MODULES FOR VOLTAGE MODULAR

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We have plans to develop several modules for Cherry Audio's Voltage Modular environment.  Modules currently available  are shown below.

For additional information or support, please send an email or start a conversation over at the Cherry Audio forum.

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SCRUNCHER

SCRUNCHER is a simple two-knob dynamics processor module containing a crunchy tube-like compressor and brick-wall limiter.

 

SCRUNCHER can be used to add subtle saturation and warmth, or distort your original signal almost beyond recognition.

 

SCRUNCHER has two totally independent channels for processing stereo or dual mono inputs.

 

We wanted to make SCRUNCHER as simple and as CPU-friendly as possible so no CV parameter control or metering - simply adjust the two knobs until it sounds good!

 

ON button toggles SCRUNCHER between active and bypass mode.

 

CRUNCH adjusts the drive applied to the initial tube preamp section.  Setting to zero will bypass the preamp.

 

SQUASH progressively lowers the threshold for the brick-wall limiter and automatically adjusts makeup gain to compensate for volume loss.  The LED above the SQUASH knob will be lit when either input signal exceeds the limiter’s threshold.

 

Setting both CRUNCH and SQUASH knobs to zero is exactly the same as bypassing the module.

 

Happy SCRUNCHING!

Try or buy SCRUNCHER on the Cherry Audio Store

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SMOOTHIE

 

SMOOTHIE is a super-simple one-knob compressor with a continuously variable threshold / compression ratio plus a wet / dry mix blend control.

 

SMOOTHIE can be used in situations when you want a CPU-friendly compressor that’s reasonably smooth and transparent, but rest assured, it can get very squashy when pushed to the max!

 

SMOOTHIE uses a variable width soft-knee transition around the threshold value for extra smoothness and automatically applies makeup gain for the reduced dynamic range.  This can result in SMOOTHIE making an instrument appear louder and fuller in such a way you might not want to switch it off!

 

SMOOTHIE has two totally independent channels for processing stereo or dual mono inputs.  When either input is used, it will be routed to both outputs.

 

ON button toggles SMOOTHIE between active and bypass mode.

 

SQUEEZE increases the compression effect by simultaneously lowering the compression threshold, and increasing the compression ratio.  Low settings can yield a fairly subtle “thickening” effect, but there should be plenty compression available for a more obvious effect.

 

The LED above the SQUEEZE knob will be lit when either input signal exceeds the compression threshold.

 

BLEND reintroduces a variable amount of the original “dry” signal into the output mix.  At zero, you will hear the compressed signal only.  At maximum, you will hear the compressed signal, plus the original dry signal.

 

For certain sounds, dialling-in the BLEND control allows the initial attack of a note to briefly exceed the level of the compressed signal, which is very desirable when used with electric guitars for example, and helps retain a dynamic feel.

 

PLEASE NOTE: SMOOTHIE is designed to handle a wide range of audio signals and because of a final brick wall limiter stage, should never present output levels greater than +/-5.0V.  However, depending on the nature and level of the input audio, distortion artefacts may occur, in which case, back off your input source gain or reduce the SQUEEZE control.

 

We hope you enjoy your SMOOTHIE!

Try or buy SMOOTHIE on the Cherry Audio Store

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DIRTVERB

 

DIRTVERB has been designed to scratch your lo-fi itch with a combination of dirty tube-emulated distortion and vintage spring reverb.

 

In addition to the two basic control knobs, DIRTVERB offers two extra processing options via the signal chain and reverb switches.

 

DIRTVERB is a stereo effect so we recommend you use both outputs.  If your source signal is mono, simply connect to either input, and DIRTVERB will do its lo-fi best to create something stereo-tastic!

 

ON button toggles DIRTVERB between active and bypass mode.

 

DIRT adjusts the tube preamp drive.  Increasing this control will result in more gain, saturation and distortion.

 

The signal chain switch allows you to change the order of the effects via the three position switch:

 

DIRT -> VERB applies reverb to the distorted signal and is the most “traditional” use of DIRTVERB.

 

PARALLEL splits the input signal(s), applies dirt and reverb processing separately, then outputs a mix of the two according to the level of the REVERB knob.  This can be used to achieve an interesting effect by mixing a clean reverberated signal, with a dirty one.

 

VERB -> DIRT applies reverb to the input signal first, then passes that signal on to the tube processing.  This typically results in a darker, denser and fuzzier effect at extreme settings.

 

REVERB adjusts the decay time and mix of the spring reverb effect up to 100% wet.  When used in stereo, DIRTVERB will enhance the stereo image slightly as the REVERB control is increased.

 

An additional stereo processing mode is available via the two-position switch below the REVERB knob:

 

LR -> LR is the standard mode where the original stereo image is retained during reverb processing.

 

LR -> RL switches the  right and left wet reverb signals only, which can be used to produce interesting stereo effects, depending on the source material.

 

We hope you enjoy adding a bit of DIRTVERB to your mix!

Try or buy DIRTVERB on the Cherry Audio Store

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ECHOVERB

 

ECHOVERB, perhaps unsurprisingly, is an echo and reverb effects module and was designed with a specific need in mind, but we don’t mind if you don’t use it specifically in this way…

 

We wanted to make a small, relatively simple module, that could basically be used to make things more STEREO-TASTIC!  So, we took an analog-voiced variable ratio ping-pong delay, and fed it into a long or short decay stereo reverb with a few twists.

 

We think ECHOVERB works really well on drones and ambient sounds, especially if the source material isn’t in stereo, although ECHOVERB also handles stereo in / out.  Since it’s a stereo-centric processor though, we recommend using both outputs.

 

ON button toggles ECHOVERB between active and bypass mode.

 

ECHO adjusts the first of the two delay lines delay time up to 3000ms.  Setting this knob to zero effectively bypasses the echo effect.

 

REGEN adjusts the number of echo repeats.  As ECHOVERB uses a ping-pong delay, setting REGEN to minimum will give you two echoes - a ping to the left, and a pong to the right!

 

MIX increases the amount of echo and reverb (if on) mixed in with the original signal.  Setting this knob to zero effectively bypasses all processing.

 

RATIO determines the length of the second delay line as a multiple of the first.  The Golden ratio is especially useful for spacey type dispersion!

 

REVERB flips between two emulated room sizes, and OFF, which is no reverb whatsoever.

 

WET / ECHO / DRY can be used to allow echo repeats to bypass the reverb processing.  In WET mode, everything goes through the reverb.  In DRY mode, the original signal has reverb applied, but the echo repeats do not.  If things are getting a bit “mushy” at high REGEN settings, try setting this switch to DRY - it might restore some clarity.

 

We hope you might be tempted to give ECHOVERB a go-go!

Try or buy ECHOVERB on the Cherry Audio Store

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TREMOVERB

 

TREMOVERB takes its inspiration from the swampy tube-driven tremolo and drippy spring reverb effects typically found in vintage guitar amplifiers.  But TREMOVERB isn’t just for guitars - we think it can sound great with synth sounds or even ambient drones!

 

In addition to the three basic controls, TREMOVERB has a few tricks up its sleeve, including stereo operation / enhancement and an optional signal boost.

 

TREMOVERB handles mono or stereo inputs, but as it’s a stereo processor, we recommend using both outputs.

 

ON button toggles TREMOVERB between active and bypass mode.

 

SPEED controls the rate of the tremolo effect from 0.1 - 10.0 Hz.

 

DEPTH controls the intensity of the tremolo effect using an asymmetrical rounded triangle wave for classic vintage throb.

 

REVERB controls the level of the spring reverb effect and applies a touch of subtle stereo enhancement, which can work great on mono signals.

 

The TREM / VERB switch allows you to change the signal processing sequence.  When set to the left position, tremolo will be applied before reverb.  When set to the right, reverb will be applied first, then tremolo, which is the configuration typically found in a guitar amp.

 

The PHASE switch changes the phase of the tremolo wave cycle applied to the right channel.  When set to the left position, both channels are in phase.  When set to the right, the right channel is out of phase with the left channel, creating a pseudo-stereo panning effect.  When the channels are out of phase, the tremolo speed will also appear to double.

 

The BOOST switch applies a fixed amount of additional gain to the signal, post-tremolo.  In keeping with the vintage theme, this is a slightly dirty boost that can even be useful on its own with tremolo and reverb turned down to zero.  The effect of the boost when using reverb will also sound different depending on the TREM / VERB processing sequence.

 

We hope you have as much vintage-vibe fun trying (or buying!) TREMOVERB as we did making it!

Try or buy TREMOVERB on the Cherry Audio Store

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OK CHORALE

 

OK CHORALE is a chorus / vibrato effect inspired by classic analog stomp boxes made in the late 70’s and early 80’s.  While it’s not intended to be a specific replica or emulation, we’ve kept the processing and features extremely basic, embracing a bygone era of simpler times.

 

OK CHORALE can handle mono or stereo inputs, although we recommend using both outputs in CHORUS mode, because we think it sounds really nice that way!

 

ON button toggles OK CHORALE between active and bypass mode.

 

RATE controls the modulation frequency in the range of 0.1 - 5.0 Hz.

 

DEPTH controls the range of modulation either side of a preset delay time.  Note that the centre delay time is fixed, as it typically would be on a vintage circuit design.  Setting DEPTH to minimum results in no modulation.

 

Finally, we have a CHORUS / VIBRATO mode switch which changes the shape of the modulation waveform between triangle and sine.  The triangle waveform has more of an “on and off” character at high DEPTH settings, similar to a “vintage” pedal, whereas the sine wave is much smoother.

 

In CHORUS mode, the modulation applied to the left and right channels is inverted for a lush old-school stereo effect and then mixed with the dry signal(s).

 

In VIBRATO mode, the same modulation amount is applied to both left and right channels, and the output is the vibrato effect only.

 

Please note that the delay time in VIBRATO mode is significantly shorter, so you may have to adjust the DEPTH control when flipping between modes.  Also, a classic vibrato effect is typically achieved using a higher rate, around 4 Hz.

 

Despite the simple design and lack of features, we hope you agree that the OK CHORALE can still sound pretty OK!

Try or buy OK CHORALE on the Cherry Audio Store

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LCR CHORUS

 

The LCR CHORUS consists of three independent chorus modules (left, centre & right), each with its own LFO, with dedicated rate and depth controls.  It provides a wide range of chorus effects from subtle to almost disorientating!

