Rate knob. Larger negative values can be used with faster RATE settings to create a fade-in vibrato effect. At zero, the envelope will not affect the rate of the LFOs. With positive values, the LFOs increase from the minimum rate towards the value set by the RATE knob when you attack a note.

  • Tone: Shapes the high or low end of the output signal. Positive values roll off high frequencies Hi Cut, 0 is flat, and negative values roll off low frequencies Lo Cut. Use the Lo Cut range to reduce muddiness. Use the Hi Cut range to roll off high frequencies for a softer sound. The tone control only affects the wet signal path. Changes to the Chorus Mix knob (or usage of Env Mix) may change the apparent effect of the Tone control. For example, a setting of Hi Cut 50 will sound brighter when the Chorus Mix knob is set at 50 versus when Chorus Mix is at 100 (Vibrato).

Performance Parameters

  • Swirl: Adds another dimension to TriceraChorus’ sound via stereo phase shifters after the Detune section to create throbbing and swooshing effects. The amount of Swirl depends on the greater level of either Chorus Mix or Detune Mix and follows the Env Mix control. Swirl speed is adjusted by Rate and follows the ENV Rate control. Use faster rates to achieve deeper Swirl effects.

  • Retrigger: Retriggers the LFOs to the beginning of their cycles. Useful for re-syncing during playback, or creative effects.

Factory Presets

  • TriceraChorus:

  • 2+3=5

  • CEO

  • CFO

  • Chorus Lap

  • DCUK

  • FauxVerb

  • GH0$TZ

  • Leslie Falsa

  • Lush Life

  • Old Times

  • Paschorius

  • Raven Chorus

  • Rum Punch

  • Schmozone

  • Slow Flange

  • Slow Swirl

  • Summer

  • Swirl Slap

  • Syrupy Leslie

  • Tail Decay

  • Tribrato

  • TriceraChorus

  • Very Stern

  • Vibecore

  • Vibrato

  • Yello Fin

  • Zwarbl

Undulator

Undulator is Eventide’s classic modulated tremolo effect from the iconic H3000 effects processor. This unique, rhythmic effect combines input swell, chained detuned delays, and ethereal feedback run through an AM/FM modulated tremolo. Additional secondary modulation allows for greater creativity and control. Whether used for manipulating samples or adding movement to strings, pads, guitars, and keys, Undulator is a muse for creative musicians.

  • Intensity: Increase the dry/effect ratio.

  • Feedback: Controls the amount of feedback in the delay structure.

  • Depth: Sets the tremolo sweep range, which increases in depth and intensity as the knob is turned clockwise.

  • Speed / Sensitivity: Sets the rate of the tremolo. Speed becomes Sensitivity when Shape is set to Envelope or ADSR.

  • Shape: Selects the waveform, or source, of the modulation. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

  • Spread: Controls the amount of detuning in the delay structure.

  • Depth Mod: Controls the amount of modulation of the Depth parameter. Analogous to AM (Amplitude Modulation).

  • Speed Mod: Controls the amount of modulation of the Speed parameter. Analogous to FM (Frequency Modulation).

  • Mod Rate / Mod Sens: Sets the secondary LFO rate – determines how fast the Depth Mod and Speed Mod “wiggle” their targets. Ranges from 1/8th to 8x the Speed value. Mod Rate becomes Mod Sens when Mod Source is set to Envelope or ADSR.

  • Mod Source: Selects the secondary LFO waveform, or source. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

Performance Parameters

  • Retrigger: Retriggers the primary and secondary modulation LFOs to the beginning of their cycles. Useful for re-syncing during playback, or creative effects.

  • Speed / Brake: The Brake engages while this switch is pressed. Short-press to toggle between Fast and Slow. Long-press to engage Brake.

  • Fast / Slow: Press to toggle between Fast and Slow, which slows the primary and secondary LFOs by a predetermined factor. The Brake does not engage while this switch is pressed.

  • Brake (M): Slows the LFOs at a constant rate and pauses the LFOs until the switch is released.

Factory Presets

  • Chopdulator

  • Cloud Pulse

  • Dreamdulator

  • DreamyDreamulator

  • DreamyDreamulator2

  • Haze Cutter

  • Lonesome Trail

  • Never There

  • Quadruple Peaks

  • Time Lapse

  • Tremdulator

Vibrato

Vibrato is an effect that simulates the pitch change you get by modulating a guitar string or using a whammy bar. Modulating the rate with an Expression Pedal or envelope will create some incredible vibratos. Three types of vibrato are offered – Modern, Vintage, and Retro.

  • Intensity: Effect level.

  • Type

    • Modern

    • Vintage

    • Retro

  • Modulation Depth: Sets the modulation sweep range from narrow to wide.

  • Speed / Sensitivity: Sets the modulation sweep rate. Speed becomes Sensitivity when Shape is set to Envelope or ADSR.

  • Modulation Waveform Shape: Selects the waveform, or source, of the modulation. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

  • Unused/Stereo Width/Filter Stages: For Modern and Vintage controls the width of stereo panning (stereo mode only). For Retro selects the number of filter stages.

  • Depth Mod: Controls the amount of modulation of the Depth parameter. Analogous to AM (Amplitude Modulation).

  • Speed Mod: Controls the amount of modulation of the Speed parameter. Analogous to FM (Frequency Modulation).

  • Mod Rate / Mod Sens: Sets the secondary LFO rate – determines how fast the Depth Mod and Speed Mod “wiggle” their targets. Ranges from 1/8th to 8x the Speed value. Mod Rate becomes Mod Sens when Mod Source is set to Envelope or ADSR.

  • Mod Source: Selects the secondary LFO waveform, or source. The choices are:

    • Sine

    • Triangle

    • Peak

    • Random

    • Square

    • Ramp

    • SampHold

    • Envelope: The modulation becomes driven by the amplitude of the audio input.

    • ADSR: The modulation becomes driven by an ADSR triggered by the amplitude of the audio input.

    • Manual: When selected, the Manual Mod parameter will control the modulation.

Performance Parameters

  • Retrigger: Retriggers the primary and secondary modulation LFOs to the beginning of their cycles. Useful for re-syncing during playback, or creative effects.

  • Speed / Brake: The Brake engages while this switch is pressed. Short-press to toggle between Fast and Slow. Long-press to engage Brake.

  • Fast / Slow: Press to toggle between Fast and Slow, which slows the primary and secondary LFOs by a predetermined factor. The Brake does not engage while this switch is pressed.

  • Brake (M): Slows the LFOs at a constant rate and pauses the LFOs until the switch is released.

Factory Presets

  • DynaVibrato

  • Quiverer

  • Swamp Moon

  • VibraPhaser2

  • VibraVibe

  • VibraVibe2

  • VibraViby

  • Warped Vinyl