Effect Reference

MODE Section

Mode

Selects between two operation modes: Classic (default setting) and Feedback. Whereas Classic mode generates a cleaner and more precise compression, Feedback mode introduces a subtle change in transient shape and frequency responsiveness. The memory-based envelope detection along with the knee-dependent ratio and gain give this mode a typical vintage feel.

DEPTH Section

Threshold

This value determines the threshold at which the Compressor starts to work.

Knee

This parameter defines how the Compressor starts to work: with a low setting, the transition into compression is soft, whereas with a high setting, the Compressor abruptly starts to work once the threshold is reached.

Amount

The amount of compression effect, often called ratio in typical applications.

TIME Section

Attack

Use Attack to adjust how fast the Compressor reacts on the incoming signal: the more you dial it to the right, the slower it will react. Longer Attack times let more transients through.

Release

The time the compressor will take to stop compressing after the input signal falls below the threshold. With longer release times it takes more time to get back to normal.

OUTPUT Section

Gain

Use Gain to adjust the volume of the resulting signal; sometimes called “make-up gain” as it can be used to compensate for any reduction in the signal induced by the settings above.

INPUT Section

Source

Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain deactivated, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups.

In the menu these outputs are labeled as follows:

For Groups: [Group name] (e.g., Drums)

For Sounds: [Group name]: [Sound name] (e.g., Drums: Kick)

In the selector display these outputs are labeled as follows:

For Groups: [Group name] (e.g., Drums)

For Sounds: [Group letter+number]:S[Sound number] (e.g., A1:S4 for the Sound 4 of Group A1)

Gain

Adjusts the input level of the side-chain signal fed into the Plug-in.

FILTER Section

Filter

Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in.

Center Freq

Adjusts the center frequency of the filter.

Width

Adjusts the bandwidth of the filter.

DEPTH Section

Threshold

This value determines the threshold at which the Gate starts to work. Higher values will let only the loudest parts of the signal through the Gate.

TIME Section

Attack

Use Attack to adjust how fast the Gate reacts to the incoming signal: the more you dial it to the right, the slower it will react, resulting in a softer transition between the gated and the not gated parts of the signal.

Hold

The Hold parameter is used to determine how long the gated signal is held; lower values will result in a more "choppy" effect.

Release

The time the Gate will take to release the input signal after it rises above the threshold.

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

INPUT Section

Source

Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain deactivated, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups.

In the menu these outputs are labeled as follows:

For Groups: [Group name] (e.g., Drums)

For Sounds: [Group name]: [Sound name] (e.g., Drums: Kick)

In the selector display these outputs are labeled as follows:

For Groups: [Group name] (e.g., Drums)

For Sounds: [Group letter+number]:S[Sound number] (e.g., A1:S4 for the Sound 4 of Group A1)

Gain

Adjusts the input level of the side-chain signal fed into the Plug-in.

FILTER Section

Filter

Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in.

Center Freq

Adjusts the center frequency of the filter.

Width

Adjusts the bandwidth of the filter.

DEPTH Section

Input Gain

Adjusts the level of the input signal. This allows you to offset the overall level once you have set the desired effect, in order to counterbalance the gain or loss of level that might occur.

Attack

Sharpens/softens the attack phases in your signal. With the knob at the middle position, the attack phases are not altered. From this position, turning the Attack knob to the left softens the attack phases, while turning it to the right sharpens them.

Sustain

Prolongs/shortens the sustain phases in your signal. With the knob at the middle position, the sustain phases are not altered. From this position, turning the Sustain knob to the left shortens the sustain phases, while turning it to the right prolongs them.

Limit

Activates a hard limiter at the output, preventing the output signal from clipping. This can be useful when the Attack knob is set to a high value as this may produce amplified attack phases which become too loud.

MODE Section

Mode

Selects from two different limiter types. The available modes are Legacy and Transparent.

DEPTH Section (Transparent mode only)

Threshold

This value determines the threshold where the Limiter kicks in. If you use it to prevent your signal from clipping, leave it at 0 dB; if you want to make your signal louder, dial the Knob to the left. Available values range in decibels from -40.0 dB to 0.0 dB (default: 0.0 dB).

