WaveLogic mkII+ - User Manual (en)
Contents
1. 21 TEMPO The Algorithms ECHOSWELL This algorithm slows down the attack of the input signal s envelope creating a volume swell effect that is normally created using the guitar s volume knob or a volume pedal One thing we discovered while designing this algorithm is that things get exponen tially more interesting when we have echoes following this volume swelled sound This combination produces huge layers of sound the key is to find a harmonious combination between echo time and swell time As with any other envelope modifying effect processor you have to maintain precise playing sloppiness will fail For single note lines stacatto picking will give the best result Chords must be strummed fast do not let individual string rings ECHO TIME Sets the time length of the echoes 60 to 990 ms RATE i 34 3 3 1 4 1 1 Dotted 8th Quarter note ECHO BLEND Controls the level of echoes DEPTH E b SWELL TIME Controls the speed of the volume swell action PARAM _ 1 S t 21 The Algorithms 2 Effects Combination to try DSP Y Comment ler Sparkling dreamy great for Dimentia Chorus Series es N Flanger ao Very wide stereo image great Dimentia Chorus Parallel Fe e Sonne Flanger Combine swell delay with All Echoswell Series each effects in Y for interest ing and trippy sounds Formant Phaser Oct Seri Octave followed by filt2. User Manual J gt WaveLoqic mklIl Modulation Engines Chapter 1 OVERVIEW WaveLogic mkll consists of 14 DSP algorithms of modulations filters and dynamics controlled effects each one is handcrafted and fine tuned to the last bit Some drew inspiration from certain vintage as well as modern gears some others were designed from the ground up What sets WL2 mkll apart from other multi modulation pedals out there is the unique design that utilizes true dual DSP engines with series parallel configura tion capability offering up to 49 series combined effects and 49 parallel combined effects Other bells and whistles include FX Loop tap tempo dual preset spaces and MIDI access Table of Contents l Overview 1 3 2 Operation 4 3 DSP Configurations amp FX Loop 5 6 4 Preset Spaces 7i 5 Tap Tempo 8 6 The Algorithms 9 23 7 Configuring MIDI Channel 23 8 MIDI Implementation Chart 26 27 layresed X A INeJap SEUBS X gt gt A sq371 10 291pu uoneinBijuoS dsa s x A X gt A l tT AW sou53 JliJ ssey dais sq371 10 29Ipu soeds S ld IDVd Lisiadd V ojowas 1 6uej4 enuawig 3IDO T THAVAA q A un WVaVvd BARIIO Jeseud sniou gt HLdg3qd JLVY X dsa Ae dsig yoied queuwoy aneno Hidad 1j seud sniou gt WVaVd Alva I ULSA sS A dsa Jo 92 s wy opje A dSG Ae dsig yueg ma standard connection Amp Optional conn
3. RATE INTENSITY Controls the modulation intensity in particular the low end throb PARAM I n All product names mentioned in this document are trademarks of their respec tive owners which are in no way associated or affiliated with GFI System These trademarks of others are used solely to identy the products which had inspired us during development of WaveLogic mkll Uni Vibe is a registered trademark of Dunlop Manufacturing Inc 16 BLEND Controls the proportion of mixture between wet and dry signal DEPTH B This knob gives a versatile control over the texture of the sound You can achieve both the Chorus and Vibrato mode of b L the Uni vibe pedal plus arbitrary blending between the two 50 50 50 50 is equivalent to 100 Wet is equivalent to Chorus mode in Uni vibe Vibrato mode in Uni vibe 100 Dry 100 Wet 17 gt Kp TEMPO The Algorithms FORMANT This algorithm applies a set of Formant filters which mimic the characteristic of human vocal tract any signal that goes through this algorithm will sound as if it was radiated through a human s mouth Spectrally rich signal such as an over driven guitar sound excites these filters the best The filters central frequencies can be LFO modulated or controlled by knob or MIDI expression pedal RATE In Auto mode this knob controls the modulation rate FREQUENCY In Manual mode this k
