User Manual

Effect Types | 2524 | Effect Types
Effect Types
Following are descriptions of the different effect types we programmed into
the Hot Hand box. Note that each sound interacts differently with both the Hot
Hand hand motions, or other modulation sources, as well as the settings on
the
DEPTH, FREQUENCY/DELAY and MOTION/SPEED knobs. It is suggested that
you experiment a bit to find just the right sound for different playing styles.
Phasers
The input signal goes into a number of phase shift sections. Each section
has a control which determines the frequency around which the resultant
phase shift makes a smooth transition from
0 degrees to -180 degrees. The
output of the last phase shifter is combined with the input. Any frequencies
at which the shifted signal is an odd multiple of
180 degrees from the input
will undergo total cancellation, producing a notch in the spectrum. Some
of the shifted signal may be fed back to the phase shift chain. Frequencies
which are a multiple of
360 degrees from the input will be boosted, causing
a peak in the spectrum. This is called resonance.
The number of phase shift stages and the amount of feedback are hard-wired
for each of the Phaser algorithms. Note that for every
2 stages of phase shift
section, one obtains one notch in the frequency response.
Delay Generator
(frequency dependent)
Delay Controller
Input
Output
Phaser Algorithms
#1 A model of one of the oldest rotating speaker simulators. 2 notches, but one is
such low frequency as to be nearly inaudible. No resonance.
#2 Standard 2 notch. Some resonance.
#3 Standard 3 notch. No resonance.
#4 Standard 4 notch. Some resonance.
#5 Standard 6 notch. Some resonance.
#6 6 notch, but shifted signal subtracted from input rather than added. Produces a
hollow sort of sound. No resonance.
#7 2 notch, but 6 peaks. Some resonance.
Flangers
A Flanger works very much like a Phaser, except that instead of using a chain
of phase shifters, a delay line is used. The length of time a signal is delayed
is controlled by the modulation. The sum of the delayed signal with the input
signal produces notches at frequencies where there is cancellation. Feedback
will introduce resonance peaks between the notches. At short settings of the
DELAY time control, there will be fewer notches in the Flanger’s frequency
response than at long delays.
Delay Generator
(not frequency dependent)
Delay Controller
Input
Output
Flanger Algorithms
#1 Classic Flanger.
#2 Delayed subtracted from input, producing a hollow sound.
#3 Multiple, individually varying, delay lines summed.
#4 High resonance, peaks only, no notches.
#5 Multiple delays, no resonance.
#6 Multiple delays, with resonance.
#7 Delayed signal only, no flanging effect. Meant for pitch modulation, such as
vibrato. There are some small resonance peaks, so that vibrato doesn’t sound
too sterile and mechanical. Slow modulation will be nearly inaudible. Shorter
delay times will produce less of an effect than long delay times.
Order of Effects
A controversial subject, to be sure. But phasers and flangers will give more
dramatic results if there is more high frequency content to the sound being
processed. A distortion box will do just that, if it is in front of the phaser or
flanger. Distortion following a phaser or flanger, on the other hand, tends to
fill in the notches in the frequency spectrum and obscure the effect. Let your
ears be your guide.
A compressor in front of this product will somewhat reduce the range of
the envelope follower signal, since it will be reducing the loudness variations.
Total, over-the-top mega-distortion before the effect can be a problem for
the envelope follower, because it removes all of the dynamic range of the
guitar signal, and tends to fill in what would be silence between notes with
hum and noise.