 

The centre channel receives a mono version of the stereo input, and then blends it with the left and right outputs.  For an extra dimension, the left and right LFOs are out of phase with the centre LFO by +90 and -90 degrees respectively.

 

LCR CHORUS handles mono or stereo inputs, but as it’s a stereo processor, we recommend using both outputs.

 

ON button toggles LCR CHORUS between active and bypass mode.

 

RATE and DEPTH controls are totally independent for the left (L) ,centre (C) and right (R) channels.

 

RATE controls the modulation frequency in the range of 0.1 - 5.0 Hz.  The modulation LFO waveform is a slightly rounded triangle, which will sound more “on and off” at high settings - just like the good old days!  For a really immersive effect, try dialling all three RATE controls to slightly different frequencies - note the default LCR values are 0.4, 0.3 and 0.5 Hz.

 

DEPTH controls the range of modulation either side of a preset delay time.  Note that the centre delay time is fixed, as it typically would be on a vintage circuit design.  Setting DEPTH to minimum results in no modulation, plus a little bit of delay.  The delay time in the LCR CHORUS is a bit longer than the OK CHORALE so things can get pretty intense!

 

We hope you enjoy the sound of the LCR CHORUS, left, right and centre!

 

Acknowledgement: The LCR CHORUS is inspired by the Korg LCR chorus from the early 90’s Korg Wavestation synthesiser, and the excellent information provided in Will C. Pirkle’s quintessential DSP handbook, “Designing Audio Effect Plugins”, some of which is included in the opening description.

Try or buy LCR CHORUS on the Cherry Audio Store

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WOBULATER

 

WOBULATER is the Waverley Instruments spin on a short delay with modulation, aka “chorus” effect.  We wanted to do something a bit different, but with a fairly simple objective:

 

Typically with chorus, you can hear an obvious cycle as the delay time is modulated corresponding to the rate control, especially at high depth settings.  We wanted to make that less obvious on the WOBULATER, so we designed a little LFO matrix that generates what we call “wobulation”.  So, if you combine wobulation, with a delayed, or later signal, you get a WOBU-LATER!

 

WOBULATER handles mono or stereo inputs, but as it’s a stereo processor, we recommend using both outputs.

 

ON button toggles WOBULATER between active and bypass mode.

 

Rest assured, the rest of the controls aren’t quite as cryptic as they may appear!

 

LENGTH (L) sets the overall delay time between 10 and 100ms.  At higher settings, the WOBULATER can get into automatic double-tracking (ADT) territory.

 

WIDTH (W) is the range of the delay modulation as a percentage of the delay time, up to a maximum of +/-50ms.

 

HEIGHT (H) determines how high the effect level is compared to the dry signal, where 0% is no effect, and 100% is effect only.  It’s basically a mix control. 

 

The XYZ knobs control the rates of the three LFOs in the “wobulation matrix” which typically results in a fairly smooth, but slightly unpredictable wobble that can be expressed as:

 

WOBULATION = (X + Y) * Z

 

Finally, we have a switch that inverts the left and right wobulation phase.  With the switch to the left, wobulation is inverted / out of phase and is our recommended setting.  In some cases though, you might want the same wobulation to be applied to both channels, so flip the switch to the right for in-phase wobulation.

 

Happy WOBULATING!

Try or buy WOBULATER on the Cherry Audio Store

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PANDUALAY

 

PANDUALAY is an analog-flavoured stereo delay with a variable left / right delay time ratio.  As well as modulation and a tone control, we’ve added an independent auto-pan that’s applied to the delayed repeats only, to give an additional sense of stereo motion.

 

We specifically designed PANDUALAY to work well with mono synth type sounds, adding a smudgey, almost reverb-like sonic backdrop that sits behind the instrument like a good old analog delay.  In this context, we decided not to add tempo-sync or provide super long delay times.

 

Whip out your favourite lead “mini” synth and try the “everything at noon” default settings with your prog hat on!

 

PANDUALAY handles mono or stereo inputs, but as it’s a stereo processor, we highly recommend using both outputs.

 

ON button toggles PANDUALAY processing on or off.  Please note that when off, any delay repeats will continue to occur, but your dry signal will no longer be processed.  This is similar to “trails mode” in some delay pedals, which also allows PANDUALAY to be switched on and off during a performance without pops or clicks.

 

DELAY sets the main delay time in the range of 100-1000ms.  This time is referred to as D1 below.

 

REGEN sets the delay regeneration or feedback from a single pair of repeats (D1+D2) to infinite repeats.  As repeats build up, the additional audio is compressed slightly.  This will be more noticeable when the input signal and REGEN levels are high, and adds a slightly gritty / lo-fi texture.

 

MOD adds a variable amount of delay modulation to the delay repeats.  This is a version of the “wobulation” technique used in our WOBULATER chorus module.  It has less of an obvious cycle, when compared to typical modulation effects.

 

TONE changes the cutoff frequency of a low-pass filter applied to the repeats.  Sometimes pulling this back can help the resulting darker delay repeats sit “behind” your main signal as per the default 5KHz setting.

 

MIX sets the amount of wet (delayed) signal that’s added to the original (dry) input.  If the combined signals go over +/-5.0V, the LED above the MIX control will light, and the output will be hard-limited before being passed to the outputs.  Ideally, the LED should only light up occasionally otherwise the excessive hard-clipping will sound distorted, so adjust the level of your input source accordingly.

 

RATIO determines the multiplier used for the D2 delay time from 1x to 2x the D1 time.  For example, at the default setting of 1.5, the D2 delay time will be 1.5 times the value of delay time D1.  With DELAY and RATIO at maximum, the length of the D2 delay time will be 2 seconds (2 x 1000ms).

 

PAN changes the rate of the auto-panning applied to the delay repeats only, from 0.01 to 5.0Hz.  While this effect can be quite subtle, we think it adds a nice sense of movement that further enhances the stereo delay effect.

 

We hope you’re tempted to give PANDUALAY a spin!

Try or buy PANDUALAY on the Cherry Audio Store

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DLOOP-16

 

DLOOP-16 is a stereo in / out 16 second delay with old-school looping functions.  The design is based on a classic effects pedal from the 80’s which became popular with looping artists and pre-dates units with dedicated start / stop controls to set the loop length.  Instead, the delay is always running, and you simply toggle the effect in and out of “record” mode, so the length of the loop corresponds to the delay time.  This type of looper is probably more suitable for creating drones and shifting soundscapes not necessarily tied to a fixed tempo, so we haven’t added any sync or clock options.

 

DLOOP-16 handles mono or stereo inputs / outputs, and the stereo image is maintained throughout.

 

REC / PLAY toggles DLOOP-16 between record and play mode.  As the delay line is always running, you can use this button to layer-up a loop in REC mode, then switch to PLAY mode to play along with your loop without overdubbing new audio.

 

STOP will stop loop playback and clear whatever’s in the delay buffer, with a smooth but quick fade-out for dramatic endings to loop performances!  Please note - when you press STOP, your loop is gone forever!

 

You can assign a CV input to the STOP control, typically this would be from the TRANSPORT STOP CV out from Voltage Modular so your loop is cleared when playback is stopped in your DAW.

 

LENGTH sets the overall loop / delay time between 1 and 16 seconds.  Changing the length while a loop is playing will result in a “warping” effect, not unlike a wonky tape recorder.

 

DECAY sets the decay of the loop from a single repeat, to infinite repeats.  For shifting and evolving ambient loops, set the DECAY to around 75-80%.  To gradually fade-out your loop, simply reduce the DECAY time.

 

LEVEL sets the volume of the loop playback.  During a performance, you can use the LEVEL control to bring your loop in and out of the mix as desired.

 

If the combined input and loop signal exceeds +/-5.0V, a brick wall limiter is applied to the output and the LED above the LEVEL control will light.  Ideally, you should only see this occasionally, if at all, otherwise clipping / distortion can occur.

 

Note about beats, tempo and what-not…

 

OK, so we said earlier DLOOP-16 isn’t really about tempo-sync’d loops - think Robert Fripp, more than Ed Sheeran ;-). But we wanted to add something to replace the “click guide” on the original pedal and provide a visual cue for where you are in your loop.

 

Next to the large LED counter display, we have a mode switch.  The top “%” setting displays the percentage progress through your loop, the bottom “B” position displays bars / beats (see below) and the centre position switches the counter off.

 

BEATS sets the number of beats per bar for your loop performance between 1 and 16 beats.  DLOOP-16 will then do a rough calculation to work out how many bars will comfortably fit into the currently selected loop length.  Typically anything less than 4 seconds will be one bar, going up to 4 bars, for loops of 8 seconds or more.

 

With the display in beats / bars “B” mode, the counter will show a three digit number, the first being the bar, and the second two digits, the beat.  For example, 304 would be bar 3, beat 4, and 212 would be bar 2, beat 12.  The small LEDs above the BEATS knob will also pulse in time corresponding to the current bar.  With the display in percentage “%” mode, the counter will show progress 0-100%, and the small LEDs above the BEATS knob will light when progress is past 0, 25, 50 and 75% respectively.

 

You can reset the counters by clicking the SYNC button.  Alternatively, connect a CV source to the PLAY jack, typically from the Voltage Modular TRANSPORT PLAY CV out.  This will reset the counters when playback starts from your DAW.  For convenience and slightly tidier cabling, when using multiple DLOOP-16 modules, you can daisy-chain the reset notification by connecting the THRU and PLAY jacks of consecutive modules.

 

We hope you’re tempted to give DLOOP-16 a try and agree that it’s a fun, simple and inspiring little looper!

Try or buy DLOOP-16 on the Cherry Audio Store

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AULDELAY

 

AULDELAY is our interpretation of a classic vintage three-knob analog delay effects pedal that has a warm, dark and slightly gritty texture to its sound.  However, in a massive departure from the original specs, AULDELAY has a maximum delay time of eight seconds for lo-fi looping adventures!  We’ve also added an EQ switch along with stereo modulation options.

 

AULDELAY handles mono or stereo inputs, but as it does a bit of “stereoizing” when MOD is on, we highly recommend using both outputs.  Your stereo image is retained throughout thanks to independent left / right delay lines.

 

ON button toggles AULDELAY processing on or off.  Please note that when off, any delay repeats will continue to occur, but your dry signal will no longer be processed.  This is similar to “trails mode” in some delay pedals, which also allows AULDELAY to be switched on and off during a performance without pops or clicks.

