Tiptop Audio ModFX Bruksanvisning
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FSU
MODFX
01
Tiptop Audio ModFx
Hardware Features:
- 8hp
- 3 illuminated buttons for bank selections
- 8 programs per bank, total 3 banks
- 3 CV inputs for all 3 DSP parameters
- Analog clocking of DSP with CV
- Black version: +12V@130mA -12V@20mA
- White version: +12V@100mA -12V@20mA
Controls:
Rate - controls the speed of the modulation LFOs
Filter/Fdback - the cuto frequency of a filter or the amount of
feedback
Depth - how much the modulation sweeps through the range
02
ModFx
CHORUS FLANGER FILTER
RATE
DEPTH
MODFX
CHORUS FLANGER FILTER
RATE
DEPTH
MODFX
03
ModFx
CHORUS
Vintage Random Vibrato
Dimension
Vintage Ensemble
6 Voice Chorus
Dual Vibrato
Diuse Chorus
Random Chorus 4 Voice
Tri Stereo Chorus
FLANGER
Dual Flange/Pan
Thru Zero Flanger
Short Karplus
Dual Karplus
Interval Karplus
Chord Resonator
Haas Panner
Haas Detune
FILTER
Mono 12 Stage Phaser
Dual 4 + 8 Stage Phaser
Quad Bandpass LFO
Many 1 Pole
Tremolo Pan
Tape Filter
Formant Ping Pong Delay
Ahh Detuned
04
CHORUS PROGRAMS
Vintage Random Vibrato
Based on a very rare add-on to a groundbreaking digital
delay/pitch shifter, this program randomly modulates the pitch of the
left and right channels. The overall sound is dierent compared to
the sweeping delay lines of most chorus eects: at low rates the
artifacts of the pitch shift can be hard to detect but at high rates the
pitch change gets very wobbly.
Rate - depth of Right Vibrato
Filter - high pass filter
Depth - depth of the Left Vibrato
Mix: 50/50
Output: Stereo
Dimension
Two chorus delay lines modulated by a single triangle LFO. The
orientation of the LFO and signal phase are inspired by a classic 80s
studio rack device. Unlike that unit, this algorithm oers both LFO
rate and the depth of the modulation sweep. A High Pass Filter
control removes low end from input for a clearer sound. This eect
sums input to Mono, and works best with the Mix setting mostly or
even fully wet.
Rate - Speed of LFO modulation
Filter - High Pass Filter cuto
Depth - Amount of modulation sweep for LFO
Mix: 50/50 to 100% wet
Output: Stereo
05
Vintage Ensemble
An emulation of one of the most famous string synth eects.
Use 100% wet for best results. The mix of vibrato can be controlled
and about 30% is close to the original circuit. The Rate control adds
in Octave Down pitch to thicken up the sound. Works best with
basic waveforms. Stereo output.
Rate - Amount of octave down mixed in
Filter - high pass filter
Depth - amount of vibrato
Mix: 100% wet
Output: Stereo
6 Voice Chorus
This is a classic multiple delay line Chorus, found in high end
studio eects, that uses 6 independent delay lines which are
modulated. Choruses are driven by two sine LFOs with individual
control for the speed of each LFO. The Depth control sets how deep
the modulation sweeps. The chorus taps are panned across in
stereo and have subtle feedback internally.
Rate - Speed of one LFO
Filter - Speed of the other LFO
Depth - Amount of modulation sweep for both channels
Mix: 50/50
Output: Stereo
06
Dual Vibrato
Instead of using modulated delay lines this program has two
pitch shifters with slight detuning. The amount of detune is
modulated.
Rate - Rate of the Right side pitch change
Filter - Rate of the Left side pitch change
Depth - the range of detuning
Mix: 50/50
Output: Stereo
Diuse Chorus
Independent chorus lines for Left and Right channels made
from allpass delays that would normally be the input ‘diusion’
section of a reverb. Chaining a few of these delays in a row makes
for a cross between a chorus and very small room (add external
feedback for more reverb tone). Each delay is modulated by one of
two sine LFOs with control for the speed of the LFOs. The Depth
control sets how deep the modulation sweeps. Fidelity changes the
length of the delays and lower settings makes odd sounding rooms
and caverns.
Rate - Speed of LFO modulation
Filter - High Pass Filter cuto
Depth - Amount of modulation sweep for LFO
Mix: 50/50
Output: Stereo
07
Random Chorus 4 Voice
Four independent chorus lines split between Left and Right
channels. Each is modulated by a random walk algorithm with
individual control for the speed of the LFO. The Rate and Depth
controls set how deep the modulation sweeps. The randomness of
the modulation is a secret of many high end studio devices. Internal
feedback adds fullness to the sound and at high levels imparts a
small room type ambience. The pitch wobble can be less noticeable
compared to using periodic waveforms for modulation, but at
extreme settings with lower Fidelity the room starts to spin.
