User Manual
Contents
1. bLamsoFE 2015 Blamsoft Inc All rights reserved 33 Magnitude dB Magnitude dB 2 Pole Highpass 1 Pole Lowpass 10 10 Frequency Hz 3 Pole Highpass 1 Pole Lowpass 10 10 Frequency Hz O bLamsoFE 2015 Blamsoft Inc All rights reserved 10 10 34 Magnitude dB Magnitude dB 2 Pole Notch 1 Pole Lowpass 10 10 Frequency Hz 3 Pole Allpass 1 Pole Lowpass Magnitude 10 10 Frequency Hz bLamsoFE 2015 Blamsoft Inc All rights reserved 10 10 35 3 Pole Allpass 1 Pole Lowpass Phase 10 10 Frequency Hz bLamsoFE 2015 Blamsoft Inc All rights reserved 10 362. 93 Low O X Over Damp Delay Mix The reverb effect adds a hall like spatialization effect to the sound e Mid Time Adjusts the T60 decay time for the mid range frequencies e Low Time Adjusts the T60 decay time for the low range frequencies e Crossover Adjusts the cross over frequency between mid and low range e Damping Sets the frequency of high frequency damping e Delay Adds a delay to the signal to simulate a larger space e Mix wet dry control for the effect bLamsoFE 2015 Blamsoft Inc All rights reserved 18 Theory Harmonics Editor Op Shape a amp Wave Hum Ratio Phase Reset ee auam 1 ee ee fe Ces Sl rm The Harmonics Editor lets you duplicate the operator waveform shape at multiples of the fundamental frequency The duplicated waveforms are summed to create the final waveform For example if you play an A4 on the keyboard the fundamental frequency is 440 Hz This is harmonic 1 on the display The harmonics further to the right are multiples of the harmonic 1 frequency A4 Harmonic Frequences Harmonic 1 1 440 440 Hz Harmonic 2 2 440 880 Hz Harmonic 3 3240 1520 HZ Harmonic n n440 Hz bLamsoFE 2015 Blamsoft Inc All rights reserved 19 In the following plot there is a sawtooth with two harmonic frequencies enabled in the editor The blue sawtooth is at the fundamental frequency The green sawtooth is at the harmonic 2 frequency twice the fundamental Wh
3. IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE bLamsoFE 2015 Blamsoft Inc All rights reserved Filter Appendix Low Pass Filters Magnitude dB 10 10 Frequency Hz High Pass Filters Magnitude dB 10 10 Frequency Hz O bLamsoFE 2015 Blamsoft Inc All rights reserved 10 10 31 Magnitude dB Magnitude dB Band Pass Filters 10 10 Frequency Hz 2 Pole Notch 10 10 Frequency Hz bLamsoFE 2015 Blamsoft Inc All rights reserved 10 10 32 3 Pole Phase Magnitude dB Phase radians 40 3 Pole Allpass Magnitude ececccoedecccedecccbeccbecbecbedecieccccccccccccccbececcccecioccccocioccedecebeedecbecsiecioocccccccccecedececececiocccecioccedecedeccieccdeciocbecececcceccccce ooo 10 10 10 Frequency Hz 3 Pole Allpass Phase 10 10 10 Frequency Hz
4. of Zero are six additive waveform generators or operators The operators can modulate each other through frequency or ring modulation There are two multi mode filters for subtractive synthesis Low frequency modulation is available through dedicated LFOs and envelopes in the operators two global LFOs and a routable mod matrix Three onboard effects chorus delay and reverb complete the signal path There is also a lot of fun to be had when experimenting with Zero Color Coding The synth is divided into sections that are labeled with a color that has a meaning Cyan Operator controls per operator Magenta Low frequency modulation unison and performance Black Envelope selection Orange Audio rate modulation matrix and amp Green Filter 1 Yellow Filter 2 Red Effects bLamsoFE 2015 Blamsoft Inc All rights reserved Performance EM gt Range Pitch Mod Poly Vol Malin mm 2 Glide Legato The Main section includes parameters found on almost every modern synth Glide Adjusts the rate that the pitch updates when a new note is played Pitch Range Adjusts the range of the pitch wheel Pitch Wheel Controls the pitch during performance Mod Wheel Performance control that is routable in the Routing section Legato When enabled and polyphony is set to 1 envelopes do not retrigger if notes are continuously played with no breaks Polyphony Adjusts h