 

The DARK / WARM switch changes the EQ applied to delay repeats.  DARK mode is what we’d associate with a typical analog delay of the era, rolling-off anything above 3-4KHz which is pretty dark!  WARM mode is brighter, but not pristine, with a lowpass cutoff around 7-8KHz.

 

AULDELAY also applies some low frequency attenuation to the delay repeats to emulate certain characteristics of an analog circuit.

 

DELAY sets the delay time between 100 and 8000ms.  At high delay settings, you can even use AULDELAY as a super simple sound on sound looper.

 

REGEN sets the delay regeneration or feedback from a single repeat to near infinite repeats that become increasingly darker / warmer.

 

MIX sets the amount of wet (delayed) signal that’s added to the original (dry) input.  Increasing the REGEN and MIX will result in a more saturated and gritty sound depending on how hot your input signal is.

 

We’ve tried to apply various processing techniques under the hood to make AULDELAY sound “pleasing” even if you drive it pretty hard.  Ultimately, there’s a limit to this, so if you hear excessive crackling / distortion it probably means the output is being clipped to +/-5.0V so maybe back off your MIX or input level a touch.

 

MOD is a three position switch that sets the depth of delay modulation.  We think ON is the sweet spot for additional subtle warmth, but you can have twice as much (DEEP) or none at all (OFF).

 

And in case you don’t know, “Auld” is the Scots word for “old”.  We hope you like our tribute to delays from “auld lang syne”.

Try or buy AULDELAY on the Cherry Audio Store

 

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BABY ABY

 

BABY ABY is a super simple ABY switching module that allows you to take a single input and send it to output A, B or both.

 

A/B directs the input to either the A or B output.  The A output is green and the B output is red.

 

Y directs the input to the A and B outputs when lit.

 

FADE allows you to set the time it takes to re-direct or mute the input signal from 10ms to 5 seconds.  With a long fade time BABY ABY can be used to “morph” between different sound sources.

 

MUTE silences both outputs.

Try or buy BABY ABY on the Cherry Audio Store

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MINICAB DRIVER

 

MINICAB DRIVER is our tribute to the first generation of “amp in a box” and “speaker emulator” type gizmos made for guitarists around the late 80’s.  The idea was that you could get amp-like tones without the hassle and noise of micing-up an actual amp.  Of course, compared to today’s whizz-bang digital modellers and cabinet impulse response loaders, these old boxes might not sound terribly convincing to the tone purist, but we think they have a certain charm and sound of their own.

 

Ultimately though, please note that MINICAB DRIVER isn’t a model or emulation of a specific amp.  If it’s an emulation of anything, it’s an emulation of an emulator, leaning more towards a British / classic non-master volume Rock style guitar amp.  And of course, we couldn’t resist adding a couple of digital-age bells and whistles of our own - a room reverb, and to the best of our knowledge, a fairly unique mains hum noise reduction system.

 

MINICAB DRIVER handles mono or stereo inputs / outputs, and the stereo image is maintained throughout.  If you’re using a guitar, route it to the left or right input, and use both outputs in stereo to get a room sound “spread” effect.

 

As you’ll most likely be using MINICAB DRIVER with an electric guitar, we’ve added a handy monitor LED next to the input jacks.  For optimal setup, the LED should typically only be blue if you’re playing otherwise too much background noise is being amplified - in which case reduce your input level.  Also, the LED should only flash red when your playing is at its hardest / most aggressive.  If the LED is red nearly all the time, then again, back off your input level.

 

The POWER switch toggles MINICAB DRIVER between active and bypass mode.  The LED below the switch will be lit when active.

 

Next up, we have a CAB SIM switch with status LED.  When lit, this brings in our guitar cabinet simulator designed to mimic the frequency response of a legendary green 12” guitar speaker.

 

DRIVE adjusts how hard your input signal hits the “preamp” of MINICAB DRIVER.  A dual cascading “preamp” stage delivers tube-like crunch, and a “power stage” adds more distortion and compression as you crank up the DRIVE. And yes, the drive does actually clean-up with your guitar volume and picking dynamics, and it goes up to ELEVEN!

 

TIGHT mode when lit, increases the overall compression for a “tighter” feel, useful for lead playing.  When off, the response is a bit more dynamic and “open”.

LEAD mode when lit, increases the gain of one of the “preamp” stages for when you need that little bit extra drive!

 

The BASS, MIDDLE and TREBLE controls are based on a fairly traditional guitar amp tone stack found in a famous amp with a similar colour scheme.  Like many high gain rock-oriented amps, the tone stack comes after the “preamp” stage.  Boosting the MIDDLE control will result in noticeably more drive and saturation occurring at the “power amp” stage.

 

The switch in the centre of the BASS, MIDDLE and TREBLE controls can be used to bypass the tone stack entirely when not lit.

 

ROOM allows you to bring in a bit of ambience, adding to the illusion of a guitar amp in an actual physical space.  This control also helps spread your sound out a bit, avoiding that “pin point” / dead-centre DI type effect.

 

The SMALL / MEDIUM / LARGE switch sets the size and damping characteristics of the ROOM ambience, from recording booth to large hall.

 

BUZZ KILL.  Here at Waverley Instruments HQ, we love the sound of single coil guitar pickups, but we're not so keen on the mains hum they're also prone to picking up!  It can be a real buzz kill.  So... we added a BUZZ KILL switch to MINICAB DRIVER!  This is a noise reduction system aimed specifically at mains hum, switchable between 50 and 60Hz depending on where you are in the world.  Due to the way it works, you might have to tweak your tone controls to compensate for the offending buzzy frequencies being attenuated.  The centre position bypasses the noise reduction.  Please note, if you’re using a humbucker pickup guitar, you’re unlikely to need this function.

 

Ultimately we wanted to keep MINICAB DRIVER really simple, but add enough features so you could use it to get decent guitar tones easily and quickly for recordings or even for playing live.

 

We hope you’re tempted to take a rock’n’roll ride back in time with the MINICAB DRIVER!

 

Credits: Many thanks to Ben at bensmithguitar.com for recording the demo clips and providing invaluable feedback during development.

Try or buy MINICAB DRIVER on the Cherry Audio Store

 

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JUNIORVERB DELUXE

 

The JUNIORVERB DELUXE is the second release from our “amp in a box” series of modules.  This time round, we’re drawing inspiration from a legendary US combo with a 10” speaker, built-in tremolo and spring reverb.  Despite its small size and low power rating, the amp has become a classic recording and giging machine that’s still highly sought after.  Designed initially as a "student" practice amp, it has a smooth and spongey response that gives way to a ragged and raucous overdrive when pushed.

 

We’ve also added our “buzz kill” noise reduction system, variable room ambience, and a “mid-hump” dirty boost.

 

JUNIORVERB DELUXE handles mono or stereo inputs / outputs, and the stereo image is maintained throughout.  If you’re using a guitar, route it to the left or right input, and use both outputs in stereo to get a room sound “spread” effect.

 

As you’ll most likely be using JUNIORVERB DELUXE with an electric guitar, we’ve added a handy monitor LED next to the input jacks.  For optimal setup, the LED should typically only be blue if you’re playing otherwise too much background noise is being amplified - in which case reduce your input level.  Also, the LED should only flash red when your playing is at its hardest / most aggressive.  If the LED is red nearly all the time, then again, back off your input level.

 

The POWER switch toggles JUNIORVERB DELUXE between active and bypass mode.

 

Next up, we have a CAB SIM switch.  When lit, this brings in our guitar cabinet simulator designed to mimic the frequency response of a tight and focussed 10” guitar speaker.

 

BUZZ KILL.  Here at Waverley Instruments HQ, we love the sound of single coil guitar pickups, but we're not so keen on the mains hum they're also prone to picking up!  It can be a real buzz kill.  So... we added a BUZZ KILL switch to JUNIORVERB DELUXE!  This is a noise reduction system aimed specifically at mains hum, switchable between 50 and 60Hz depending on where you are in the world.  Due to the way it works, you might have to tweak your tone controls to compensate for the offending buzzy frequencies being attenuated.  The centre position bypasses the noise reduction.  Please note, if you’re using a humbucker pickup guitar, you’re unlikely to need this function.

 

BOOST is a switchable midrange boost very loosely based on a famous little green overdrive pedal.  The added midrange (overly) compensates for the natural dip in the amp’s response around the midrange.  Increasing this control also increases the amount of overdrive.

 

VOLUME is a master volume control designed to mimic the dynamics of a tube amp.  Depending on the type of guitar you use, the sound will stay reasonably clean up until around half way, then break-up in a fairly undignified way!  If the sound starts to get “flubby” around the low-end, try backing off the BASS control.  The combination of a small cab and speaker meant that the original amp sometimes struggled to handle low frequencies when pushed really hard, so of course, we had to try and simulate that!

 

The BASS and TREBLE controls are based on a fairly traditional guitar amp tone stack.  Please note that as per the amp on which the JUNIORVERB DELUXE was based, the overall tone is slightly scooped around the midrange.

 

The switch in the centre of the BASS and TREBLE controls can be used to bypass the tone stack entirely when not lit.

 

The TREMOLO has a dedicated ramped / soft bypass switch and SPEED and DEPTH controls.  Please note that the TREMOLO comes after the reverb, just like a vintage tube amp.

 

REVERB adds a spring reverb effect.  Just like an amp, the reverb feeds into the “power amp” so will distort if you really push the volume.  We think this can sound great!

 

ROOM allows you to bring in a bit of ambience, adding to the illusion of a guitar amp in an actual physical space.  This control also helps spread your sound out a bit, avoiding that “pin point” / dead-centre DI type effect.

 

The SMALL / MEDIUM / LARGE switch sets the size and damping characteristics of the ROOM ambience, from recording booth to large hall.

 

Ultimately we wanted to keep the JUNIORVERB DELUXE pretty simple, but add enough features so you could use it to get decent guitar tones easily and quickly for recordings or even for playing live.

 

We hope you’re tempted to give the JUNIORVERB DELUXE a go!

 

Credits: Many thanks to Ben at bensmithguitar.com for recording the demo clips and providing invaluable feedback during development.

Try or buy JUNIORVERB DELUXE on the Cherry Audio Store

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GIGSWITCH-3

 

GIGSWITCH-3 is a stereo three channel, mixer, switcher and effects loop module all rolled into one.  We designed GIGSWITCH-3 with live performance in mind, hence the name!

 

At the top and right hand side of the module we have all the input and output connections.  To make access to the various controls easier, we recommend that GIGSWITCH-3 is below or to the left of your main input and outputs source and destinations, and any effects are placed to the right of the module.

