Stortion is a 4 voiced distortion processing unit. Capable of slightly saturated textures and heavy, powerful drives. The intention of the setup is to blend the voices with the cutoff, panorama, drive velocities, and 12 different character modes per voice. It can get extremely loud, which is why the volume sliders are set to zero by default and you’ll notice the effect mix briefly cuts to the dry mix while switching presets as a result. There are a considerable amount of effects and cpu can go up while adjusting parameters during playback.
Each of the four voices have an identical layout while the character of each drive being the difference. The long slider controls the output of the voice. There is a square “MUTE” button which is useful for singling out other active voices. Each voice has 12 different character voices to choose from. “DRIVE” controls the amount of distortion. “PAN” controls the panorama placement of the voice. Generally the intention behind the “V1” knob is to introduces some sort of space and width. While the “V2” knobs control the tone and timbre. The “LO CUT” & “HI CUT” controls respectively cut off the low and high end of each voice. The “RING MOD” obviously dials in the ring modulator, and like the distortion voices has 12 modes of it’s own that alter the phase and shape of the modulator. The “LEECH” button enables the second oscillator of the ring mod which is set to follow pitch of the input and changes character depending on the mode. The EQ section directly next to the Ring Mod and the Limiter below are fairly self explanatory. Worth noting the smaller knobs below each frequency of the EQ control the dynamic of the corresponding frequency.
Vuja De is a rather simple dual multimode delay. There are fourteen different effect modes to choose from that effect the delayed signal. All of the basic delay and ducking controls are fairly self explanatory. The “TINKER” knobs control variations and character of the selected effect mode. Generally “TINKER A” controls the depth of the selected effect while the “TINKER B” controls the speed. However, these parameters aren’t so cut and dry. They also control various other aspects of each given effect. There is no limiter in the effects chain, so I recommend enabling the MXXX built in one under the tools menu.
Moons Of Mars is a creative reverb, multi fx device. It’s mostly a reverb effect, though I’ve never really approached it as one. I use it for adding ridiculous amounts of filtered/textured space. Using it for busy or rhythmic audio can sound cool, especially with the ducker. But I intended it more for long sustained notes for shaping drones and ambiences.
Up top the “DRY” & “WET” knobs respectfully control the output of each signal. “PRE DELAY”, “WIDTH”, “SIZE”, & “DECAY” are pretty self explanatory for reverb parameters. However it is worth noting that since Moons Of Mars primarily uses convolution reverb, these parameters also have an effect on the pitch and color. A longer decay or size will result in a darker sounding texture. The “HOLD” button freezes the effected signal, note that increasing the “V1” parameter will increase the audibility of the hold. The “REVERSE” button reverses the effected signal, note that at longer size and decay time the reverse signal will take longer to playback. The “MOVE” button introduces a random stereo panning effect, note that the more the width parameters is turned down, the less audible the move effect is. At the very top is a mode selector with 12 different modes. Each one of these modes gives the three main parameters, V1, V2, and MOON, different characteristic behavior in sound. “V1” controls the level of the delay and granular modules and increases the audible tail. “MOON” switches between the two moons.. or impulse responses (since Mars has two moons, hence the gimmicky title of the device). “V2” increases the drone sound of the effect created by the phaser and flanger. There are two “HARMONIC” sections where can choose up to two different notes that will resonate more in the effected signal. Each has an “EMBELISH” button which makes the harmonic effect way more apparent in the mix. It is worth noting that with The HARMONIC and V2 controls that resonances can become very loud in the effected signal, and I encouraged these controls to be played with moderately at first until you fully understand their behavior. The bottom panel is pretty self explanatory where the “LO CUT” & “HI CUT” controls respectively cut off the low and high end. And the “ATTACK” & “RELEASE” control envelope time of the “DUCKING” effect.
Mountain Flanger is a flanger with comb filter resonances.