Rate - Amount of modulation for one set of Chorus
Filter - Amount of signal fed back into delays
Depth - Amount of modulation for the other set of Chorus
Mix: 50/50
Output: Stereo
Tri Stereo Chorus
Three delay lines are panned Left, Center and Right in a
configuration similar to some rare guitar and electric piano eect
units. Each is modulated by quadrature outputs of the same sine
LFO with control for the speed of the LFO. The center control sets
how deep the modulation sweeps. A High Pass Filter control
removes low end from the input which adds clarity and makes the
sound less wobbly. Try 100% wet, too.
Rate - Speed of LFO modulation
Filter - High Pass Filter cuto
Depth - Amount of modulation sweep for LFO
Mix: 50/50 or 100% wet
Output: Stereo
09
Short Karplus
This is a mono Karplus-Strong program that adds a low pass
filter control to sculpt the damping of the decay.
Rate - the pitch of the Right side
Filter - amount of feedback
Depth - low pass filter cuto
Mix - 100% wet
Output: Mono
Dual Karplus
Karplus-Strong uses a delay line with high feedback to emulate
the sound of various plucked or struck acoustic sounds. This
program has 2 independent pitch controls for Left and Right.
Feedback determines the decay time of the sound.
Note: the best sources are short percussive sounds with lots of
harmonics to excite the delay.
Rate - the pitch of the Right side
Filter - amount of feedback
Depth - the pitch of the Left side
Mix - 100% wet
Output: Stereo
10
Interval Karplus
This is a dual Karplus-Strong program that adds a control to set
precise intervals: 2nd, 3rd, 5th and octave down.
Rate - the pitch of the Left side
Filter - amount of feedback
Depth - interval of Right side
Mix - 100% wet
Output: Stereo
Chord Resonator
Three tuned delays can create chords from percussive sound
sources. Chord type selects between major, minor, augmented and
diminished intervals. Use the Fidelity control to set the pitch. A low
pass filter dampens the sound.
Rate - Chord Type
Filter - Low Pass Filter
Depth - Resonance
Mix - 100% wet
Output: Stereo
11
Haas Panner
Haas eect uses the acoustic phenomenon of precedence to
locate a sound in the stereo field. When two identical sounds are
played but one is delayed, the first sound is perceived as the
location even though both sounds are clearly present. In this
program the Depth control adjusts the delay time which creates the
width of the stereo field.
Rate - Speed of panning
Filter -
Depth - delay time of the ‘panned’ side
Mix - 100% wet
Output: Stereo
Haas Detune
Detuning one side adds even more depth to the Haas eect in
the program. Feedback sets how much of the detuned sound
recirculates into the delay channel. With some dry mixed in this can
become a strange, small resonant space.
Rate - Detune amount
Filter - Feedback
Depth - delay time of the ‘panned’ side
Mix - 100% wet or 50/50 for small Echo/Room sounds
Output: Stereo
12
FILTER PROGRAMS
Mono 12 Stage Phaser
A phaser uses a type of filter called all-pass. Like the name
implies, all frequencies are passed through the filter only the phase
response around a certain frequency is shifted. Chaining multiple
all-pass filters in a row produces notches in the sound with the more
stages increasing the number of notches and creating a deeper
sound. This program has 12 notches. The Regen control deepens
the notches for a more pronounced eect.
Rate - the rate of the LFOs
Filter/Regen - how much of the sound is fed back
Depth - depth of the LFO sweeps
Mix - 100% wet
Output: Mono
Dual 4 + 8 Stage Phaser
A set of 4 stage phasers in series with the Left output having the
first 4 stages and the Right output using all 8 stages. The outputs
can be used individually or as a stereo pair. In stereo, the sound will
move around in the stereo field and the depth control sets the width
of the stereo.
Rate - the rate of the LFO
Filter/Fdback - amount of regeneration signal
Depth - depth of the LFO sweeps
Mix - 100% wet
Output: Stereo or Dual Mono
14
Tremolo Pan
Tremolo is an amplitude modulation eect. In this program the
Left and Right outputs are controlled by the same LFO but the phase
is set to provide an auto-panning between the channels. Use only
one output for the classic AM eect. The drive control adds
saturation and a high pass filter adds to the sound sculpting options.
Rate - the rate of the LFO
Filter/Fdback - cuto of High Pass Filter
Depth - Drive level
Mix - 100% wet
Output: Stereo or Dual Mono
Tape Filter
The filter and saturation algorithm from our Tape Echo programs.