 

The IN / OUT section is where you connect your input source and output destination.  If your source is mono, connect it to either input and the signal will be duplicated at the other input.

 

The metering section to the left of the IN / OUTs allows you to monitor levels of what’s going in and coming out of GIGSWITCH-3.  If any clipping occurs over +/-5.0V, the LEDs above the meters will light.

 

There are two gain adjustment knobs for input and output levels below the meters with a range of -48dB to +12dB.

 

LIMITER engages an optional limiter on the output as a safety net to keep levels in check.

 

THRU, when on, will include your original signal received at the input stage.  Typically, you’d have this switched on when using GIGSWITCH-3 as an effects loop.  Please see additional usage examples below for when you might want to switch THRU off.

 

The TRAILS button next to each set of RTN jacks uses a term frequently associated with delay effects pedals and this is a good example of when this option might be useful.  Imagine you have a delay effect on channel 1 and you want to stop sending audio to the delay when you switch channels, but you want the delay repeats (or echo trails…) to still be in your overall mix.  You can enable this by turning on the TRAILS button.  If the button is off, the RTN audio will be muted as per the FADE time when you switch channels and this is the default mode of operation.

To the right of the module are three effects loop sections with dedicated send and receive metering, gain trims and stereo pan.  When using GIGSWITCH-3 as a mixer, simply connect your sources to the RTN jacks for each channel.

For mono send / return, use either the left or right channel and the return signal will be duplicated on the unused channel.  This also allows you to pan this loop in the stereo output mix.


To the left of the module we have three BIG channel switching buttons corresponding to the three channels.  When the channel is active, the LED on the button will light.  Alternatively, to cycle through the channels, the up/down arrows button can be used.  This can also be useful if you want to assign channel switching to a single button on your MIDI controller.

The AND / OR switch toggles channel selection mode between a maximum of one channel active or all three.  To mute a channel, simply click it again to toggle off.

 

The FADE knob is used to set a smooth fade time as you switch channels on and off to avoid pops and clicks.  Some interesting effects can also be achieved with this feature as the maximum fade time goes up to 10 seconds.  This could be used for a “morphing” effect between loops, sequences or drones for example.

 

EXAMPLE 1 - parallel effects loop.  Switch THRU on, and connect your effects to the send and return jacks for each channel.  Adjust levels to avoid clipping and switch between your effects in either AND or OR mode.

 

EXAMPLE 2 - three channel mixer.  Connect your sources to the RTN jacks only for each channel, and use the RTN gain trim and pan controls as a simple mixer.  Set to AND mode and use the channel buttons to mute or solo each channel.

 

EXAMPLE 3 - multi guitar amp sim setup.  Connect our MINICAB DRIVER and JUNIORVERB DELUXE amp sims to the SND and RTN jacks on different channels.  Connect your guitar / audio input to one of the IN jacks and switch THRU off.  Add extra effects to the chain before or after the amp sims for a multi-amp gig rig setup!

 

EXAMPLE 4 - multiple GIGSWITCH-3s!  You can do all sorts of interesting things by chaining multiple GIGSWITCH-3 modules together.  We’ll leave those experiments to you!

 

We hope you find GIGSWITCH-3 useful and if there’s enough demand for a module with additional channels, we’ll make one!

Try or buy GIGSWITCH-3 on the Cherry Audio Store

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FUZZBOMB

 

FUZZBOMB takes its inspiration from the gnarly and bombastic fuzzboxes that exploded onto the guitar effects scene in the 1960’s.  Typically very simple circuits based around diodes or transistors, they produced a high gain saturated tone that quickly turned pretty much anything in their path into a turbo-charged square wave version of itself!

 

While most recognisable at extreme settings, many fuzzes could also generate quite acceptable “tubey” overdrive tones with the gain backed off.  We’ve tried to cover similar territory in the design of FUZZBOMB, although we’re not really talking “subtle guitar amp breakup” here!

 

FUZZBOMB has two totally independent channels for processing stereo or dual mono inputs.  When either input is used, it will be routed to both outputs.

 

ON button toggles FUZZBOMB between active and bypass mode.

 

FUZZ varies the overall drive into the clipping “circuit”, and ultimately how fuzzy the resulting sound will be.  Depending on the strength of the input signal, FUZZ will take you from crispy crunch to all-out square wave splatter!

 

SKEW allows you to introduce a positive or negative amount of asymmetrical clipping which was a common artefact produced by many of the original fuzz circuits.  It’s a sonic effect that’s easier to hear than explain to be honest.  In the centre position, clipping is symmetrical.

 

BASS and TREBLE are active cut and boost controls for low and high frequencies.  At their centre position, no cut or boost is applied.  These controls can have quite a dramatic effect on the type of tones FUZZBOMB produces, so we urge you to experiment!

 

LEVEL is an attenuation control allowing you to reduce the final output level if needed.  This control does not change the fuzz effect, and at maximum setting, there is no attenuation.

 

Please note that FUZZBOMB has been designed so its output should not exceed +/-5.0V so you can push it as hard as you like!  If you’re using instruments such as guitar, keep in mind FUZZBOMB is a high gain effect and will also amplify any background noise.  You may find that simply reducing the TREBLE control will help reduce hiss or similar noise.

 

We hope FUZZBOMB gives you warm and fuzzy feelings!

Try or buy FUZZBOMB on the Cherry Audio Store

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CLIPDRIVER

 

CLIPDRIVER is our take on the plethora of diode-based guitar overdrive effects pedals, including the famous screamy green one!  While not intended as an emulation of any specific pedal, we’ve tried to cover similar territory in terms of the range of gain and tones.


CLIPDRIVER leans more towards an overdrive, rather than a distortion effect and performs best as a low to medium gain crunch machine and perhaps unsurprisingly, works especially well with electric guitar.  And with the CAB SIM engaged, you can even use CLIPDRIVER as a one-stop CPU-friendly solution for classic rock guitar tones on recordings or even for live performance!

CLIPDRIVER has two totally independent channels for processing stereo or dual mono inputs.  When either input is used on its own, it will be routed to both outputs.

 

ON button toggles CLIPDRIVER between active and bypass mode.

 

DRIVE increases the gain of the signal going into the clipping section which gives you something between light crunch and medium overdrive type tones depending on the strength of the incoming signal.  Due to the variable soft clipping applied, CLIPDRIVER can respond well to dynamics and playing style when used with electric guitar.

 

TIGHT mode when lit, increases the overall compression for a “tighter” feel, useful for lead playing.  When off, the response is a bit more dynamic and “open”.

CAB SIM mode when lit, engages our guitar amp cabinet simulator based on the 12” speaker emulation in the JUNIORVERB DELUXE+.  For extra realism we’ve added a touch of room ambience to give your guitar a sense of space.

LEVEL is an attenuation control allowing you to reduce the final output level if needed.  This control does not change the drive effect, and at maximum setting, there is no attenuation.

 

BASS, MIDDLE and TREBLE are active cut and boost controls for low, mid and high frequencies.  At their centre position, no cut or boost is applied.  These controls can have quite a dramatic effect on the type of tones CLIPDRIVER produces, so we urge you to experiment!

 

The MIDDLE control has an extended boost range so you can get similar tones to a legendary green overdrive pedal by boosting the MIDDLE control and cutting the BASS and TREBLE controls to taste.

 

Next to the MIDDLE control is a L/M/H frequency shift switch that changes the centre frequency of the MIDDLE control to 500 (L), 625 (M) or 750 (H) Hz.

 

Please note that CLIPDRIVER has been designed so its output should not exceed +/-5.0V so you can push it as hard as you like!  If you’re using instruments such as guitar, keep in mind CLIPDRIVER increases the gain of incoming signals so will also amplify any background noise.  You may find that simply reducing the TREBLE control will help reduce hiss or similar noise.

 

We hope you enjoy CLIPDRIVER!

Try or buy CLIPDRIVER on the Cherry Audio Store

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PORTASONUS

 

PORTASONUS is a general purpose audio gate utility.  It performs well as a threshold-based noise reduction tool, but can also be used as an “auto-swell” effect with instruments such as guitar.  An optional sidechain input opens up interesting rhythmic gating possibilities.

 

We’ve done our best to tune the PORTASONUS gate controller with a little internal damping and smoothing so that it’s “musical” in nature, rather than providing sample-accurate surgical precision.

 

The name is vaguely Latin influenced, roughly translating as “sound gate”.

 

PORTASONUS has two totally independent channels for processing stereo or dual mono inputs.  When either input is used, it will be routed to both outputs.  Please note however that the gate is driven by the average incoming signal of both inputs.

 

ON switch toggles PORTASONUS between active and bypass mode.

 

The AGR LEDs provide a visual indication of the gate.  When in the attack phase, the A LED will be lit.  When in the release phase, the R LED will be lit.  The G LED will be lit blue when the gate is open, and red when closed.


OPEN sets the gate threshold from near silence (-96dB) to the maximum level of 5.0V (0dB).  If no levels are clipping, nothing should get through the gate when OPEN is set to maximum.

CLOSE sets the amount the level must fall to below the open threshold for the gate to close.  This is often referred to as hysteresis.  At maximum setting the threshold is the same, i.e. zero decibels below the open ratio.  At minimum, this setting is 24dB below.

 

Depending on the type of audio being processed, setting the CLOSE setting to be somewhere around halfway (-6dB) can help avoid “ripples” or “chatter” due to the gate opening and closing quickly as it crosses back and forth over the open threshold.

 

REDUCTION varies the amount of gain reduction applied by the gate.  At minimum setting, no reduction takes place.  At maximum, -96dB of gain reduction is applied, which is practically total silence.

 

Interesting effects can be achieved by varying the REDUCTION control, such as “tightening up” a drum loop by reducing the level of the quieter elements, or slightly damping the reverb tail between notes to restore rhythmic definition to a track.

 

ATTACK varies the time taken for the gate to open, from 0ms to 2500ms.  Note that when in the attack phase, the gate will not re-trigger.  Setting a long ATTACK time turns PORTASONUS into an auto-swell effect.

 

HOLD varies the time between 5-2500ms the gate is held open after the level has fallen below the threshold set by the CLOSE control.  For a “musical” response, the level must remain below the hysteresis value for the entire duration of the HOLD time, or the timer is reset.  Once the HOLD time has elapsed, PORTASONUS goes into release mode.