Release

The time the limiter will take to stop limiting after the input signal falls below the threshold. With longer release times it takes more time to get back to normal. Available values can be adjusted in milliseconds from 1.0ms to 500.0ms (default: 1.0ms).

OUTPUT Section

Ceiling

Adjusts the maximum output level, or ceiling. The signal will not rise above this. Available values range in decibels from -40.0 dB to -0.3 dB (default: -0.3 dB).

INPUT Section

Source

Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain deactivated, default setting), the outputs of all (other) Sounds, and the outputs of all (other) Groups.

In the menu these outputs are labeled as follows:

Gain

Adjusts the input level of the side-chain signal fed into the Plug-in. Available values range from 0.00 dB to 1.00 (default: 1.00).

FILTER Section

Filter

Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in. Available values are off and on (default: off).

Center Freq

Adjusts the center frequency of the filter. Available values range in kilohertz from 20.0 Hz to 20.0 kHz (default: 632.5 kHz).

DEPTH Section

Amount

This parameter is used to adjust the amount of the Maximizer effect. Turn the knob clockwise to increase the loudness of the signal.

Curve

Controls the compression knee; higher values tend to result in faster and more aggressive gain control.

Turbo

Turbo intensifies the effect the Maximizer has on the signal by causing the maximizing algorithm to be applied twice.

INPUT Section

Source

Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain deactivated, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups.

In the menu these outputs are labeled as follows:

For Groups: [Group name] (e.g., Drums)

For Sounds: [Group name]: [Sound name] (e.g., Drums: Kick)

In the selector display these outputs are labeled as follows:

For Groups: [Group name] (e.g., Drums)

For Sounds: [Group letter+number]:S[Sound number] (e.g., A1:S4 for the Sound 4 of Group A1)

Gain

Adjusts the input level of the side-chain signal fed into the Plug-in.

FILTER Section

Filter

Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in.

Center Freq

Adjusts the center frequency of the filter.

Width

Adjusts the bandwidth of the filter.

LOW Section

Freq

Frequency selector for the low frequency band. Ranges from 20 Hz to 8 kHz.

Gain

This determines how much the selected frequency is increased/attenuated by.

LOW-MID Section

Freq

Frequency selector for the first mid-frequency band. Ranges from 40 Hz to 16 kHz.

Gain

This determines how much the selected frequency is increased/attenuated by.

HIGH-MID Section

Freq

Frequency selector for the second mid-frequency band. Ranges from 40 Hz to 16 kHz.

Gain

This determines how much the selected frequency is increased/attenuated by.

HIGH Section

Freq

Frequency selector for the high frequency band. Ranges from 50 Hz to 20 kHz.

Gain

This determines how much the selected frequency is increased/attenuated by.

LOW-MID Section

Width

Bandwidth control for the first mid-frequency band.

HIGH-MID Section

Width

Bandwidth control for the second mid-frequency band.

OUTPUT Section

Gain

Gain control for the EQ altogether.

TYPE Section

Mode

Select between four different filter modes: LP (low-pass), BP (band-pass), HP (high-pass), and Notch. Depending on the mode selected, the following parameters vary as indicated.

FREQ Section

Cutoff

Controls the cutoff frequency of the filter.

Resonance

Controls the amount of resonance, i.e. the amount of amplification near the cutoff frequency. It is not available with filter mode Notch.

MOD Section

Amount

Defines how much the Filter gets modulated by the modulation source.

Source

Select between three different modulation sources: LFO, LFO Sync, and Envelope. Depending on your choice for the modulation source, the following parameters appear to the right:

Source: LFO

Articulates the opening and closing of the filter using an LFO. Use this setting in combination with Speed, and LFO Shape.

Speed

Defines the speed of the modulation in hertz ranging from 0.03 Hz up to 16 Hz.

LFO Shape

Defines how the LFO evolves over time.

Source: LFO Sync

Articulates the opening and closing of the filter using an LFO in sync to the tempo of the Project. Use this setting in combination with Speed, LFO Shape, and Phase.

