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Related Manuals for Tiptop Audio ECHOZ
Summary of Contents for Tiptop Audio ECHOZ
- Page 1 ECHOZ ZVERB Z5000 www.tiptopaudio.com...
- Page 2 3 modules with sections describing the programs on each afterward. ECHOZ - Is an FX module fully dedicated to time delay e ects from emulation of tape echoes to early digital delays to complex multi-fx units.
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Page 3: Let's Get Started
Let’s get started. TIME FILTER FBACK/MOD TIME FB/MOD FILTER AUDIO SOUND SYSTEM Set the Fidelity to max (CW), turn on power, patch audio into the In jack, patch the left and right output to your sound system. Make sure to patch both left and right so you get the full joy of stereo. Set the following knobs to the center: MIX, IN, TIME, FILTER, FEEDBACK/MOD. - Page 4 TIME FILTER FBACK/MOD TIME FB/MOD FILTER There are 3 buttons on the module, each one lets you scroll through a bank of 8 e ects. Hold down the Left button until it flashes indicating it is loading this bank into the DSP. Now that you are in that bank, scroll through the eight e ects by clicking the left button.
- Page 5 While scrolling, once you reach the YELLOW YELLOW YELLOW pattern you know you are on e ect No8, the last e ect in that bank. The bank light will also turn red. One more click and you are back to e ect No1 RED RED RED.
- Page 6 Understanding the view modes: The module has two di erent display modes: default and minimal. The di erences are listed below: Default: Shows the program number in binary when changing programs. Also, pressing an inactive bank button shows the current preset number.
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Page 7: Manual Controls
Manual Controls: - Hold to access the Left bank of 8 programs Left Button - Hold to access the Middle bank of 8 programs Middle Button - Hold to access the Right bank of 8 programs Right Button Middle Button Left Button Right Button TIME... - Page 8 Feedback/Mod knob - changes the amount of feedback in delay programs or the depth/rate of LFOs in Reverb or Mod programs. Check the program descriptions for details on what this controls. TIME FILTER FBACK/MOD Feedback/Mod knob Fidelity - Is a DSP manipulation technique developed originally for the Z-DSP and brought to this line of e ect modules as well.
- Page 9 CV Controls: There are 3 CV control jacks on the module: Feedback/Mod, Time and Filter. The left and right jacks are dedicated for controlling DSP parameters mapped to the Mod and Filter controls, the center jack CV can be routed with the toggle switch to either TIME which is a DSP parameter or to Fidelity clock control.
- Page 10 Clipping light indicator: The clipping light monitors the input and output signal level of the DSP chip. If a signal level at the input or the output is too high that light will flash. Some times due to feedback the output signal can grow much larger TIME FILTER than the input signal, in that case reduce the amount of Feedback with the...
- Page 11 TIME FILTER A word about your sound sources: Every e ect reacts di erently to the source sound, this can result in some e ects sounding very dull or strange if the incoming sound is not ideal for FBACK/MOD their use. Later sections of this user manual have detailed description of each e ect and the source material that will work with it best.
- Page 12 Question: What are the di erences between these modules and the Z-DSP? Answer: The Z-DSP has stereo input, VC analog feedback, CV control over more features and a potentially unlimited number of programs through the cards. Z-DSP is more of an e ects experimentation environment that you can even write your own e ects for using NumberZ.
- Page 13 Z5000 Z5000 Z5000 Multi E ect Multi E ect PITCH PITCH REVERBS DELAYS REVERBS DELAYS TIME FILTER TIME FILTER FBACK/MOD FBACK/MOD TIME TIME FB/MOD FB/MOD FILTER FILTER...
- Page 14 Z5000 TIME FILTER FB/MOD REVERB Hall Plate 80’s Verb Gate Room Void Delay > Hall Shimmer DELAY Mono Digital Delay Mono Tape Echo Ping Pong Digital Delay Ping Pong Tape Echo Tape Multi-Head Blend Di use Band Delays Tape Chorus Warp Pong PITCH/MOD Stereo Chorus...