 

RELEASE sets the time taken for the gate to reduce gradually to the level set by the REDUCTION control from 25ms to 2500ms.

The LIN / EXP switches below the ATTACK and RELEASE controls change the gain adjustment between linear or exponential.  An exponential attack curve can sometimes work better for long attack times.

 

The SIDECHAIN switch enables the sidechain (SC) input.  This allows PORTASONUS to gate audio sent to the IN jacks according to the signal seen at the SC jack.  For example, you could run a synth arp into the main inputs and route a percussion track to the SC input to give the arp a rhythmic pulsing effect.  There’s lots of creative potential here and it’s worth spending some time exploring and tweaking all the controls.

 

We hope you now agree that gates can be fun and they’re not always just an open and shut case!

Try or buy PORTASONUS on the Cherry Audio Store

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BUZZKILL

 

BUZZKILL is designed primarily for guitar players and incorporates the “BUZZ KILL” mains hum reduction feature from our “amp in a box” modules, and a simplified version of the PORTASONUS gate, fine-tuned for use as an instrument noise gate.

 

Please note that mains hum reduction is mostly useful for guitar players who use single coil pickups.

 

BUZZKILL has two totally independent channels for processing stereo or dual mono inputs.  When either input is used on its own, it will be routed to both outputs.  Please note however that the gate is driven by the average incoming signal of both inputs.

 

When used with guitar, we recommend BUZZKILL is first in your signal chain so that the cleanest audio is presented to any high gain effects modules further down the line.

 

The BUZZ switch enables a series of mains hum filters when set to 50Hz or 60Hz.  The middle position is off / no mains hum filtering.

 

REDUCTION sets the amount the filtered frequencies are attenuated by, from 0dB to -24dB.  At minimum setting, no gain reduction is applied.

 

For best results, with REDUCTION set to minimum and the KILL switch off, turn on the BUZZ switch for the mains frequency appropriate to your region (e.g. 60Hz in the US) then gradually increase the REDUCTION knob until the mains hum frequencies are no longer intrusive.  You can then use the gate to “clean-up” any lower level noise in your signal path.

 

The KILL switch enables a noise gate when set to ON.

 

When the gate is open, the LED below the switch will be lit blue.  When closed, the LED is red.

 

THRESHOLD sets the input level that will open the gate from extremely quiet (-96dB) to the maximum level of 5.0V (0dB).  If no levels are clipping, nothing should get through the gate when THRESHOLD is set to maximum.

 

RELEASE sets the time taken for the gate to close from 25ms to 2500ms once the signal has fallen below the THRESHOLD level.

 

REDUCTION sets the amount of attenuation applied by the gate.  At maximum setting, this is “total silence”, i.e. -96dB.  At minimum setting no attenuation is applied.  This control can be used to bring background noise down to an acceptable level without totally silencing your instrument signal.

 

We hope that BUZZKILL helps prevent “buzz kill” due to noise when recording and playing live!

 

Try or buy BUZZKILL on the Cherry Audio Store

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SMOOTHIE PLUS (SMOOTHIE+)

 

After a few messages from folks saying that they liked our super-simple one-knob compressor SMOOTHIE, but sometimes found themselves wishing it was a bit more “tweakable", we decided to make SMOOTHIE+.

 

SMOOTHIE+ can be used in situations when you want a CPU-friendly compressor that’s reasonably smooth and transparent, but rest assured, it can get very squashy when pushed to the max!

 

SMOOTHIE+ is a stereo in / out module and applies compression based on the average level received at both inputs.  When either input is used on its own, it will be routed to both outputs.

 

ON button toggles SMOOTHIE+ between active and bypass mode.

 

THRESHOLD sets the point at which compression is applied to the input signal(s) in the range of -24dB to 0dB.  In theory, no compression should occur when THRESHOLD is set to the maximum of 0dB.  Note that decreasing the THRESHOLD, increases the compression effect.

 

RATIO varies the amount of gain reduction applied once the signal is over the THRESHOLD value.  The range is 2 to 8.  So for example, at the default setting of 4, anything over the threshold will typically be reduced to the threshold level + 25% (1/4) of the amount over the threshold.

 

The LED above the THRESHOLD / RATIO knobs will be lit when the average input signal exceeds the compression threshold, i.e. the signal is being compressed.

 

ATTACK varies the time it takes for SMOOTHIE+ to take effect and respond to incoming gain changes in the range of 10-100ms.  A fast attack time will result in SMOOTHIE+ “clamping down” on loud transients quickly, with a more noticeable “squashing” effect.  A slow attack time allows some of the initial part of the signal to get through unchanged which can result in a more natural / transparent compression effect.

 

RELEASE sets the recovery time for the compression effect from 25-1000ms.  A fast release time is useful for rhythmic material with transients occurring fast and furiously!  A longer release time can be more suitable for solo instruments, especially guitar, giving a smoother overall compression effect.

 

BLEND reintroduces a variable amount of the original “dry” signal into the output mix.  At zero, you will hear the compressed signal only.  At maximum, you will hear the compressed signal, plus the original dry signal.

 

For certain sounds, dialling-in the BLEND control allows the initial attack of a note to briefly exceed the level of the compressed signal, which is very desirable when used with electric guitars for example, and helps retain a dynamic feel.

 

LEVEL varies the overall mix output from +12dB boost to -96dB reduction, i.e. practically total silence at the minimum setting.  The centre / default position is zero gain adjustment.

 

MAKEUP when turned on, will apply additional gain automatically based on the threshold and compression ratio to compensate for the overall reduction in level due to compression.  When MAKEUP is enabled, we recommend that the LEVEL control is as centre or less otherwise distortion / clipping could occur.

 

PLEASE NOTE: SMOOTHIE+ is designed to handle a wide range of audio signals and because of a final brick wall limiter stage, should never present output levels greater than +/-5.0V.  However, depending on the nature and level of the input audio and BLEND control, limiting may occur internally, indicated by the LED above the BLEND / LEVEL knobs.  If this occurs, back off the LEVEL control until the clipping LED stops flashing, or allow a little bit of limiting to take place if you think that suits the occasion!

 

We hope you enjoy SMOOTHIE+ with added vitamins!

Try or buy SMOOTHIE+ on the Cherry Audio Store

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JUNIORVERB DELUXE+

 

The JUNIORVERB DELUXE+ is based on the JUNIORVERB DELUXE guitar “amp in a box” module.  The “plus” version allows you to tweak some of the “under the hood” settings for even more tones!

The left side of the interface is exactly the same as the standard version (described in detail above), and with everything on the right side at the default settings, the standard and plus version will sound exactly the same.

 

The SPEAKER section allows you to change the SIZE and CHARACTER of the CAB SIM guitar speaker.  Typically, larger speakers have more low end and smaller speakers tend to sound a bit brighter.  Again, generally speaking, US speakers can be a bit brighter with a “relaxed” midrange, whereas British speakers can often be “warmer” with a more aggressive or focussed midrange response.

 

The BOOST switch toggles between a DRIVE or PEDAL type boost.  In DRIVE mode, this is similar to having additional gain applied at the preamp stage in a master volume amp.  The PEDAL boost is based on a famous green overdrive pedal and also boosts midrange.

 

BREAKUP mode determines the onset and amount of “power amp” distortion and is inspired by the cleaner “Silverface” amps of the 60’s vs. the dirtier grind of “Tweed” combos from the 50’s.

 

SAG, when switched on, is an effect similar to compression and in a real amp, is caused by the power supply struggling to deliver maximum power on initial transients, which results in a “sag” effect after the initial attack, then a recovery “bloom” phase similar to a compressor with a slow attack and release.

 

AMOUNT varies the amount of compression / sag.  The LED above the switch will light when “sagging”.

 

RECOVERY sets the release time of the sag effect from 100-2000ms.  At high gain and SAG AMOUNT settings, this is the time it takes for chords to “bloom”.  It can take a little while to dial-in properly, but we think the results can be very rewarding and tube amp-like!

 

The TREMOLO L/R PHASE knob varies the phase of the right channel tremolo relative to the left.  At the minimum default setting, both channels are in phase.  As you increase the amount, the right channel phase is shifted gradually, up to 180 degrees, i.e. totally out of phase.  The resulting stereo effect ranges from subtle to dramatic!  The speed of the tremolo will also appear to double when L/R PHASE is set to maximum.

 

TREMOLO SHAPE varies the modulation waveform from triangle (left) to smooth vintage (centre) and choppy square to the right.

 

REVERB SIZE varies the virtual length of the spring reverb tank between short (S) medium (M) and long (L).

 

The REVERB ORDER switch changes the position of the reverb to either before the tremolo (left) or after the tremolo (right).  Vintage amps typically have the tremolo after the reverb although more recent conventions tend to have reverb last in the chain.

 

The REVERB TONE knob controls the brightness of the reverb effect.  As the control is turned down, the reverb becomes darker, with less high frequency content.

 

The switchable FX LOOP allows additional effects to be added via the send (SND) and return (RTN) jacks to the signal chain in an effects loop, just like a real guitar amp.  This can achieve very different results compared to running effects before or after the module as it places the effects chain between the internal amp’s components.  With the switch to the left (PREAMP) effects in the loop come after the preamp and boost sections, but before reverb and tremolo.  With the switch to the right, the effects are inserted just before the power amp section, after the preamp, boost, reverb and tremolo.  Please note that any power amp distortion will be applied after your effects, which might be just the thing for a bit of added realism!

 

Ultimately we wanted to keep the JUNIORVERB DELUXE+ pretty simple, but add enough tweakable features so you could use it to get a wide variety of guitar tones easily and quickly for recordings or even for playing live.

 

We hope you’re tempted to give the JUNIORVERB DELUXE+ a go!

Try or buy JUNIORVERB DELUXE+ on the Cherry Audio Store

 

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MINICAB DRIVER+

 

The MINICAB DRIVER+ is based on the MINICAB DRIVER guitar “amp in a box” module.  The “plus” version allows you to tweak some of the “under the hood” settings and adds additional features for even more rocking tones!

 

The left side of the interface is exactly the same as the standard version (described in detail above), and with everything on the right side at the default settings, the standard and plus version will sound exactly the same.

 

The AMP CONFIG section allows you to configure the basic character of the amp emulation.  To reflect the ongoing quest for more gain over the years, each switch position, inspired by the decades of the 60s, 70s and 80s brings more gain to the party.  Select 60s for Bluesy breakup, 70s for classic crunch, and 80s for Hair Metal!