Speed

Defines the speed of the modulation in note values from 16/1 (one cycle every 16 bars) up to 1/32 note.

LFO Shape

Defines how the LFO evolves over time.

Phase

Adjusts the start phase of the LFO.

Source: Envelope

Articulates the opening and closing of the filter using an envelope. Use this setting in combination with Decay, Smooth, and Shape.

Decay

Adjusts how fast the envelope fades out.

Smooth

Smooths the shape of the envelope.

Shape

Changes the shape of the envelope.

INPUT Section

Source

Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain deactivated, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups.

In the menu these outputs are labeled as follows:

For Groups: [Group name] (e.g., Drums)

For Sounds: [Group name]: [Sound name] (e.g., Drums: Kick)

In the selector display these outputs are labeled as follows:

For Groups: [Group name] (e.g., Drums)

For Sounds: [Group letter+number]:S[Sound number] (e.g., A1:S4 for the Sound 4 of Group A1)

Gain

Adjusts the input level of the side-chain signal fed into the Plug-in.

FILTER Section

Filter

Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in.

Center Freq

Adjusts the center frequency of the filter.

Width

Adjusts the bandwidth of the filter.

CABINET Section

Cabinet

Selects from four different cabinet types, which includes:

MICROPHONE Section

Microphone

Selects from six different microphone types, which includes:

Distance

Adjusts the distance of the microphone from the cabinet. Available values range from 0.0 to 100.0% (default: 0.0%).

OUTPUT Section

Mix

Adjusts the ratio between the effect (wet) signal and original (dry) signals. Available values range from 0.0 to 100.0% (default: 100.0%).

MOD Section

Rate

The Rate knob defines how fast the phase (and thus the perceived pitch) of the detuned signal is being modulated.

Amount

The amount of the Chorus effect.

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

MAIN Section

Frequency

This defines the center frequency of the Flanger.

Feedback

Adjusts the amount of output signal fed back into the input.

Invert

Inverts the Flanger.

MOD Section

Amount

This defines how much the Flanger gets modulated by the modulation source.

Source

Here you can select the modulation source of the Flanger: available options are LFO, LFO Sync, and Envelope. Depending on your selection, the parameter to the right will change.

Speed (LFO)

Defines the speed of the LFO in a range from 0.03 Hz up to 8 Hz.

Speed (LFO Sync)

Defines the speed of the LFO in note values from 16/1 (one cycle every 16 bars) up to 1/16 note.

Shape (Envelope)

Change the shape of the envelope here.

Stereo

This parameter widens the stereo field of the effect.

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

FREQ Section

Rate

This is for adjusting the speed of the FM modulation.

Split

The Split control determines the extent to which the FM effect is applied to high frequencies via a crossover. Turn to the right to affect higher frequencies. It can be useful to eliminate noise artifacts caused by FM of very high signals.

With high Split settings, the effect becomes more “gritty” and crackling.

DEPTH Section

Contour

Contour determines the extent to which the input volume affects the intensity of the effect.

Amount

Determines the amount of the FM effect.

FREQ Section

Coarse

This is used to define the basic frequency of the Freq Shifter.

Fine

Fine-tune the frequency here.

OUTPUT Section

Feedback

Adjusts the amount of output signal fed back into the input. Increasing this parameter will increase the intensity of the effect.

Stereo

This parameter widens the stereo field of the effect.

Invert

Inverts the settings of the Freq Shifter.

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

MAIN Section

Frequency

This defines the center frequency of the Phaser.

Feedback

Adjusts the amount of output signal fed back into the input.

8Pole

Activating this causes the Phaser to use the 8Pole mode, resulting in a more intense phasing effect.

MOD Section

Amount

This defines how much the Phaser gets modulated by the modulation source.

Source

Here you can select the modulation source of the Phaser: available options are LFO, LFO Sync, and Envelope. Depending on your selection, the parameter to the right will change.

Speed (LFO)

Defines the speed of the LFO in a range from 0.03 Hz up to 8 Hz.