5. originally developed by John Chowning at Stanford University in 1967 1968 and was made popular in Yamaha synthesizers Many FM synths are limited to using sine waves in the operators but the flexible waveforms in Zero give it powerful sound generation capabilities The basic principle of FM is that the output of one operator adds to the frequency control of a second operator In musical terms this is vibrato only it is happening very fast The first operator is called the carrier and the modulator is simply called the modulator Frequency modulation creates what are called side bands in the output spectrum that give it its characteristic sound Ring Modulation In ring modulation one operator output is multiplied by another operator output Yes it really is that simple But it produces a sum and difference of frequencies in the two waveforms that make for an interesting sound bLamsoFE 2015 Blamsoft Inc All rights reserved 24 Connections Performance CV In Performance CY In Gate Note PW MW a ae Lal ALF F i m i E poy 4 The Performance CV In group lets you control Zero with an external triggering device such as Blamsoft Distributor or the Matrix Pattern Sequencer Zero supports the PolyCV protocol for polyphonic triggering e Gate Controls triggering velocity e Note Controls triggering note e PW Pitch Wheel input e MW Mod Wheel input e AT Aftertouch input e Sust Sustai
6. LamsoFE 2015 Blamsoft Inc All rights reserved 10 Matrix dit LE um E Pa E A GE Ek sg COCOG Doocoooccoc F GCGCCCGCGG COCOG GC E GGGGG mod ome vn a uc coc 2 The matrix is where the FM RM action takes place as well as panning output volumes and routing to the filters Frequency Ring Modulation When the FM button is selected the matrix shows the frequency modulation matrix for the operators Likewise RM shows ring modulation The button simply selects the mode for editing The FM and RM processing are always both enabled Each row represents an operator When the knob is turned in one of the columns the column number operator is modulating the row operator 2 23 4 DOT er 0000 s Gh CD A In this example operator 1 is being modulated by operator 2 In FM terminology operator 1 is the carrier and operator 2 is the modulator bLamsoFE O 2015 Blamsoft Inc All rights reserved 11 Operator Pan and Volume Pan Cut Da Law T Le 2 X The right two columns control pan and volume of each operator in the output mix Filter Routing En FT j 1 Fi A j i Le P 3i F A Land J o u mil JW TE E MA Se F2 E d i y F id uS s a sm zm The bottom two rows represent the filter inputs The operator columns control the amount that that operator is mixed into the filter in
7. O DLIMSOFE se met E i i a Qmm EMO es s 11 PICO AS sunt ten e NewZersEx e ler d iem d 4 km Tal A 4 1 a An WT 0p Freg Op Mix Operator i SoD o 8 f Course Fine Noise Val 1 2 3 a Op Shape 1 T4 Wave Hum Ralio ag Phase Resel ENT LED Dp Envelopes SN Syne Rate Wave 9 9 Q Pan Vol Mod D DO og Pitch Phase Pan Vol BASS Og O0 ge DOE E o E F2 3 0 Mod Pitch Phase Main m Envelopes Gide Layan 5 6 Fit Filt 2 Amp Range Pitch Mod Poly Vol Matrix 1 2 3 4 5 amp Pan Out i S 1 QodgoGOoOQOQ 20 000000C 3 de y J 5 E 4 Ay a3 55 l Ay K s 7 T ei OF Harmonics 1 42 Op Harmonics 142 43 464 65 126 Al FM 3 Am qJOSWe 7c e Unison es Modifier m Routing liter L Source Amt Destination Ami Scale Pole band oie x v Eo S Volees Det na x Y 2 J 3 e G MEE PET A BB 7U Saans LEa M EE ES S e NI NI EE cirenean SMe ate EN M o eee aa a E a 20 RS NNNM o eee EA x pia Chorus Delay FB Mad Reverb m NA List Ss ye kisa WA Delay Rate Depth FB Mix EL a Let Right Fe Width Pan T Rate Mid Op M PES Mix X Over Damp Delay Mix Hybrid Sunthesizer 1 0 0 User Manual Rev D Overview Zero packs additive subtractive FM and RM synthesis into one very flexible and powerful synth At the heart