 

The VINTAGE switch engages a different drive algorithm for the power stage and is derived from our CLIPDRIVER overdrive.  This is a smoother, and warmer drive compared to the default distortion algorithm and the difference will be more noticeable as you increase the DRIVE control.

 

POWER SAG, when switched on, is an effect similar to compression and in a real amp, is caused by the power supply struggling to deliver maximum power on initial transients, which results in a “sag” effect after the initial attack, then a recovery “bloom” phase similar to a compressor with a slow attack and release.

 

AMOUNT varies the amount of compression / sag.  The LED below the switch will light when “sagging”.

 

RECOVERY sets the release time of the sag effect from 100-2000ms.  At high gain and SAG AMOUNT settings, this is the time it takes for chords to “bloom”.  It can take a little while to dial-in properly, but we think the results can be very rewarding and tube amp-like!

 

The CAB CONFIG section allows you to configure the number and character of the speakers in the emulated speaker cabinet.  As a general rule, the bigger speaker cabinets with more speakers will typically have more low end.  Also, the resonant frequency of the speaker tends to be more apparent, going from say a 1x12 to a 4x12 cabinet.

 

The VINTAGE switch is intended to emulate the frequency response of older speaker designs which tend to have a little less presence and a warmer low end.

 

The MIC SIM options add an EQ curved based on typical microphone coloration.  The DYN (dynamic) mic has a noticeable resonant peak that can help a guitar cut through a mix, combined with low end attenuation which can help a guitar sit in a mix. The CON (condenser) mic adds presence or “air” as is typical with many large diaphragm condensers.  The OFF position bypasses the mic EQ.

 

VOLUME is a simple passive attenuation control that can be used to balance the level of the main outputs with other instruments or channels in your setup.

 

The switchable ADT section is our tribute to the old “automatic double tracker” studio trick.  The idea is that ADT creates the illusion of the same part, overdubbed several times which can work great with guitar.  There are various approaches for achieving this effect, but most use a short delay, a bit of stereo processing and possibly some modulation applied to the delay.  We use all three for our ADT!

 

SPREAD varies the overall delay time and width of the stereo image of the duplicated parts.  As you increase the SPREAD control, the effect becomes more obvious and more dramatic!

 

MIX adjusts the level of the duplicated parts.

 

DRIFT varies the amount of modulation applied to the duplicated parts so that they’re never at the same fixed delay time.  This helps create the impression of overdubbed parts ever so slightly out of time with one another.  At high settings, DRIFT can almost get into chorus type modulation territory.

 

The switchable FX LOOP allows additional effects to be added via the send (SND) and return (RTN) jacks to the signal chain in an effects loop, just like a real guitar amp.  This can achieve very different results compared to running effects before or after the module as it places the effects chain between the internal amp’s components.  The effects are inserted just before the power amp section, after the preamp.  Please note that any power amp distortion will be applied after your effects, which might be just the thing for a bit of added realism!

 

Ultimately we wanted to keep MINICAB DRIVER+ relatively simple, but add enough features so you could use it to get decent guitar tones easily and quickly for recordings or even for playing live.

 

We hope you’re tempted to take a rock’n’roll ride with the MINICAB DRIVER+!

Try or buy MINICAB DRIVER+ on the Cherry Audio Store

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FLANGERLOPE

 

FLANGERLOPE is an analog-flavoured flanger effect with built-in envelope follower.  It was partly inspired by the vintage Dynaflanger, but we’ve taken a simpler approach and added a few twists of our own!

 

FLANGERLOPE can be used as a standard flanger driven by its own LFO, or the modulation level can be set to follow the gain of the input signal, or an external sidechain.

 

FLANGERLOPE is a stereo in / out module.  When either input is used on its own, it will be routed to both outputs.

 

DEPTH sets the amount of modulation applied to a short delay.  At maximum, the modulation is applied to almost the entire delay time range.

 

REGEN re-introduces some of the effected signal into a feedback loop.  As you increase REGEN, you will hear the classic metallic flanger whooshing sound!

 

SPREAD adjusts the left / right pan of the effected signal only.  At minimum setting, the effect will be mono and as you increase the SPREAD control, the effect will get increasingly panoramic!

 

The LFO / ENV switch determines whether FLANGERLOPE uses its own LFO (left position) to sweep across the modulation range (set by DEPTH) or whether to follow the envelope (ENV) of an incoming signal (right position).

 

When the LFO / ENV switch is in the centre position, FLANGERLOPE is in envelope follower mode, but the left channel has additional modulation applied by the LFO.  This creates a nice stereo effect.

 

When in LFO mode, the left and right channels are 90 degrees out of phase to create a stereo effect.

 

RATE varies the LFO rate from 0.01 to 5.0 Hz.

 

The DRIFT button, when turned on will introduce gradual variation to the LFO speed so the repeating cycle is not obvious and locked to a set time.  This can be a useful effect when used with slower LFO rates.

 

SENSITIVITY varies the threshold of the envelope follower and determines the amount of modulation applied, according to the level of the input signal.  When used in stereo, the average of the left and right channels is fed into the envelope follower.


The INV button, when turned on inverts the response of the envelope follower so that stronger signals decrease the effect instead of increasing it.  The up/down arrows button inverts the response of left and right channel enveloper follower for a more dramatic stereo effect!  Note that the ENV switch must be in the right-most position for the up/down mode to take effect.

The LEDs between the RATE and SENSITIVITY knobs indicates the amount of modulation or a representation of the envelope follower depending on the LFO / ENV switch.  When in LFO mode, the LEDs show the amount of modulation for the left and right channels.  When in LFO / ENV (centre switch position), the right LED shows the envelope, and the left LED shows the envelope plus the amount of modulation being applied to that channel.  In ENV mode, both LEDs show the envelope state.

 

The ENV section has dedicated knobs for attack, hold and release.  This allows you to customise the response and feel of the envelope follower depending on your audio source.  For example, for rhythmic material, you might want to use very low attack, hold and release times for a “snappy” response.  Alternatively, when used with guitar for example, longer attack and / or release times can produce very interesting results.

 

ATK varies the envelope follower attack time from 5-1000ms.

 

HLD varies the envelope follower hold time from 10-1000ms.

 

REL varies the envelope follower release time from 10-2000ms.

 

Please note that the envelope follower applies damping to its input to help achieve a smooth response and nice “feel”.  Because of this, you may still notice some “ramping” up or down, even at very short attack or release times.

 

Below the IN jacks is an ENV sidechain input.  When an audio signal is connected to this jack, the gain of the incoming audio at this input is used to drive the envelope follower.  Please note the ENV input is designed to accept audio and is not a +/-5.0 CV jack, i.e. negative values will be treated as positive.

 

We hope you might consider enveloping your sound in flangey goodness with FLANGERLOPE!

Try or buy FLANGERLOPE on the Cherry Audio Store

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PHASERLOPE

 

PHASERLOPE is an analog-flavoured phaser effect with built-in envelope follower.  It was inspired by the vintage 2 and 4 stage phaser designs, but we’ve added a few twists of our own!

 

PHASERLOPE can be used as a standard phaser driven by its own LFO, or the depth can be set to follow the gain of the input signal, or an external sidechain.

 

PHASERLOPE is a stereo in / out module.  When either input is used on its own, it will be routed to both outputs.

 

STAGES selects the number of stages between 2 or 4.  Each stage is a stereo pair of bandpass filters that have their own unique minimum and maximum frequencies modulated according to the DEPTH and speed of the LFO.  Two stages tends to sound mellower and reminiscent of the early small guitar effects pedals.  Four stages has a bit more going on!  The phasing effect is created due to the frequency ranges for the stages overlapping, so as the centre frequency is modulated for each stage, certain frequencies in the input signal are emphasised or reduced.

 

DEPTH sets the amount of frequency modulation applied to the phaser stages.  At maximum, the modulation is applied to the entire frequency range of each stage.

 

SPREAD adjusts the left / right pan of the effected signal only.  At minimum setting, the effect will be mono and as you increase the SPREAD control, the effect will get increasingly panoramic!

 

The FREQ A/B switch selects between different frequency ranges for the stages.  Option A selects the theoretical ideal values.  Option B uses the values from a well-documented National Semiconductor design and tends to sound ever so slightly thinner and brighter compared to A.

 

PEAK is our preferred alternative to having a phaser feedback or regen control, and it has a similar, but not identical effect.  Increasing the PEAK control will emphasise the current frequency for each stage, which at extreme settings, can almost sound like a wah-wah pedal.

 

The LFO / ENV switch determines whether PHASERLOPE uses its own LFO (left position) to sweep across the modulation range (set by DEPTH) or whether to follow the envelope (ENV) of an incoming signal (right position).

 

When the LFO / ENV switch is in the centre position, PHASERLOPE is in envelope follower mode, but the left channel has additional modulation applied by the LFO.  This creates a nice stereo effect.

 

When in LFO mode, the left and right channels are 90 degrees out of phase to create a stereo effect.

 

RATE varies the LFO rate from 0.01 to 5.0 Hz.

 

The DRIFT button, when turned on will introduce gradual variation to the LFO speed so the repeating cycle is not obvious and locked to a set time.  This can be a useful effect when used with slower LFO rates.

 

SENSITIVITY varies the threshold of the envelope follower and determines the amount of modulation applied, according to the level of the input signal.  When used in stereo, the average of the left and right channels is fed into the envelope follower.


The INV button, when turned on inverts the response of the envelope follower so that stronger signals decrease the effect instead of increasing it.  The up/down arrows button inverts the response of left and right channel enveloper follower for a more dramatic stereo effect!  Note that the ENV switch must be in the right-most position for the up/down mode to take effect.

The LEDs between the RATE and SENSITIVITY knobs indicates the amount of modulation or a representation of the envelope follower depending on the LFO / ENV switch.  When in LFO mode, the LEDs show the amount of modulation for the left and right channels.  When in LFO / ENV (centre switch position), the right LED shows the envelope, and the left LED shows the envelope plus the amount of modulation being applied to that channel.  In ENV mode, both LEDs show the envelope state.

 

The ENV section has dedicated knobs for attack, hold and release.  This allows you to customise the response and feel of the envelope follower depending on your audio source.  For example, for rhythmic material, you might want to use very low attack, hold and release times for a “snappy” response.  Alternatively, when used with guitar for example, longer attack and / or release times can produce very interesting results.

 

ATK varies the envelope follower attack time from 5-1000ms.