Rate - cuto of Low Pass Filter
Filter/Fdback - cuto of High Pass Filter
Depth - Drive level
Mix - 100% wet
Output: Mono
15
Formant Ping Pong Delay
Three filters create vowel formants that mimic ‘Ahh’ type vocal
sounds and the filters can be tuned from Male ot Female ranges.
The output of the filters feeds a stereo ping pong delay. The eect is
strongest with simple harmonically rich waveforms like saw waves.
Note: use the Fidelity control to change the range of the filters/vowel
sounds.
Vowel Sounds: A, Ahh, E, I, Ohh, U
Rate - Delay Time
Filter/Fdback - Tuning of Filter
Depth - Feedback of delay
Mix - 100% wet for vocal sounds, 50/50 for delay eects
Output: Stereo
Ahh Detuned
Three filters create vowel formants that mimic female Ahh
voices. This program has a pair of pitch shifters for detuning (+/-
about a semitone) to help give the eect of a group of voices. The
eect is strongest with simple harmonically rich waveforms like saw
waves.
Rate - Detune of Left +/-
Filter/Fdback - tuning of filter
Depth - Detune of Right +/-
Mix - 100% wet
Output: Stereo
16
Tiptop Audio FSU
Hardware Features:
- 8hp
- 3 illuminated buttons for bank selections
- 8 programs per bank, total 3 banks
- 3 CV inputs for all 3 DSP parameters
- Analog clocking of DSP with CV
- Black version: +12V@130mA -12V@20mA
- White version: +12V@100mA -12V@20mA
Controls:
Gain - Controls the final output level on the Distortion bank and the
recording level on the Sound on Sound (SOS) bank
Rate - The speed of modulation or similar parameter.
Filter/Feedback - controls the cuto of a filter or the amount of
feedback.
Depth - the range of modulation or how far a delay tap or grain reads
out of the buer
Drive - sets the gain going into a distortion eect
17
FSU
DISTORT GLITCH SOS
DRIVE/DEPTH FILTER/FBACK
RATE/GAIN
DISTORT GLITCH SOS
DRIVE/DEPTH FILTER/FBACK
RATE/GAIN
FSU
18
FSU
GLITCH/WARP
Glitch Pitch
Glitch Chorus
Varispeed
Random Grain
Varispeed Grains
Random Grain Fb2
Many Head Pitch Feedback
Pitch Grain
SOUND ON SOUND
Dual Head
Dual Pitch
Chorus
Varispeed
Panning Heads
Random Grains
Buer Degrade
Frozen Plate
DISTORT
Tape Saturation
Bit Crusher
Clipper
Dual Rectifier
Ring Mod Sine
Dual Ring Mod
Frequency Shifter
Dual Frequency Shift
19
EFFECTS PROGRAMS FOR FSU
Distortion:
This bank distorts the incoming audio in various ways from
emulations of analog tape and fuzz distortion to ring mod and
frequency shifting.
Important Note! All of the programs in this bank are designed to
work with the Mix set to 100% wet (full clockwise). Interesting
eects can also be made with varying amounts of dry signal mixed
in as well.
Tape Saturation
Saturation taken from the Tape Echo programs with some more
overdrive available.
Gain - final output level
Filter - low pass filter
Depth - sets the amount of drive into the saturation eect
Bit Crusher
Bit depth reduction from 8 down to 4 bits.
Gain - final output level
Filter - low pass filter
Depth - bit depth from 8 to 4 bits
20
Clipper
Clips the signal to create mild to extreme distortion eects.
Gain - final output level
Filter - low pass filter cuto
Depth - amount of clipping
Dual Rectifier
This program uses basic analog rectification techniques to
distort the sound. Left and Right have inverted rectifiers with a low
pass on the Left and high pass on the Right to further separate the
outputs.
Gain - final output level
Filter - Low pass Left
Depth - High pass Right
Ring Mod Sine
Ring mod is audio rate modulation of the input signal’s
amplitude by a carrier signal’s amplitude. This program has a sine
wave carrier with coarse and fine tuning
Gain - final output level
Filter - Coarse Tune
Depth - Fine Tune
21
Dual Ring Mod
A dual channel version of ring modulation with independent Left
and Right sine VCOs.
Gain - final output level
Filter - Ring mod frequency for the Left channel
Depth - Ring mod frequency for the Right channel
Frequency Shifter
A mono frequency shifter that uses analog style techniques to
move the harmonics of the input up. Based on some old code
Alesis/MXR/Spin founder Keith Barr posted. This is very dierent
from the digital pitch shifting algorithm.
Gain - final output level
Depth - amount of frequency shift
Dual Frequency Shift
A dual channel version of the frequency shifter. Both Left and
Right channels have independent shift amounts.