- Page 15 REVERB PROGRAMS FOR Z5000 Z5000 has a set of reverb algorithms specifically designed for it and the ZVERB module. All of the programs here were developed over several years by Tiptop R&D and take inspiration from the history of digital reverb devices from the earliest 1970s studio rack units to 90s high end multi-e ects and 80s budget boxes.
- Page 16 80s Verb This one comes from the 80s ‘budget’ rack units and can get very huge and highly modulated. Probably the best choice for your contribution to ‘Selected Ambient Works III’. Time - Decay time of the reverb tail Filter - Low Pass Filter Mod - Rate and intensity of internal modulation Gate A gated version of the Plate algorithm.
- Page 17 Void Backwards, inverse sounding e ect that gets pretty huge at longer Time settings. Time - Decay time of the reverb tail Filter - Low Pass Filter Mod - Rate and intensity of internal modulation Delay > Hall A 500ms modulatable mono delay line feeds into the Hall algorithm.
- Page 18 Delay Programs for Z5000 The Z5000 Delay programs come from many years of development of the Z-DSP cards. Most of the programs in this set began life on the Z-DSP and are chosen to give a wide range of options from basic mono digital and tape delays to complex multi-taps.
- Page 19 Ping Pong Digital Delay Dual delay lines move the delayed sound from left to right and back. A lowpass filter in the feedback path tapers the high end of the repeats. Time - delay time Filter - cuto of lowpass filter Feedback - amount of feedback into the delay line Ping Pong Tape Echo Tape Echo version of a stereo Ping Pong algorithm.
- Page 20 Di use Band Delays A delay line with six taps each run through a di erent band pass filter. The taps are useful rhythmic ratios (1:1, 1:2, 3:4, etc). The feedback loop has di usion to wash out the repeats over time. Time - Delay time Filter - adjusts modulation and di usion parameters Feedback - amount of feedback into the delay line...
- Page 21 Pitch/Mod Programs for Z5000 This collection of Pitch and Modulation programs are adapted from years of work on the Z-DSP cards like Chorus, Time Fabric and Spirals with a few new algorithms too. Stereo Chorus A pair of Chorus create a stereo e ect. Each has a di erent speed and phase LFO for spacious stereo from a mono source.
- Page 22 Vintage Ensemble An emulation of one of the most famous string synth e ects. Use 100% wet for best results. The mix of vibrato can be controlled and about 30% is close to the original circuit. The Time control adds in Octave Up and Down pitches to thicken up the sound.
- Page 23 Dual Microshift Delay Two pitch shifters set to the detune range follow a mono delay line. The pitch shifters are in the feedback path so the detuning can create up/downwards slides. Time - delay time Filter - detuning amount for the pitch shifters Feedback/Mod - amount of feedback into the delay line Dual Interval Delays A multi-tap dual delay with two pitch shifters which are tuned to...
- Page 24 ECHOZ PITCH PITCH TAPE DIGITAL TAPE DIGITAL...
- Page 25 ECHOZ TAPE ECHO Mono Tape Echo Ping Pong Tape Echo 3 Head Mixed Echo 3 Head Switch Echo Chorus Echo Di use Chorus Echo Wobbly Tape Echo Warp Pong DIGITAL DELAY Mono Digital Delay Ping Pong Digital Delay Short BBD...
- Page 26 EFFECTS PROGRAMS FOR ECHOZ Tape Echo Programs: Tape Echo programs use saturation and limiting to emulate the sound of classic tape based echo units. The additional gain in this mode will amplify system noise especially at high feedback levels. This noise is integral to the tape sound.
- Page 27 3 Head Mixed Echo A three head Echo in the style of some famous 70s units. The three heads are continuously blended between using the Filter control. The output is stereo. Time - delay time Filter - cuto of bandpass filter and mix of three heads Feedback - amount of feedback into the delay line 3 Head Switch Echo The Filter control also switches between combinations of the 3...
- Page 28 Di use Chorus Echo Adds Di usion to the input and echo repeats creating more of a detuned wash to the sound. The di usion is modulated by internal LFOs for detuning/chorusing and the output is in stereo. Time - delay time Filter - cuto of bandpass filter Feedback - amount of feedback into the delay line Wobbly Tape Echo...