 

HLD varies the envelope follower hold time from 10-1000ms.

 

REL varies the envelope follower release time from 10-2000ms.

 

Please note that the envelope follower applies damping to its input to help achieve a smooth response and nice “feel”.  Because of this, you may still notice some “ramping” up or down, even at very short attack or release times.

 

Below the IN jacks is an ENV sidechain input.  When an audio signal is connected to this jack, the gain of the incoming audio at this input is used to drive the envelope follower.  Please note the ENV input is designed to accept audio and is not a +/-5.0 CV jack, i.e. negative values will be treated as positive.

 

We hope you might consider enveloping your sound in phasey goodness with PHASERLOPE!

Try or buy PHASERLOPE on the Cherry Audio Store

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ECHOLOPE

 

ECHOLOPE came about after receiving quite a few suggestions that we make a "ducking delay", so we made one!  And of course, we had to add a few twists of our own.  At its heart, ECHOLOPE is a stereo in / out delay that can go from dark analog to clean digital with variable modulation.  At the minimum delay time, ECHOLOPE can also be used as a chorus effect.

But the fun really starts when you engage the envelope follower!  In normal mode, the level of the wet / delayed signal increases when you play harder.  in DUCK mode, the envelope is inverted so the wet signal is reduced.  The attack, release and depth controls allow you to fine-tune the rise and fall times and the strength of the effect for some really interesting sounds!

 

ECHOLOPE handles mono or stereo inputs, but as the modulation works in stereo, we highly recommend using both outputs.  Your stereo image is retained throughout thanks to independent left / right delay lines.  When either input is used on its own, it will be routed to both outputs.

 

The ON / OFF switch toggles ECHOLOPE processing on or off.  Please note that when off, any delay repeats will continue to occur, but your dry signal will no longer be processed.  This is similar to “trails mode” in some delay pedals, which also allows ECHOLOPE to be switched on and off during a performance without pops or clicks.

 

DELAY sets the delay time from 25ms to a whopping 10 seconds, so you can also use ECHOLOPE as a chorus effect at the minimum delay time, or as a simple sound on sound looper at the maximum delay time.

 

The HPF button enables a high-pass filter / bass roll-off which can help combat the build-up of low frequencies, especially with guitar.  Many delays typically have this feature to avoid signal overloads.

 

The TONE control is a low-pass filter that reduces high frequencies as it’s turned down.  Reducing the control gives the repeats a darker sound, similar to an analog delay.

 

REGEN re-introduces some of the effected signal into a feedback loop.  As you increase REGEN, you will hear more delay repeats, up to infinite repeats.  Please note that depending on the HPF and TONE settings, the repeating audio may appear to “degrade” and get duller as it would with an analog delay.

 

The MOD section has DEPTH and RATE (from 0.1-5.0Hz) controls for the modulation LFO applied to the delay time.  The LED between the controls will vary in intensity to reflect the modulation rate.

 

The DRIFT button, when turned on will introduce gradual variation to the modulation speed so the repeating cycle is not obvious and locked to a set time.  This can be a useful effect when used with slower modulation rates.

 

The DRY button, when switched off, removes the dry / unprocessed signal from the outputs allowing ECHOLOPE to be used as a “100% wet” effect.

 

The ENV button turns the envelope follower on or off.

 

SENS varies the threshold / sensitivity of the envelope follower and determines the amount of adjustment to the wet signal, according to the level of the input signal.  When used in stereo, the average of the left and right channels is fed into the envelope follower.

 

The DUCK button, when turned on inverts the response of the envelope follower so that stronger signals decrease the effect instead of increasing it.

 

The ENV section has dedicated knobs for attack, depth and release.  This allows you to customise the response and feel of the envelope follower depending on your audio source.  For example, for rhythmic material, you might want to use very low attack, hold and release times for a “snappy” response.  Alternatively, when used with guitar for example, longer attack and / or release times can produce very interesting results.

 

ATK varies the envelope follower attack time from 50ms - 2sec.

 

REL varies the envelope follower release time from 50ms - 5sec.

 

The LED between the ENV controls will vary in intensity to reflect the envelope follower.

 

Please note that the envelope follower applies damping to its input to help achieve a smooth response and nice “feel”.  Because of this, you may still notice some “ramping” up or down, even at very short attack or release times.

 

Below the IN jacks is an ENV sidechain input.  When an audio signal is connected to this jack, the gain of the incoming audio at this input is used to drive the envelope follower.  Please note the ENV input is designed to accept audio and is not a +/-5.0 CV jack, i.e. negative values will be treated as positive.

 

We hope you might consider enveloping your sound in echoey goodness with ECHOLOPE!

Try or buy ECHOLOPE on the Cherry Audio Store

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FILTERLOPE

 

FILTERLOPE is an analog-flavoured filter effect with built-in envelope follower.  It was inspired by the vintage “auto-wah” designs prevalent in the 70s and 80s, but we’ve added a few twists of our own!

 

FILTERLOPE can be used as a standard lowpass filter driven by its own LFO, or the filter sweep can be set to follow the gain of the input signal, or an external sidechain.

 

FILTERLOPE is a stereo in / out module.  When either input is used on its own, it will be routed to both outputs.

 

FREQ sets the start or centre frequency depending on the mode of operation.  In LFO mode, the filter’s cutoff frequency will be swept either side of this frequency according to the SWEEP and RATE settings.  In ENV mode, FREQ sets the initial frequency and when the envelope kicks in, the frequency will be swept up or down according to the SWEEP and ENV settings.

 

PEAK sets the resonance of the lowpass filter.  Increasing this control results in a more pronounced / obvious effect.

 

SWEEP determines the range of the filter frequency sweep in both LFO and ENV mode.

 

The LFO / ENV switch determines whether FILTERLOPE uses its own LFO (left position) to sweep across the frequency range (set by SWEEP) or whether to follow the envelope (ENV) of an incoming signal (right position).

 

RATE varies the LFO rate from 0.01 to 5.0 Hz.

 

The DRIFT button, when turned on will introduce gradual variation to the LFO speed so the repeating cycle is not obvious and locked to a set time.  This can be a useful effect when used with slower LFO rates.

 

SENSITIVITY varies the threshold of the envelope follower and determines the amount of effect applied, according to the level of the input signal.  When used in stereo, the average of the left and right channels is fed into the envelope follower.

 

The INVERT button, when turned on inverts the response of the envelope follower so that stronger signals close the filter (downwards sweep) instead of opening it (upwards sweep).

 

The LED between the RATE and SENSITIVITY knobs indicates the amount of effect or a representation of the envelope follower depending on the LFO / ENV switch.  When in LFO mode, the LED shows the amount of modulation.  In ENV mode, the LED shows the envelope state.

 

The ENV section has dedicated knobs for attack, hold and release.  This allows you to customise the response and feel of the envelope follower depending on your audio source.  For example, for rhythmic material, you might want to use very low attack, hold and release times for a “snappy” response.  Alternatively, when emulating a wah-wah pedal used with guitar for example, longer attack and / or release times can produce very authentic results.

 

ATK varies the envelope follower attack time from 5-1000ms.

 

HLD varies the envelope follower hold time from 10-1000ms.

 

REL varies the envelope follower release time from 10-2000ms.

 

Please note that the envelope follower applies damping to its input to help achieve a smooth response and nice “feel”.  Because of this, you may still notice some “ramping” up or down, even at very short attack or release times.

 

Below the IN jacks is an ENV sidechain input.  When an audio signal is connected to this jack, the gain of the incoming audio at this input is used to drive the envelope follower.  Please note the ENV input is designed to accept audio and is not a +/-5.0 CV jack, i.e. negative values will be treated as positive.

 

We hope you might consider enveloping your sound in filtered goodness with FILTERLOPE!

Try or buy FILTERLOPE on the Cherry Audio Store

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FAKE TAKE ADT

 

THE FAKE TAKE ADT is our tribute to the old “automatic double tracker” studio trick.  The idea is that ADT creates the illusion of the same part, overdubbed several times which can work great with many instruments, especially guitar and vocals.  There are various approaches for achieving this effect, but most use a short delay, a bit of stereo processing and possibly some modulation applied to the delay.  We use all three for our ADT!

 

FAKE TAKE ADT is based on the ADT included with MINICAB DRIVER+ with some additional enhancements and controls.

 

FAKE TAKE ADT is a stereo in / out module.  When either input is used on its own, it will be routed to both outputs.  As ADT is primarily a stereo effect, we recommend using both outputs.

 

DELAY varies the base delay time.  At the lowest setting, the ADT effect is quite subtle.  At the maximum setting, FAKE TAKE ADT can be used as a simple slap-back echo effect.

 

SPREAD varies the width of the stereo image of the duplicated parts.  As you increase the SPREAD control, the effect becomes more obvious and more dramatic!  At the minimum setting SPREAD converts the duplicated parts to mono.  Please note your dry signal will still be unaltered / in stereo.

 

DRIFT varies the amount of modulation applied to the duplicated parts so that they’re never at the same fixed delay time.  This helps create the impression of overdubbed parts ever so slightly out of time with one another.  At high settings, DRIFT can almost get into chorus type modulation territory.

 

TONE is a high frequency roll-off control and is especially useful with longer DELAY settings, helping the delayed signal sit behind your dry sound.

 

MIX adjusts the level of the duplicated parts and balance with your dry signal.

 

We hope you have fun double tracking with the FAKE TAKE ADT!

Try or buy FAKE TAKE ADT on the Cherry Audio Store

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TEMPO CALC

 

Need to know how long a dotted eighth or quarter note triplet is at 118 BPM?  Let TEMPO CALC do the math!

 

TEMPO CALC is a simple and convenient note length calculator based on beats per minute (BPM). It displays common values in milliseconds to the left, and Hertz to the right, for manual input into delays or LFO-based effects that don’t have a tempo sync option.

 

Drop TEMPO CALC into your project and it will synchronise to your host tempo and update to reflect any tempo changes.  Alternatively, adjust the slider to the desired tempo, or enter a precise value by right-clicking the control.  To re-sync to the host tempo, click the SYNC TO HOST button.

 

The tempo is shown in the top right display in red.  Please note this value is rounded, but the calculations are based on the exact tempo from the host or the value manually entered via the tempo slider.

 

We know TEMPO CALC “doesn’t do much”, but that’s why it doesn’t cost much, i.e. it’s FREE!