Speed (LFO Sync)

Defines the speed of the LFO in note values from 16/1 (one cycle every 16 bars) up to 1/16 note.

Shape (Envelope)

Change the shape of the envelope here.

Stereo

This parameter widens the stereo field of the effect.

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

ROOM Section

Color

With lower settings, the general sound is a bit more muffled. The higher the Color value, the brighter it sounds.

Ice

The “ICE” factor: higher values sound more metallic.

Size

Adjust the size of the virtual room here.

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

ROOM Section

Size

Adjust the size of the virtual room here.

EQ Section

Low

Low band EQ to cut or boost bass frequencies.

High

High band EQ to cut or boost high frequencies.

POSITION Section

Pan

This pans the dry signal. This is useful because the dry signal can not be panned after the effect without panning the reverb itself, which is unnatural.

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

ROOM Section

Color

At lower settings, the general sound is a bit more muffled; the higher the settings, the brighter it sounds.

Smooth

With this parameter, you can soften the metallic character of Reflex.

Size

Adjust the size of the virtual room here.

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

ROOM Section

Room

This allows you to choose one of four basic characteristics of the Reverb: General, Bright, Guitar, and Shatter.

Size

Adjust the size of the virtual room here.

EQ Section

Low

Low band EQ to cut or boost bass frequencies.

High

High band EQ to cut or boost high frequencies.

POSITION Section

Pan

This pans the dry signal. This is useful because the dry signal can not be panned after the effect without panning the reverb itself, which is unnatural.

Stereo

This parameter widens the stereo field of the effect.

OUTPUT Section

Freeze

Enabling Freeze both mutes the dry signal and traps the current state of the Reverb output in a temporary buffer to make it last much longer. This is a powerful tool for playing live: By simultaneously tweaking the Mix knob nearby, you can create striking breaks! Setting the EQ’s Low and High controls to generous values will further increase the effect.

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

DELAY Section

Time

The Time parameter defines the delay length in note values. The available values depend on the unit defined by the Unit parameter on the Unit page (refer to below). They range from half a unit to 16 units.

Offset

This parameter is used to shift the start of the delay in relation to the tempo.

Feedback

Adjusts the amount of output signal fed back into the input. Higher values produce more copies of the signal and longer decays.

Crossover

Allows for panning the feedback signal rhythmically in the stereo field.

Color

Defines the basic frequency of the feedback circuit: lower values result in a deeper sound, whereas higher values brighten the sound.

Split

Controls the difference in frequency between the left and right channels. At full left, this control is deactivated.

OUTPUT Section

Stereo

This parameter widens the stereo field of the effect. For example, values go from -100.0 % to 100 %, and negative values inverse the stereo field of the effect.

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

UNIT Section

Unit

Defines the unit used by the Time and Offset parameters on the Main page.

GRAIN Section

Pitch

Determines the pitch of the grains: low values result in a deep, slowly repeating grain. High values speed up the grain, making it sound faster and higher.

Size

Defines the length of the grains.

Jitter

Introduces artifacts into the grains.

Reverse

Produces a reverse playback of the grain.

CLOUD Section

Space

Determines the spacing between the grain clouds: the higher the value, the bigger the space between the clouds.

Density

Creates a more “dense” cloud: higher values create feedback-like effects.

Mod

The amount of modulation introduced to the grain cloud.

Mix

Lets you adjust the amount of the effect in relation to the dry original audio signal.

OUTPUT Section

Stereo

This parameter widens the stereo field of the effect. Values go from 0 % (no stereo) to 100 % (full stereo).

MASTER Section

On

Enables the effect. Every time this control is switched on, the Grain Stretch effect buffers incoming audio for 32 x 1/16th step.

TIME Section

Stretch

Defines the time-stretch amount. Set to 50.0 % for half speed.

Loop

Sets a loop length, in 1/16th steps.

PITCH Section

Pitch

Adjusts the pitch of the grains.

Link

When on, grain size is corrected by the pitch.

Size

Adjusts the size of the grains.