4. any changes simply perform any knobs or switches operation except the DSP X algorithm selector knob 3 When you ve reached the desired midi channel number press the selector knob again to save your selection Channel 1 F Omni receive on ALL channel Channel 2 GF Off midi reception disabled Channel 3 Channel 16 29 amp Chapter 8 MIDI Implementation Chart KNOBS CC Value Range X Algorithm Select 14 o 7 Y Algorithm Select 15 o 7 X Rate 16 O 127 Y Rate 17 O 127 X Depth 18 O 127 Y Depth 19 O 127 X Param 20 O 127 Y Param 21 O 127 OPERATION CC Value Range Load Patch A 24 any Load Patch B 25 any Bank Down 28 any Bank Up 29 any Bypass 32 Bypass o Engage 127 DSP Configuration 33 Series 0 Parallel 127 DSP X state 34 Off o On 127 DSP Y state 35 Off o On 127 Tap Tempo 36 any continued us 26 Patch Changes Patches in WL MKII are arranged in 20 banks of 2 patches each for a total of 40 presets The 20 banks are further grouped into 2 spaces MIDI access to these patches is available as MIDI program change messages where the patches are numbered sequentially 2 7 Features e 14 Modulations Filter effects in a compact unit True dual processor engines Switchable Series Parallel DSP configuration Tap Tempo Dedicated FX Loop 2 independent preset spaces 2 x 10 patches each MIDI access 24 bits signal processing Specifications I
5. the full potential of this dual processor concept we ve added the capability to switch between two configura tions Series or Parallel Series configuration stacks DSP Y after DSP X so that your guitar signal is first processed by DSP X and then followed by DSP Y Parallel configuration splits your guitar signal into two paths one path is processed by DSP X and the other by DSP Y and routed to its respective output So you could have a stereo output with different modulation effects on each side To complete the cycle we ve also added an FX Loop enabling you to place other effects right after DSP X this may come in handy as DSP X contains a number of algorithms that sounds great preceding an overdrive distortion effect SERIES WaveLogic mkIl continued gt external effects 5 PARALLEL Out 1 Send Zuwmunana s w WaveLogic mkIl external effects Ez When you store a preset the series parallel configuration is stored as well Application Hints Placing overdrive distortion effects in the FX Loop gives you a very flexible setup that helps you achieve rich sound variation Here are some suggestions Phaser before distortion and Phaser after distortion will give you very different sounds Use Phaser algorithm on DSP X for that subtler and full bodied phas ing sound and use Phaser algorithm on DSP Y when you need a more pro nounced phasing effect Try this with Octave alg
6. angle Envelope E n The amount of phase modulation Is controlled by your picking dynamics Use the Rate knob to adjust sensitivity lt Triangle wave is the most commonly used in phaser pedal giving smooth and even phasing sweep All product names mentioned in this document are trademarks of their respec tive owners which are in no way associated or affiliated with GFI System These trademarks of others are used solely to identy the products which had inspired us during development of WaveLogic mkll MXR is a registered trademark of 15 Dunlop Manufacturing Inc TEMPO The Algorithms UNIVIBE A re creation of the classic Uni vibe effect Technically this is similar to a 4 stage phaser but the unique phase modulation sweeps created by the use of light bulbs and light dependent resistors LDRs in the original pedal gives its signature sound the sounds that was made huge by Jimi Hendrix Robin Trower and others in the 60 s and 70 s While originally designed as a rotary speaker effect simula tion not so close pedal it became an effect its own right Controls the modulation rate Range 0 1 to 8 Hz RATE The modulation rate can be directly controlled via tap tempo by tapping on footswitch T When using tap tempo use the Rate knob to set the tap ratio the ratio between the rate of your foot taps and the actual modulation rate 2 1 1 1 2 Half note Quarter note