8. Off bLamsoFE 2015 Blamsoft Inc All rights reserved Using an Envelope Loop Off SIAC Each envelope can have up to six stages The number of stages is adjusted by dragging the End number The level and time of each stage can be adjusted by clicking and dragging the points at the end of each stage By clicking and dragging in the middle of each stage you can adjust the curve You can have the stage times synced to tempo by changing Time control to Div meaning beat divisions The sustain stage is set using the Sust number The Loop parameter can be used to loop the envelope and set the loop time You can also choose Sync or Free to decide whether the loop is synced to the song transport Operator Harmonics The operators have an additive synthesis engine The operator waveform is layered at each harmonic frequency You can edit the layering by dragging the bars in the display The bars above the middle adjust the magnitude of the waveform at that frequency The bars below the middle adjust the phase For more details see the Theory section bLamsoFE 2015 Blamsoft Inc All rights reserved Operators 0p Fea Op Mix Operator Envelopes i i Coarse Fine Noise Vol 1 2 3 q 5 6 Fita Filt2 Amp Op Shape ol YM E Wave Num Ratio Phase Reset End 5 Loor OFF Sunc Op LFO Op Envelopes D a Sync Rate Wave 0 a O Q 4 Op Harmonics Goggo
9. cutoff frequency e Frequency Adjust filter frequency trom 20 Hz to 20 kHz bLamsoFE 2015 Blamsoft Inc All rights reserved 13 Modulation Unison ms Modifier m Roprna gt e 1 Source Amt Destination Am Y Y Voices Detune scale e Global LEO Rate Wave 1B Ll cccecc cecece The modulation possibilities include the Global LFO Modifier and Routing sections Global LFO There are two LFOs available as sources in the Routing section These LFOs are configured in the Global LFO section e Sync Allows you to select a beat division for the LFO or choose Free Run Key Reset Free Run Key Reset frequency is controlled by the Rate knob e Rate Adjusts the frequency in the free running LFO modes e Wave Allows you to select a waveform from sine to triangle to saw to square to pulse e Buttons Selects LFO 1 or 2 Modifier These two knobs are available as sources in the Routing section They may be used in performance similar to a mod wheel or they could be used to tweak a parameter to a desired setting Routing This is a mod matrix not to be confused with the audio modulation matrix You can set up modulation connections one in each row Source selects the input source for the modulation Destination is the controlled parameter Scaling controls how much the source affects the destination and defaults to 100 bLamsoFE 2015 Blamsoft Inc All
10. en these two waveforms are summed they result in the red waveform In Zero the summed waveform is scaled to be between 1 and 1 0 5 0 5 x 10 Here you can see the settings that correspond to this plot for one of Zero s operators Dp Shape 1 e ql ny qe Wave Num Ratio Phase Resel The lower area of the Harmonics Editor adjusts the phase of that particular harmonic In the following plot harmonic 2 the green sawtooth has had its phase changed to 58 degrees It has in effect been shifted to the left compared to the blue one so the first peak is now outside the plot area When the two sawtooths are summed they create a different final waveform bLamsoFE 2015 Blamsoft Inc All rights reserved 20 In Zero s settings the phase for harmonic 2 has been adjusted by adding a lower bar Op Shape L e em wv ea Wave Hum Ratio Phase Reset Op Shape Settings There are some special additive synthesis settings that affect the final operator waveform The Number of Harmonics knob controls how many harmonics are in the final waveform And the Ratio knob adjusts the harmonic trequencies In this case harmonics are thought of strictly as sine waves Any waveform besides a sine wave has other frequencies besides the fundamental frequency Some basic waveforms consist of sine waves at only multiples of the fundamental called harmonics For example a sawtooth has harmonics that scale with the harmo
11. n This is however not a binding provision of this license THE SOFTWARE IS PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND EXPRESS OR IMPLIED INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM DAMAGES OR OTHER LIABILITY WHETHER IN AN ACTION OF CONTRACT TORT OR OTHERWISE ARISING FROM OUT OF OR IN CONNECTION WITH THE SOFIWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE bLamsoFE 2015 Blamsoft Inc All rights reserved 30 Fastapprox Copyright c 2011 Paul Mineiro All rights reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution Neither the name of Paul Mineiro nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE