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

PITCH Section

Mode

Here you can select between the two modes of the Resochord: Chord and String. In Chord mode, the 6 combs are tuned according to various chords. In String mode, the 6 combs are centered around one frequency and can be spread for an intense chorus-like effect. Depending on your selection the other parameters in the Pitch area will change.

Spread (String mode)

Allows you to define how big the difference in tuning is between combs.

Style (Chord mode)

You can select between different chord-styles such as minor or major.

Chord (Chord mode)

Here you can choose from different chords to be applied to your audio signal.

Tune

It allows you to transpose the Resochord in semitones.

COLOR Section

Brightness

This is to determine the basic sound characteristic of the Resochord: higher values will brighten the sound by adding high frequencies.

Feedback

Adjusts the amount of output signal fed back into the input.

Decay

With Decay you adjust how fast the Resochord fades out.

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

MAIN Section

Mode

Select a distortion type: Mullholland or Analog.

Drive

Determines the basic amount of distortion.

Color

At lower settings, the general sound is a bit more muffled; the higher the settings, the brighter it sounds.

Feedback

Adjust the amount of output signal fed back into the input.

Tone

General tonal characteristic of the feedback signal.

Tone Mod

Modulation introduced in the feedback signal.

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

GATE Section

Gate

The Gate button is used to cancel out feedback loops introduced by high Feedback settings.

Release

This parameter determines how fast the distorted sound dies down when the Gate is activated.

MODE Section

Mode

Select a distortion type: Mullholland or Analog.

DISTORTION Section

Saturation

Sets the amount of saturation applied to the signal. Available values range from 0.0 to 100.0% (default: 25.0%).

Bass

Attenuates the low frequencies of the distortion effect. Available values range from 0.0 to 100.0% (default: 100.0%).

Tone

Sets the frequency for the high cut filter. Filtering the harmonically rich distorted signal produces a softer tone. Available values range from 0.0 to 100.0% (default: 100.0%).

Focus

Switches the frequency range of the processed signal, pulling it slightly further forwards in the mix. The effect is more pronounced when Definition is set to lower values.

Definition

Determines how pronounced the distortion effect is. Available values range from 0.0 to 100.0% (default: 50.0%).

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Available values range from 0.0 to 100.0% (default: 100.0%).

RESAMPLE Section

SR

SR stands for Sample Rate and ranges from CD-quality (44.1 kHz) to 99.5 Hz which results in a hissy crackle.

BITCRUSH Section

Bits

Introduces a distortion based on bit reduction.

Smooth

Reduces the aliasing introduced by the Lofi effect.

Stereo

Widens the stereo field of the effect.

OUTPUT Section

Mix

Mix lets you adjust the amount of the effect in relation to the dry original audio signal.

MAIN Section

Mode

Selects between Classic, Tape, and Tube saturation modes. All other parameters vary according to the mode selected here.

Input

Controls the input gain of the effect. Increasing Input will also increase the amount of compression performed on the audio signal.

Contour

Determines how closely the Saturator responds to the input volume. Higher values create a more distorted sound.

Drive

Adjusts the amount of distortion introduced by the Saturator.

MAIN Section

Mode

Selects between Classic, Tape, and Tube saturation modes. All other parameters vary according to the mode selected here.

Input

Controls the input gain of the effect. This affects the amount of tape distortion and compression.

Contour

Controls the high frequency roll-off starting frequency. Frequencies above this point will be attenuated.

Drive

Controls the low frequency boost/cut of the effect.

MAIN Section

Mode

Selects between Classic, Tape, and Tube saturation modes. All other parameters vary according to the mode selected here.

Charge

In Tube mode the Saturator provides a negative feedback loop that attenuates the level at the Saturator’s input according to the amount of low frequencies at its output. This notably prevents the bass content “polluting” the saturation. The Charge parameter allows you to adjust the amount of feedback. At 0 (full left) the feedback loop is deactivated. Increase the Charge value to strengthen the effect. Higher values additionally generate an interesting compression-like effect.

Overload

Boosts the low frequencies of the input signal. Used together with the Charge parameter (see above) it provides you with a powerful tool to produce a richer, fatter sound.

Drive

Adjusts the level of the input signal. This directly affects the amount of tube distortion.