7. dulates the volume of your guitar signal resulting in periodic volume variation There are 4 wave shapes to choose from and each one gives distinct tremolo characteristic Triangle Gradual rise and fall at slow rate you could achieve volume swell like effect Sine smooth even and nice Shark Fin the sharp attack and smooth decay of this waveform uniquely modifies the timbre of your sound sort of adding piano like chime Square chops your signal on and off hard and fast Controls the modulation rate Range 1 to 12 Hz RATE The modulation rate can be directly controlled via tap tempo by tapping on footswitch T When using tap tempo use the Rate knob to set the tap ratio the ratio between the rate of your foot taps and the actual modulation rate A ratio of 1 1 means the modulation rate follows the rate of your foot taps a ratio of 1 2 means the modulation rate is twice the rate of your foot taps and so on Dotted 8th 3 4 1 2 l 8 note 1 1 1 4 14 I6th note Quarter note 7 7 ye RATE Si continued 20 Controls the depth of the amplitude modulation Tremolo effect DEPTH This control gives you complete control over modulation depth from subtle amplitude variation to all out stuttering chop fest WAVE Select between four LFO waveforms PARAM _ J S n S F Sine Shark Fin 7 7 I N tr Triangle I 7 7 Square S q JTL
8. ection 12VDC 250 mA 9 jo L tw F wF F Q F lt external effects MIDI IN MIDI controller optional 5 pin DIN cable Power Requirement WL MKII is powered using an external 12VDC power source capable of deliver ing 250 mA of current If a 12VDC power source is not available you can use a regulated 9VDC power source with a slight reduction in headroom Chapter 2 OPERATION OPERATION FOOTSWITCH ACTION Hold until the patch Store Patch B Press amp Hold B for 1 sec display flashes 3x Press A amp B simultaneously Flashes continuously Serial gt Parallel Press A amp T simultaneously until a patch is selected PressAorB Global Bypass whichever is currently active Bypassing the pedal To bypass the effect press footswitch A or B whichever is currently active shown on the patch display suppose you using patch A then press footswitch A to bypass the effect When the pedal is in bypassed state any of the following ac tions will immediately put it back into engaged state Pressing footswitch A or B load a patch Turning the X or Y algorithm selector knob select a sound When the pedal is in the Bypass state all algorithm LEDs are off Chapter 3 DSP CONFIGURATIONS amp FX LOOP With two powerful DSP cores at its disposal WaveLogic MklI readily delivers two modulation effects simultaneously To maximize
9. er Tremolo oe eee tremolo even another octave Octave Filter Octave Phaser Series ES HON ae followed by octave Step Phase Phaser Series Bi phaser anyone Parallel p N Tremolo ni vie Series Trem and Throb Phaser lt You can achieve even wilder sonic possibilities by placing other effects in the FX Loop 23 Chapter 7 Configuring MIDI Channel Wavelogic MKII is equipped with MIDI access nearly all functionalities of the pedal can be remotely controlled using a suitable MIDI controller FX Loop mono 12VDC MIDI IN 250 mA INPUT SEND RETURN OUT 1 OUT 2 5 pin DIN cable MIDI controller Before Wavelogic can respond to midi messages it must be assigned a unique channel Midi channel in Wavelogic can be configured to e Single channel channel 1 to Channel 16 Omni receive on all channel e Off reception is disabled The default configuration is Off midi reception disabled To make changes to the midi channel configuration use the following procedure 24 1 Press the DSP X algorithm selector knob to enter midi channel configuration mode ARAM RATE Y X The current midi channel is DO O OG immediately displayed 2 digit LED display Formant Chorus MAZAI ACIC 2 Rotate the DSP X algorithm selector knob to increment or decrement the midi channel number At this point if you wish to abort the procedure without making
10. nob sets the formant frequency A AT m Controls the effect s intensity blending between modulated signal and unprocessed signal DEPTH MODE Selects between four modes A Auto 1 and Auto 2 are cyclic modulation Auto 3 is chaotic random modulation Manual mode use the Rate knob to control the for mant gt gt lt A 2 A 3 Auto 2 Auto 3 A1 Auto Manual M A 18 Pi jy Z TEMPO The Algorithms STEP PHASER This is a 4 stage phaser algorithm that employs step LFO to modulate the phase shifts producing quantized and stepped sweeps instead of smooth ones There are four LFO shapes to choose from ramp up steps ramp down steps triangle steps and chaotic steps For ramp up ramp down and triangle the modulation rate can be directly con trolled via tap tempo with tap ratio of 1 1 by tapping on footswitch T This algorithm delivers sweet and hypnotic rhythmic steps that makes you groove on and on Controls the modulation rate Range 1 to 4 Hz cyclic LFO 4 to 14 Hz chaotic LFO Controls the effect s intensity blending between modulated signal and unprocessed signal RATE DEPTH PATTERN Selects between four step LFO patterns LAr ira te r ramp down triangle 7 7 7 Pa r U ramp up 7 7 chaotic c H Jaa f 19 The Algorithms PT CHA TEMPO TREMOLO This algorithm mo