12. n pedal input Routable CV In RouTtable CY In 1 z 3 The Routable CV In group provides CV inputs that are selectable as sources in the Routing section mod matrix Global CV In Global CY In Vol Pan Cutoff Fes bLamsoFE 2015 Blamsoft Inc All rights reserved The Global CV In group lets you control Zero s output and filters e Vol Output volume e Pan Output pan e Cutoff Filter 1 and 2 frequency e Res Filter 1 and 2 resonance Operator CV In Operator CV In The Operator CV In group lets you control pan volume FM RM modulation amount pitch and phase for the six operators Audio Out Audio Our L R n m d T f TS Le m Connect this directly to the mixer or to external effects bLamsoFE 2015 Blamsoft Inc All rights reserved 25 26 LFO CV Out LEO Ev Our LFO 1 LFO2 s T1 n The two global LFOs are available as outputs LFO CV Out Er EX Out Fiti Fit2 Amp ne rr s L LJ D The global envelopes are available as outputs Note that these outputs are typically used with monophonic sounds bLamsoFE 2015 Blamsoft Inc All rights reserved 2 CPU Usage There are several ways to reduce CPU usage e Reduce Polyphony This can help with sounds that have long release tails e Use less unison voices Unison is a common cause of high CPU e Use only operators 1 to 4 If you avoid using both operators 5 and 6 it red
13. nic number Below you can see the harmonics for sawtooth triangle and square waveforms bLamsoFE 2015 Blamsoft Inc All rights reserved 21 E n E e m L i L http hyperphysics phy astr gsu edu hbase audio geowv html The sawtooth waveform can be thought of as a sum of scaled sine waves at the harmonic frequencies As you sum more of the harmonic sine waves you get closer to the exact sawtooth The following plot shows how adding more harmonics results in a more exact sawtooth The sum of harmonics is plotted for harmonics 1 through 10 bLamsoFE 2015 Blamsoft Inc All rights reserved 22 Here is the same plot for a pulse DL SLT CNT TN BROS SEEN Now that you are thinking about sums of sine waves the Ratio knob will make more sense The harmonic amplitudes stay the same but instead of each harmonic being at the harmonic number times the fundamental they will be spaced by the ratio times the fundamental So for an A4 note with a ratio of 3 the following frequencies result 440 440 Hz 440 3 1 440 1760 Hz A4 Frequences 440 3 2 440 3080 Hz 440 3 n 1 440 Hz When the operator waveform is simply a sine wave the Number of Harmonics and Ratio knobs will have no effect because a sine wave is only the fundamental frequency aka harmonic 1 bLamsoFE 2015 Blamsoft Inc All rights reserved 23 Frequency Modulation Frequency Modulation Synthesis was
14. or more details Ratio Adjusts the frequency spacing between the harmonic sinusoids of the waveform See the Theory section for more details Phase Coherence Adds random phase amounts to the sinusoids of the waveform Reset Adjusts the starting phase of the operator Op LFO Sync Allows you to select a beat division for the LFO or choose Free Run Key Reset Free Run Key Reset frequency is controlled by the Rate knob Rate Adjusts the frequency in the free running LFO modes Wave Allows you to select a waveform from sine to triangle to saw to square to pulse Amount Knobs Applies the LFO to pan volume FM RM modulation amount pitch and phase A negative amount can be applied to invert the waveform Op Envelopes Amount Knobs Applies the parameter envelope for pan volume FM RM modulation amount pitch and phase to the parameter A negative amount can be applied to invert the envelope Buttons Selects the envelope for editing Op Harmonics Buttons Selects the harmonics for editing bLamsoFE 2015 Blamsoft Inc All rights reserved Keyboard Tracking Keyboard Tracking 1 2 3 4 hr D LA M ME a a x 2 E z L F m E P F E any r e pin gU On the back there are knobs that control how each operator responds to MIDI notes You can adjust the frequency spacing between notes in semitones For normal operation the tracking is set to 1 semitone per MIDI note b