EQ Section

Bypass

Enable this button to bypass the EQ section.

Bass

Adjusts the level of the low frequency band.

Treble

Adjusts the level of the high frequency band.

OUTPUT Section

Gain

Adjusts the output level of the effect. Use this to compensate for changes in volume caused by input gain and signal compression.

MODE Section

Mode

Select an effect.

TOUCHSTRIP Section

Engage

Activates the filter.

Frequency

Sets the cutoff frequency according to the min/max range parameters.

FILTER

Type

Selects from Low Pass, Band Pass and High Pass modes.

Resonance

Sets the resonance of the filter. Values over 100% will lead to self-oscillation—be careful! Turn down the Output Gain (and turn up the Saturation to compensate) in order to avoid extremely loud ringing. Note that the resonance will sound more pronounced at lower saturation settings and vice versa.

RANGE Section

Min. Freq

Sets the lower limit for cutoff frequency.

Max. Freq

Sets the upper limit for cutoff frequency.

SATURATION Section

Saturation

Sets the input gain of the filter.

Out Level

Sets the output gain of the filter.

MODE

Mode

Select an effect.

TOUCHSTRIP

Engage

Activates the effect.

Frequency

Controls the volume of the comb filter.

FLANGER

Decay

Controls the decay time.

SATURATION

Controls the saturation in the feedback path, producing a dirtier, compressed sound.

STEREO

Controls the stereo spread of the effect.

COLOR

Polarity

Flips the phase of the signal in the feedback loop. Negative polarity lowers the pitch by an octave and produces a slightly hollower sound.

Tone

Offers the choice between Flanger mode, essentially a straightforward comb filter or short delay, and Phaser mode, which shifts the phase of the signal in the feedback loop to produce a more rounded, hollow tone.

MODE

Mode

Select an effect.

TOUCHSTRIP

Engage

Activates the effect. When activated, feeds a burst of signal into the effect according to the length set by the Feed parameter.

TS Assign

Assigns the control to Feedback or Time.

Feedback: Sets the delay feedback when the effect is activated. The feedback is reduced when the effect is disengaged.

ECHO

Time

Controls the delay time, either continuously or in quantized divisions according to the Time Mode.

Time Mode

Sets the rhythm mode of the delay, either in quantized note divisions (Straight/Dotted/Free) or unquantized (milliseconds).

Filter

Adjusts the LP and HP filter in the feedback loop. At 0%, the filter is fully open. At higher values, the HPF frequency increases and LPF frequency decreases for more aggressive filtering.

Wet Level

Adjusts the volume of the delayed signal.

ROUTING

Mix Mode

Mix mode sets the routing of the signal:

Feed

Sets the length of the burst of audio to feed into the delay input whenever the effect is initially activated. Shorter burst lengths (e.g. 100-150ms) are useful for picking out notes or drum hits. Longer burst lengths (up to a second) can be used to repeat musical phrases. Set to maximum (>99%), the feed is continuous, deactivating burst mode entirely and simply feeding the delay whenever the effect is on.

MODE

Mode

Select an effect.

TOUCHSTRIP

Engage

Activates the effect.

Frequency

Controls the frequency of the filters in the filter bank, altering the tonality of the signal.

ECHO

Time

Sets the delay time.

Feedback

Sets the delay feedback.

Pump

Controls the amount of compression applied to the feedback loop.

Wet Level

Controls the volume of the delayed signal.

Mix Mode

Sets the routing of the signal:

- In Mix mode, the dry signal is passed unprocessed and the wet signal is added on top according to the Wet Level parameter.

- In Insert mode, the dry signal is processed with a filter and the wet signal is added on top. The Wet Level parameter is an output level control for the whole effect while engaged.

- In Wet Only mode, the dry signal is muted entirely, which is useful for placing the effect on a send.

COLOUR

Saturation

Controls the amount of saturation applied to the feedback path.

Resonance

Controls the resonance of the filters in the filter bank. More resonance emphasizes the "singing" effect.

MODE

Mode

Select an effect.

TOUCHSTRIP

Engage

Activates the effect.