11. nput impedance 1MOhm Output impedance 500 ohm Recommended load impedance greater than 10 KOhm Input Out 1 Out 2 Send Return 1 4 TS mono connector MIDI In Midi Thru 5 pin DIN female Current draw 250 mA Dimension 17 6 L x 9 1 W x 5 0 H cm Powered by a 12VDC Adaptor included This product is designed and manufactured by f Gi SYSTEM Email gfisys gmail com Web www gfisystem com GFI System Jakarta Indonesia 28
12. of others are used solely to identy the products which had inspired us during development of WaveLogic mkII DC 2 Dimension C is a registered 10 trademark of Roland Corporation The Algorithms FLANGER This is our take on the classic flanger effect Despite of having only 3 knobs this algorithm is capable of delivering wide range of flanging sounds from subtle swirls to intense jet plane sweeps and swooshes Controls the modulation rate Range 0 1 to 5 5 Hz RATE Controls the depth of the flanging sweep DEPTH FEEDBACK Controls the amount of feedback Higher feedback A gives more pronounced flanging effect that s when the jet plane swooshes come alive F b gt Turn the knob clockwise to get positive feed back and counter clockwise to get negative feedback Each one has its own unique sonic sig nature feedback has deeper notches and peaks that gives more intense sweep while feedback has an almost vowel like quality that howls and growls gt Set the knob at center position to kill the feedback no feedback max feedback max feedback PARAM 11 The Algorithms DSP Y DSP X OCTAVE This algorithm synthesizes polyphonic octave up and octave down component of the input signal and blends these components with the direct signal to produce output The level of each component are independently adjustable using the three available knobs The Rate knob con
13. orithm as well Most people like UniVibe before distortion that s why we place it in DSP X Envelope Filter works flawlessly before distortion that s why it s also in DSP X 6 Chapter 4 PRESET SPACES Presets in WaveLogic mkll are arranged in 20 banks of 2 patches each for a total of 40 presets The 20 banks are further grouped into 2 spaces Preset Space 1 PS 1 and Preset Space 2 PS 2 You may treat the two preset spaces as pages that you can flip at will to access all 40 patches anytime you like Toggling between PS 1 and PS 2 flipping the pages is done by pressing and holding footswitch T for approximately 1 second the LEDs on the pedal will give indication of which preset space is currently selected WA langer Tremolo PRESET SPACE O0 BANK W Preset Space 1 PS 1 Preset Space 2 PS 2 Switching between spaces Suppose you are using Patch A of Bank 4 in PS 1 and you want to switch to Patch B of Bank 5 in PS 2 Follow these steps 1 Press and hold footswitch T for 1 second to toggle from PS 1 to PS 2 2 Do Bank Up once 3 Do Load B The sound will be updated only at the last step step 3 7 Chapter 5 TAP TEMPO The Rate parameter in WaveLogic mkll can be conveniently controlled by tapping on footswitch T However this is not applicable to all 14 algorithms but only to those that are inherently ryhtmic These are the 6 algorithms that are tap
14. rs a wider frequency range great for clean sound 13 The Algorithms us A lt PHASER ass This versatile phaser algorithm is modelled after the MXR EVH Phase 90 pedal which uses 4 stage phase shifting elements to create smooth and swirly phasing sounds Feedback resonance control provides continuous adjustment of the phasing intensity you can go from smooth and subtle all the way to modern and in you face phasing sounds You can choose from four different modulation modes Triangle wave Square wave Sawtooth wave and Envelope controlled RATE S n Controls the modulation rate Range 0 1 to 8 Hz The modulation rate can be directly controlled via tap tempo by tapping on footswitch T When using tap tempo use the Rate knob to set the tap ratio the ratio between the rate of your foot taps and the actual modulation rate 24 2 1 1 1 a a Half note Quarter note RATE SENSITIVITY In Envelope mode the Rate knob controls the sensitivity of the envelope follower To achieve the optimal phasing sweep range set this knob to match the output level of your guitar bass pickup Use lower settings for high output pickup and use higher settings for low output pickups 14 FEEDBACK Controls the amount of feedback resonance DEPTH F b WAVE Selects between four LFO modulation waveforms PARAM UU Lisa Isu ZW Square Sawtooth ANAN T r Tri