15. ow many simultaneous notes can be played by setting the number of synth voices A synth voice is active when its amp envelope is not zero Volume Sets the output volume bLamsoFE 2015 Blamsoft Inc All rights reserved Main Display Op Envelopes Fu UEM UI EM FT This is an area you will use a lot It displays the operator harmonics operator envelopes and global envelopes These are selectable from the buttons surrounding the display Above the display you can access the global envelopes envelopes Fita Filt 2 Amp Below the display you can access the operator envelopes and the operator harmonics a Li VV Op Harmonics Za BEBE Pan Vol Mod Pitch Phase 1 42 43 B4 B5 126 All The text in the lower right corner shows you what is being displayed Global Envelopes mm envelopes Fita Filt2 Amp There are three global envelopes filter 1 frequency filter 2 frequency and the amp volume bLamsoFE 2015 Blamsoft Inc All rights reserved For example the filter 1 frequency envelope is being shown on the display Operator m Enveloppes Filt 1 Filt 2 Amp Time Sec Sust ES Loo OFF Op Envelopes Operator Envelopes Op Envelopes Q 00900 O d Pan Vol Mod Pitch Phase The panning volume RM FM modulation amount pitch and phase all have separate envelopes for each operator Click the button to show the particular envelope 2 End 3 Loop
16. poDoOc Pan Vol Mod Pitch Phase Pan Vol Mod Pitch Phase 1 42 43 84 B5 126 All There are six operators selectable from the Operator buttons When an operator is selected its parameters are available in the Cyan labelled sections and on the main display Each section controls a different aspect of the Operator e Op Freq Controls coarse and fine tuning e Op Mix Adjusts noise mix and output volume e Op Shape Affects the waveform shape harmonics and phase e OpLFO Controls the LFO waveform and rate and amount that the LFO is applied to pan volume FM RM modulation pitch and phase e Op Envelopes Selects the operator envelope for view on the main display and the amount it is applied to the parameter e Op Harmonics Selects which harmonic frequencies are editable on the display Op Freq e Coarse Tuning Adjusts the tuning in whole semitones e Fine Tuning Adjusts between 0 5 and 0 5 semitones Op Mix e Noise Crossfades between the operator waveform and noise bLamsoFE 2015 Blamsoft Inc All rights reserved Volume Adjusts the volume of the operator for FM amount or output volume Op Shape Wave Allows you to select a waveform from sine to triangle to saw to square to pulse This waveform is layered at each harmonic frequency according to the Harmonics editor Num Selects the number of harmonics used to generate the waveform Reducing this value uses less sinusoids See the Theory section t
17. put The pan and output knobs control the panning and volume of each filter in the output mix bLamsoFE 2015 Blamsoft Inc All rights reserved 12 Filters There are two filters in Zero Both have the same 16 modes but there are some slight differences See the filter appendix for frequency response graphs of the filter modes Audio is routed to the filters using the bottom two rows of the matrix See the Matrix section for details Filter 1 000 y Fost Dec Aes Env Freq Filter 1 has a decimation downsampling effect that can be used to reduce the sample rate This acts as a simple bit crusher The effect can be before or after the filter e Post Set the decimation to occur after the filter e Decimation As this knob is turned up the sample rate is reduced e Resonance Adjusts the resonance of the filter e Envelope Amount Controls how much the filter envelope affects the cutoff frequency e Frequency Adjust filter frequency from 20 Hz to 20 kHz Filter 2 1 Pal Low Aia j 9000 Fiti Sat Res Env req Filter 2 has a saturation effect that can be used to add warmth to the sound It also has an input from filter 1 that can be used to connect the filters in series e Filter 1 Input amount from filter 1 e Saturation Saturation increases as the knob is turned up e Resonance Adjusts the resonance of the filter e Envelope Amount Controls how much the filter envelope affects the