There are 9 modes to choose from in the mode selector. Each one gives a different color and has it’s own characteristic to the other parameters. “SPLIT” determines the stereo field in which the effected signal gains width. The blue buttons once activated turn the signal into mono while still keeping the phase difference. “DELAY”, “RATE”, “FEEDBACK” and “RANGE” are all pretty self explanatory in terms of flanger parameters. These parameters do also have small, random effects on the the comb filter behaves with the flanger signal. Also note that by default the rate is hz, but can be synced by clicking the two blue button by the parameter’s units. The shape of the LFO contains options for a sine, triangle, exponential, rectangle, downward saw, upward saw, 8 sequence stepper, and a random noise shape that changes with the modulators from the edit section. The noise/mess shape works better at very slow rates.
The Tripper is a step sequencing, multi fx, slice and glitch device. It can look overwhelming at first, but scrolling through the presets should provide further insight into what’s going on. There are basically four sections. Up top is the main gate sequencer. This sequencer controls the volume of the dry signal. The next two sections are identical. Each with its own sequencer and array of effects. The two sequencers in theses sections control the amount of the enabled effects, as well as the filter cut off for three of the four filters. The vowel filters use the sequencers to control the character (vowel position). The final section at the bottom controls a selection of 36 rhythmical glitch and stutter effects split into two frequency bands. The “CROSSOVER” knob in the middle determines where the two bands start and begin. All the effects are fairly self explanatory. Simply enable the effect and you can customize two parameters for each effect. The sequencer as mention is what will make them audible. To the left of each sequencer you can control the overall level of that sequencer’s effects. To the right of the two fx sequencer is a “SMOOTH” slider which smoothens the curve of the step. Each of the three sequencers have identical time control menus and sequencer shape menus. And lastly in the upper right is the global mix intended for bringing in and out the overall effected signal. Worth noting is that the “PITCH” effects are set to a higher quality spectral rate, and can sometimes cause latency depending on your playback setup. If you notice the pitch effect consistently off from the phaser you can fix it my lowering the buffer size in the Transformer modules in Modular 1 & 2.
Artificial Oxygen is a spectral, pitch shifting, multi fx device. It seems complex under the hood but is laid out pretty simply I think. It’s a weird device with an extra weird GUI, and for that I apologize. I personally use it to add soft warbly textures and alter pitch/frequency. It is very cpu intensive and will introduce considerable latency.
There are two main level or gain sliders. The one up to the left is intended for the overall effected signal, and the one to the bottom left by the sequencer is intended for the dry signal when the “DRY/WET SEQUENCE” button directly above it is enabled. “RESPIRE” basically controls the amount of the signal is effected, but acts differently at different levels. “FORM”, “ALTER”, “HELIUM”, & “SPECTRUM” shift mostly formants, frequency, pitch & harmonics. They can also be used to brighten or darken the color of the texture. “BINDING” also can be used for texture but can also noticeably increase cpu the more clockwise it is set. “MASS” is basically a variety of stereo widening and imaging effects. The “AREA” slider enables the convolution. Using this parameter enables the “LOCATION” knob which selects from left to right between two paired impulse responses. Area also enables the “SPACE” menu parameter up top (unlabeled). This is just the selection of impulse responses to filter the effects through. The four buttons in the middle determine the spectral quality vs cpu intensity. “HAZARDOUS” is the lowest spectral setting and therefore the easiest on cpu. While “ACCEPTABLE” sets all the modules at a higher spectral rate, which in return introduces more latency and cpu resources. The gate sequencer at the bottom has a pink knob under each step. These knobs divide the corresponding step into stairs going up (clockwise) or down (counter cw). Worth noting that when adjusting the parameters of the sequencer during playback, the phase or timing may become off. I recommend starting at the beginning of a measure after setting the steps to get an accurate sound.
Here's a monophonic synth effect I've made primarily for guitar. It has 3 Oscillators and a noise generator as well as some basic filter options. Included are about 30 presets to get a good idea of how to use it.