15. tempo enabled TAP RATIO ALGORITHM Sub division 1 1 1 4 note 2 1 1 2 note Uni Vibe tea Ae nots 2 1 1 2 note Step Phase 1 1 1 4 note 1 1 1 4 note 3 4 dotted 8th 1 1 4 note 2 1 1 2 note 1 1 1 1 4 note 1 2 8th note 1 4 16th note 3 4 dotted 8th Tremolo The Algorithms DSP Y DSP X CHORUS A classic chorus effect that is inspired by a couple of select vintage analog chorus pedals Use this algorithm to add fullness and achieve rich shimmering sound of the 80 s or maybe just a touch of subtle pitch movement Controls the modulation rate Range 0 5 to 6 Hz RATE Controls the depth of pitch modulation DEPTH PARAM f Out of many other parameters that can be given to a cho t n us effect one of the most useful that we found is a Tone control The ability to shape the overall tonality of the chorus sound gives much flexibility in sculpting the desired sound especially if you use this algorithm for both clean and distorted sound which may require different tone shaping to get that perfect result TONE Adjust the tonality of the overall sound As the knob is turned clockwise treble is cut suitable for overdriven guitar As the knob turned counter clockwise the lows are cut great for bass guitar Neutral Low cut High cut PARAM 9 The Algorithms DSP Y DIMENTIA This algorithm is a re creation of the Roland DC 2 Dimension C pedal a highl
16. trols the octave down output level Depth knob controls the octave up output level and Param knob controls the direct signal output level OCTAVE DOWN Controls octave down output level RATE _4 o d OCTAVE UP Controls octave up output level DEPTH _ o U DIRECT Controls direct signal output level PARAM _ d r 12 The Algorithms e Algorithms ENVELOPE FILTER This algorithm filters your guitar sound using a set of filters whose characteristics follows the dynamics of your picking kind of playing a wah pedal with the rocker position controlled not by four foot but with your picking strength Since this effect relies on the signal dynamics it works best preceding overdrive distortion pedals SENSITIVITY The Rate knob controls the sensitivity of the 4 envelope follower RATE S n To achieve the optimal filter sweep range set this knob to match the output level of your guitar bass pickup Use lower settings for high output pickup and use higher settings for low output pickups RESONANCE Controls the filter s resonance Lower settings yields a more polite sound higher settings gives DEPTH more pronounced effect r S MODE Selects between four filter modes Pea L 2 b P Lowpass2 Bandpass I I 7 L 1 Lowpass Highpass h P 7 4 TYPE re L2 Lowpass 2 is a more quacky version of L1 Lowpass 1 it cove
17. y revered effect unit with an unmistakably unique sound DC 2 is basically a chorus pedal with one important distinction it tends to hide the pitch modulation and periodic nature of conventional chorus effects thus allows pronounced chorusing while still seeming subtle A signal that goes into this pedal will come out sounding big spacious with a sense of depth sort of adding dimensions to the sound Instead of providing four pre set sounds as in the original pedal we opted to pro vide full control over Rate Depth and Predelay parameters This is a subtle ef fect but it s indeed the strength of the algorithm it doesn t mess with your tone just make it huge and dimensional Works best in stereo Controls the modulation rate Range 0 25 to 2 Hz Controls the depth of modulation RATE Unlike CHORUS the depth setting does not have much affect on the perceived pitch modulation Instead the depth parameter works on the spatial widening and dimension of the sound DEPTH PREDELAY Controls the length of base delay time PARAM _ This parameter adjust the balance between clarity Pd and ambience Lower settings give crystal clear sound while higher settings yield a richer and diff use ambience at the expense of some definition All product names mentioned in this document are trademarks of their respec tive owners which are in no way associated or affiliated with GFI System These trademarks
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