Get TEMPO CALC on the Cherry Audio Store

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MORE OR LESS

 

MORE OR LESS is a super simple gain boost or attenuator with a smooth variable transition time.  We designed it with guitarists in mind, to provide an “extra channel” when placed before one of our “amp in a box” modules.  MORE OR LESS doesn’t colour the sound in any way, so it really is a clean and “transparent” boost!

 

Here are a couple of usage examples.  With MORE OR LESS switched off, set the amp to your crunch / rhythm tone.  Switch MORE OR LESS on, and increase the level so you’re hitting the amp harder with more gain and volume to get your lead tone.  Alternatively, set the amp to your lead sound, and set up MORE OR LESS to reduce the gain so it can be used to switch in your crunch / rhythm sound.

 

And it costs ZERO bucks!  Nothing more, nothing less!

 

MORE OR LESS handles mono or stereo inputs / outputs, and the stereo image is maintained throughout.  When either input is used on its own, it will be routed to both outputs.

 

The ON / OFF button toggles the gain adjustment on or off.  Unlike a hardware effects pedal, the transition is smooth and variable in length, according to the FADE knob setting.

 

LEVEL sets the amount of gain reduction or boost in the range of -24dB to +12dB.

 

The IN and OUT knobs allow you to trim the level of the signal(s) going into, and coming out of MORE OR LESS in the range of +/-12dB.  If clipping occurs at either stage, the LED above the controls will light.  Ideally the input LED should light occasionally or not at all, and the output LED should not light up otherwise your sound will be distorted.  If clipping does occur at the output stage, the signal will be clamped to the maximum output value of +/-5.0V.

 

FADE sets the time it takes for the gain adjustment to be applied when toggling MORE OR LESS on and off in the range of 10ms to 2 seconds.

 

VOLUME is a master volume attenuator (0-100%) with a linear or exponential volume taper according the EXP / LIN switch setting.  Typically, this could be MIDI assigned to an expression controller to perform volume swells, or receive a control voltage from the adjacent CV input jack.

Whether you need MORE gain, OR LESS, we hope you find this module useful!

Get MORE OR LESS on the Cherry Audio Store

 

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AF PLAYER (Audio File Player)

 

AF PLAYER is a simple single audio file player with variable fade in / out times and a built-in mixer with output limiter.  We designed AF PLAYER for anyone who likes to perform, jam or practice with pre-recorded backing tracks and prefers to do everything in Voltage Modular like we do!

 

To use AF PLAYER as a mixer, connect your instrument module chain to the stereo IN jacks.  Your instrument outputs will be mixed with the player and sent to the OUT jacks.  Note that you don’t have to connect anything to the IN jacks if you prefer a different approach.

 

The LOAD FILE button opens a system file browser for you to navigate to an audio file.  Currently supported formats are OGG, MP3, WAV and AIFF.  Once a file is loaded, its name will be displayed on the button and the full path will be displayed as tooltip / hover text.  If there is a problem loading the file an ERROR message will be displayed on the button.

 

A playhead slider above the transport buttons indicates the current playback position of the file.  Moving the slider will change the playback position. 

 

The PLAY button starts and stops playback and the volume will increase or decrease over the time set in the FADE IN / OUT section.

You can also toggle playback with an external CV trigger (+1V or more) via the TRIG PLAY input jack. The adjacent LED will flash when a trigger is received.

 

The LOOP button enables looping so the file will play continuously.

 

The RWD button rewinds the playhead back to the start of the file.


The FADE IN / OUT section allows you to vary the fade in and out time in the range of 10 ms to 10 seconds.  Longer fade times are useful if your file is an ambient background type texture.  Or set a shorter fade out time so playback doesn’t stop abruptly.  A pair of status LEDs will light green to the left during fade in, and red to the right during fade out.

 

The MIXER section can be used to get the right balance between your input (IN) and the file playback (FILE) levels and also to adjust the overall output.  Each knob has a range of -48dB to +12dB.  If the IN or OUT levels clip, the LEDs above the level meters will light up.  Please note that the OUT levels are auto-limited to -0.3dB.

 

What about play lists?  We haven’t added support for saveable playlists as we’re assuming that in most cases for a typical track or performance, you’d have a different Voltage Modular preset setup for each track - each with its own specific modules, effects chains and an AF PLAYER with the backing track for that particular song or whatever.  However, if there’s enough interest in play list support or any other features, please let us know!

 

We hope you find AF PLAYER useful!

Get AF PLAYER on the Cherry Audio Store

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FUZZBOMB+

 

FUZZBOMB+ takes its inspiration from the gnarly and bombastic fuzzboxes that exploded onto the guitar effects scene in the 1960’s.  Typically very simple circuits based around diodes or transistors, they produced a high gain saturated tone that quickly turned pretty much anything in their path into a turbo-charged square wave version of itself!

 

While most recognisable at extreme settings, many fuzzes could also generate quite acceptable “tubey” overdrive tones with the gain backed off.  We’ve tried to cover similar territory in the design of FUZZBOMB+, although we’re not really talking “subtle guitar amp breakup” here!

 

What’s with the plus?

 

FUZZBOMB+ came about after a suggestion that we add a guitar speaker cab emulation switch to the FUZZBOMB as we’d recently done with the CLIPDRIVER overdrive.  But… we got a bit carried away in a nostalgic purple haze, recalling an era of guitar tones achieved with little more than a fuzz, a wah-wah pedal and 4x12 amp stack!  Compared to the standard FUZZBOMB, and in response to requests for it, there’s quite a bit more fuzz on tap.  We’ve also squeezed in a parametric EQ preamp that can be used as a virtual auto-wah, speaker cab emulation, and a double-tracking effect for an all-in-one recording or giging module for classic fuzzy guitar tones!

 

FUZZBOMB+ has two totally independent channels for processing stereo or dual mono inputs.  When either input is used, it will be routed to both outputs.

 

ON button toggles FUZZBOMB+ between active and bypass mode.

 

The ADT section switches between three modes of automatic double tracking effect borrowed from our FAKE TAKE module.  Moving from A, to B, to C the effect becomes more pronounced.  With no buttons lit, no ADT effect is applied.

 

The CAB section enables speaker emulation based on the 4x12 vintage cab in our MINICAB DRIVER+ module.  The ABC switches select between a small, medium and large room effect for added ambience, be it an intimate studio or large stage experience.  With no buttons lit, no speaker cab and room emulation is applied.

 

FUZZ varies the overall drive into the clipping “circuit”, and ultimately how fuzzy the resulting sound will be.  Depending on the strength of the input signal, FUZZ will take you from crispy crunch to all-out square wave splatter!

 

SKEW allows you to introduce a variable amount of asymmetrical clipping which was a common artefact produced by many of the original fuzz circuits.  It’s a sonic effect that’s easier to hear than explain to be honest.  At the lowest setting, clipping is symmetrical.

 

The INPUT FILTER button engages an input filter that emulates the circuitry of a very popular fuzz pedal, rolling off some lows and highs, then boosting the signal to compensate.  It is particularly useful with high FUZZ and SKEW settings on guitar.

 

LEVEL is an attenuation control allowing you to reduce the final output level if needed.  This control does not change the fuzz effect, and at maximum setting, there is no attenuation.

 

BASS and TREBLE are active cut and boost controls for low and high frequencies.  At their centre position, no cut or boost is applied.  These controls can have quite a dramatic effect on the type of tones FUZZBOMB+ produces, so we urge you to experiment!

 

The MID SCOOP button when engaged, applies a slight midrange attenuation around 1KHz.  This subtle EQ change is actually quite a significant factor in the tonal character of a certain famous BIG fuzz.

 

The VARITONE section controls a parametric EQ with active boost or cut and can be used in a variety of ways.  The button brings VARITONE processing in and out smoothly so can be used as a switchable boost for solos for example.  The EQ frequency can also be controlled with external sources or an internal envelope follower.

 

FREQ varies the VARITONE frequency between 250Hz and 2.5KHz.  This is a slightly extended range of that typically found in guitar wah-wah pedals so if you have a MIDI expression controller, try mapping the FREQ control to it!

 

Q controls the bandwidth of the VARITONE effect for a very precise or broader effect.  The range is 0.1 to 2.5 octaves.  Around the midpoint is a good starting point for a mid-boost or wah type effect.

 

GAIN varies the cut or boost of the VARITONE effect between -24dB and +24dB.  As with the BASS and TREBLE tonestack, VARITONE processing is applied before the fuzz so increasing the VARITONE GAIN will also result in more fuzz centred around the boosted frequency.

 

The S&H / ENV switches the VARITONE frequency modulation mode between an internal sample and hold LFO (left) or envelope follower (right).  The OFF / EXT centre / default position switches VARITONE frequency modulation off, unless there is an external source connected to the FREQ input jack.

 

When in S&H mode the frequency is modulated either side of the FREQ value by an LFO that is sampled according to the RATE control in the range of 1-20Hz.  Unlike some noise-based sample and hold generators, our algorithm is less random, and we think more rhythmic and musical in nature and was based on a legendary and rare VCF effects pedal.  The LEDs above the FREQ control will light to show positive (right) and negative (left) input values.

 

To reset the S&H cycle, click on the R reset button next to the RATE control.

 

When in EXT mode with the switch in the centre position, connect a source to the FREQ jack next to the inputs / outputs section.  The frequency will be modulated by the incoming signal either side of the frequency set by the FREQ control.  The LEDs above the FREQ control will light to show positive (right) and negative (left) input values.

 

When in ENV mode, the frequency modulation will follow the amplitude envelope of the incoming signal.  Note in ENV mode, modulation will only occur in a positive direction, i.e. the VARITONE frequency will increase, not decrease in value, and only the right / positive LED will light up.  For guitarists, this is equivalent to increasing the wah pedal toe-down position as you pick harder.

 

The SENS knob adjusts the sensitivity of the VARITONE frequency modulation when in ENV mode.  Use the LEDs as a visual cue to set the SENS level depending on the strength of your input signal.

 

Please note that FUZZBOMB+ has been designed so its output should not exceed +/-5.0V so you can push it as hard as you like!  If you’re using instruments such as guitar, keep in mind FUZZBOMB+ is a high gain effect and will also amplify any background noise.  You may find that simply reducing the TREBLE control will help reduce hiss or similar noise.  Alternatively, the VARITONE controls can be used to attenuate specific frequencies.

 

We hope FUZZBOMB+ gives you EXTRA warm and wah-wah fuzzy feelings!

Try or buy FUZZBOMB+ on the Cherry Audio Store