Frequency

Controls the frequency of the ring modulators.

OSC

Spread

Controls the frequency spread of the ring modulators. At low Spread values, the ring modulators converge to a single modulation frequency. At higher Spread values, the oscillator frequencies become further apart.

Glide

Sets the smoothing rate of the control position, allowing for pitch slides as you activate different values.

REVERB

Rev Time

Controls the decay time of the plate reverb.

Rev Mix

Controls the dry/wet mix of the plate reverb.

MIX

Dry/Wet

Controls the dry/wet mix of the overall effect.

ROUTING

Mix Mode

Mix mode sets the routing of the signal:

MODE

Mode

Select an effect.

TOUCHSTRIP

Engage

Controls a hard bypass. Activating the control commences looping, releasing the control bypasses the effect.

Length

Can be assigned to Length (loop length, by default) or Pitch (relative pitch) using TS Assign.

TS Assign

Assigns the control to Length or Pitch.

STUTTER

Gate

Applies a volume envelope to the loop, exaggerating the "stutter" effect, especially at short loop lengths. Setting the parameter to 100% effectively disables the envelope whereas the gating is most extreme at 0%.

Pitch

Parameter controls playback pitch (relative to pitch when the effect is engaged) when the controls are assigned to Length, and the Length parameter controls loop length when the control is assigned to Pitch. Otherwise each of these parameters has no effect and is respectively hidden.

LOOP

Direction

Controls the looping direction—Forward (always forward), Reverse (always reverse) or Both. In Both mode, direction is forwards by default on engage and whenever the most recent control movement was upwards, or reverse whenever the most recent control movement was downwards. The Direction parameter is available only when the TS Assign is set to Length.

Quantize

Quantizes the loop length and start point to the song position and tempo. When Quantize is off, the loop length is continuously variable and measured in milliseconds, and no quantization takes place. Quantization is especially meaningful if direction is set to Reverse or Both, since it's during reverse playback where a poorly timed loop will sound completely off-time.

MODE

Mode

Select an effect.

TOUCHSTRIP

Engage

Enables and disables the effect.

Position

Controls the tremolo and vibrato rate and depth, within the ranges defined by the Min and Max parameters on the second page.

TREMOLO

Trem/Vibr

Controls the balance between tremolo (modulation of amplitude) and vibrato (modulation of frequency/pitch).

Vibr Mode

Sets the vibrato mode. Two are available: Varispeed, which modulates the playback speed of the audio, much like moving the pitch control on a turntable or tape player, and Freq Shift, which uses a modulated frequency shifter. Freq Shift produces a somewhat detuned sound due to the nature of the frequency shifting—low frequencies are more audibly shifted than high frequencies. Varispeed scales pitches evenly across the audible range, but it introduces small fluctuations in timing.

Attk/Rel

Controls the speed at which the effect comes on after turning the effect on and tails off after releasing the effect.

Stereo

Controls the stereo width of the modulation.

DEPTH RANGE

Depth Min

Controls the amplitude of the modulation when the parameter position is set to 0%.

Depth Max

Controls the amplitude of the modulation when the parameter position is set to 100%.

DEPTH RANGE

Rate Min

Controls the rate of the modulation when the parameter position is set to 0%.

Rate Max

Controls the rate of the modulation when the parameter position is set to 100%.

MODE

Mode

Select an effect.

TOUCHSTRIP

Engage

Engages the turntable brake, enabling scratch control. When released, the effect is bypassed entirely.

Position

Controls the brake speed (higher = slower brake), the scratch position (higher = forward) and the delay time (higher = longer delay time).

SWIRL

Delay Time

Controls the delay time range. Longer values produce a delay effect. Shorter values result in a comb filtering effect. The Position parameter acts as a further scale factor on this delay time.

Feedback

Controls the delay feedback.

Freq Shift

Controls a frequency shifter in the delay feedback loop. At 12 o'clock, the frequency shifter is deactivated. Swirling, alien and metallic sounds can be made by enabling the frequency shifter and increasing the feedback.

Wet Level

Controls the level of the delay effect.