18. rights reserved 14 Some sources have separate and entries means unipolar and affects destinations so that they are at or above their current value means bipolar and affects destinations so that they are both above and below their current value Scale g E 3 3 In this example LFO 1 is modulating the pitch of operator 1 Modifier X is used as a scale so that it controls the amount of modulation that occurs Some destinations in the mod matrix result in scaling while others result in a sum The rates are scaled in octaves Here is a table of the different modulation results All Rates 24n Multiplied Filter Parameters Sum Pan Volume Frequency Decimation Saturation Resonance Operator Parameters Sum POT NNI Operator Parameters Scaled mr Eng moe UT bLamsoFE 2015 Blamsoft Inc All rights reserved Unison ms Unison e e Voices Detune The Unison setting creates duplicate operators that are detuned and summed The Voices setting controls how many operator sets are enabled Detune adjusts the tuning of the operators away from their normal pitch This setting is useful for creating thicker chorused sounds bLamsoFE 2015 Blamsoft Inc All rights reserved 15 16 Effects Chorus Chorus SU es Delay Rate Depth FB Mix The chorus effect is based on the Roland Dimension D Chorus with the addition of a feedback control e Dela
19. uces the amount of computation e Use fewer filters If the filter output amount is zero and it is not routed in series it will not be processed bLamsoFE 2015 Blamsoft Inc All rights reserved Credits Andrew Best Concept Design DSP Programming Graphic Design Daniel Thiel Design Graphic Design Sound Design The initials in the preset name let you know who designed tt AZ Sami Rabia Aiyn Zahev EX Daniel Thiel eXode NR Navi Retlav ND Nicolas Delmotte odharmonix AP Ariel Proska AB Andrew Best bLamsoFE 2015 Blamsoft Inc All rights reserved 28 29 Software Licenses Faust Audio Effect Library Copyright c 2015 Julius O Smith III Permission is hereby granted tree of charge to any person obtaining a copy of this software and associated documentation files the Software to deal in the Software without restriction including without limitation the rights to use copy modify merge publish distribute sublicense and or sell copies of the Software and to permit persons to whom the Software is furnished to do so subject to the following conditions The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software Any person wishing to distribute modifications to the Software is asked to send the modifications to the original developer so that they can be incorporated into the canonical versio
20. y Adjusts the mid point for the delay taps e Rate Adjusts how fast the delay taps move e Depth Adjusts how far the delay taps move e Feedback Adjusts feedback in the delay lines e Mix A wet dry control for the effect Delay Delay Delay FB Mod KN Mode T Tone T Amt C The delay effect offers a repeating echo It has quite a few parameters that can spice it up a bit e Left Adjusts the delay time for the left channel e Rate Adjusts the delay time for the right channel e Feedback Controls how fast the echoes decay e Delay Mode o Normal Left and right delay times are independent o Ping Pong Left Echoes bounce between left and right channels starting with left o Ping Pong Right Echoes bounce between left and right channels starting with right e Delay Width Controls the stereo width of the left and right channels bLamsoFE 2015 Blamsoft Inc All rights reserved 17 e Feedback Tone Adjust filtering inside the feedback path Turning the knob to the left of center creates lowpass filtering Turning the knob to the right of center creates highpass filtering e Feedback Pan Adjusts panning in the feedback path e Mod Amount Turning up the Mod Amount creates a changing delay time with a slight offset between left and right delay times e Mod Rate Adjusts the rate of the modulation set by Mod Amount e Mix A wet dry control for the effect Reverb Reverb Mid Or gt
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