Gain - final output level
Filter - amount of frequency shift for the Left channel
Depth - amount of frequency shift for the Right channel
22
GLITCH/WARP PROGRAMS:
This bank of algorithms uses a variety of delay and pitch techniques
to introduce glitches and warp the sound.
Most of these work best with 100% wet output (Mix knob at full
clockwise) to get the maximum glitchy eect. When the dry is mixed
in they can also create types of chorus, delay and tremolo eects as
well.
Glitch Pitch
L/R pitch shifters randomly change pitch. Control over change
rate and depth of shift
Gain - speed of Left side pitch change
Filter - speed of Right side pitch change
Depth - how far up/down the pitch can change
Glitch Chorus
A variation on Chorus with an added 'glitch' control to mix in
some digital grunge. With slow rate and high depth it does some
intense flange type eects. Moderate rate and depth introduce
some sea sick modulations and randomized delay type eects. Try
this with high Depth on drums or other highly percussive, rhythmic
sources.
Gain - rate of change
Filter - amount of glitching to the chorus
Depth - range of the chorus taps
23
Varispeed
This does real-time playback speed change on incoming audio.
The speed control goes from full reverse to stopped to full forward
speed. The aliasing control mixes in interpolation error for extra glitch.
Gain - Speed of Left channel
Filter - Speed of Right channel
Depth - Aliasing
Varispeed Grains
Uses the Varispeed playback method of program #4 on four
grains. The speed controls the playback of two grains. Try feeding
the output of one or both channels through a delay and back into the
input.
Gain - Speed of one set of grains
Filter - Speed of second set of grains
Depth - how far in the buer the grains move
Random Grain
6 grains move randomly around on the live input. Individual
control of the LFOs for fast + slow grains at the same time.
Gain - Speed of one set of grains
Filter - Speed of second set of grains
Depth - the range in the buer the grains read from
24
Pitch Grain
A pitch shifter feeds a set of grains. The shift amount goes from
almost 2 octaves down to one octave up.
Gain - Speed of grains
Filter - Pitch shift
Depth - the range in the buer the grains read from
Random Grain Fb2
Like #5 but with feedback that sends the input sound directly
back to the buer. Mixed with dry signal this creates a scrambled
multi-tap delay eect with randomized decay tails. At max feedback
the input can be frozen.
Gain - Speed of grains
Filter - amount of input fed back into buer
Depth - how far in the buer the grains move
Many Head Pitch Feedback
Dozens of delay taps with bandpass filters are faded in/out with
2 LFOs. The input runs through a pitch shifter with a range of +/- 1
octave. Feedback adds some depth and the pitch shift is in the path.
When mixed with dry signal the eect becomes a complex delay or
reverb type sound.
Gain - Speed of taps fade in/out
Filter - feedback level
Depth - Pitch
25
SOUND ON SOUND PROGRAMS
These programs are Sound on Sound (SOS) loopers. The Rec/Play
control is basically a VCA for recording into the buer which loops
infinitely.
The key to using these programs is to only grab shorter chunks of
sound which can be done manually, but an envelope generator (AR,
ADSR) can help with controlling and triggering what is recorded.
At the highest Fidelity there is only 1 second of memory but lowering
the DSP clock increases the recording time and changes the pitch of
the recording. Fidelity is pretty critical to these eects.
These programs need to be set to 100% wet mix for maximum eect.
Note: there are two ways to clear the recorder buer - change to the
next preset or hold the SoS button down to reload the bank and keep
the current preset.
Dual Head
The playback position in the buer can be changed for both Left
and Right outputs.
Gain - Amount of input recorded to the SoS buer
Filter - Playback position of Left head
Depth - Playback position of Right Head
26
Dual Pitch
Left and Right have independent pitch shifters from the buer.
Using the Fidelity control with Pitch shift can create time stretching
type eects. For example, record at maximum Fidelity, lower Fidelity
for playback and then pitch shift up. This buer is shorter than the
others to make room for the pitch shifters.
Gain - Amount of input recorded to the SoS buer
Filter - Pitch of one playback head
Depth - Pitch of the other playback head
Chorus
Not a traditional chorus but playback uses the chorusing method
to scrub through large sections of the buer.
Gain - Amount of input recorded to the SoS buer
Filter - Depth
Depth - Rate
Varispeed
Separate playback speed for Left and Right including reverse!
Note that reverse playback introduces a click when the playback
head flips around to the start position.
Gain - Amount of input recorded to the SoS buer
Filter - Right playback speed
Depth - Left playback speed
Produktspecifikationer
| Varumärke: | Tiptop Audio |
| Kategori: | Inte kategoriserad |
| Modell: | ModFX |
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