- Page 29 A simple mono delay line with a low pass filter in the feedback path to roll o the high end of repeats. This program has the longest single delay time of any ECHOZ programs. Time - delay time Filter - cuto of low pass filter...
- Page 30 Short BBD A very short mono delay that emulates early analog ‘bucket brigade delays’ (BBD). This program is designed for short flange, chorus, slapback and Karplus-Strong e ects. The latter is achieved by turning up the feedback to a high level and using the delay time to set the pitch of the string pluck.
- Page 31 Bandpass Tap Select A multi-tap delay line with 1.0x, 0.75x, 0.5x, 0.375x delay time taps. Each tap has a bandpass filter. The Filter control selects which of the taps is used for feedback. Time - delay time Filter - selects one of the taps for the feedback loop Feedback/Mod - amount of feedback Di use Delay A single mono delay line with stereo di usion creates a...
- Page 32 Pitch Programs: Pitch programs on ECHOZ have one or two pitch shifters along with single or multi-tap delay lines. Interval programs have the pitch of the shift quantized to musical values (third, fifth, octave, etc) while the others have shifts that range from octave down to octave up or ‘microshifts’...
- Page 33 Chord Delay A mono delay line into a pair of pitch shifters panned left and right. Pitch shifting is after the delay feedback so the pitch is constant as the repeats decay. The pitch shift is quantized to the 8 intervals listed below: -12 +12 -12 -7...
- Page 34 Dual Microshift Delay A mono delay line into a pair of micro pitch shifters. The pitch shifting is fixed to a slight detune on one side and small shift up on the other. The Filter control blends between the two with all the way counter-clockwise being only downward to only upward shift on the full clockwise.
- Page 35 Detuned Taps A multitap delay line with a pair of detuned pitch shifters and di usion. Higher amounts of detuning create up/down glides. Higher feedback amounts add a reverberant wash to the repeats. Time - delay time Filter - detuning amount for the pitch shifters Feedback/Mod - amount of feedback into the delay line...
- Page 36 ZVERB...
- Page 37 ZVERB Hall Plate Bright Plate Tape > Plate Earliest ‘Verb Space Station Prehistoric Exhibit A Epic Mod Hall 80s BarrVerb Ambience Gated Delay > Hall Shimmer Octave Up/Down Shimmer Pitch Adjust Blooming Pitch over Plate Room Void Downward Spiral Random Hall Pong Verb ChordHall Pitch >...
- Page 38 EFFECTS PROGRAMS FOR ZVERB ZVERB is based on the same audio DSP technology as the Z-DSP multi-e ects module and benefit from nearly a decade of experience designing algorithms for it. Tiptop R&D developed all of the programs on ZVERB in house over several years. These algorithms are inspired by some of the most important digital reverb devices since the late 1970s, from very high end studio devices to...
- Page 39 Plate The sound is brighter than ‘Hall’ with a faster attack but is also quite dense. With lower Modulation settings a more metallic sound is possible. The Time control is optimized for medium-sized times up to several seconds. Time - Decay size of the space Filter - Low Pass Filter Mod - Rate and intensity of internal modulation Bright Plate...
- Page 40 Earliest ‘Verb Based very loosely on the first commercial reverb box. The Mod control changes the ‘Size’ of the reverb which is not the same as changing the Decay Time control. This has a smaller overall size than the Hall. Time - Decay time of the space Filter - Low Pass Filter Mod - Size of the space...
- Page 41 Prehistoric Exhibit A As the name suggests, this predates any commercial products by many years, but the algorithm was a starting point for all research into artificial digital reverberation. The space is small and can be quite ringy with low Mod settings, but crank up Mod and it becomes quite chorused.
- Page 42 80s Programs: Digital technology hit every part of life in the 1980s and the audio field was no exception from samplers and recorders to a quickly expanding range of e ects processors. For the first time ‘budget’ products put reverb and other e ects in the hands of home and touring musicians.
- Page 43 Gated A Gated Reverb based on a Plate algorithm popular on percussion in the 80s (the button says 80s for a reason!). The Gate follows the input signal and has a quick, clean attack and release. The Fidelity control does slow down the envelope as well as the onset of the reverb.
- Page 44 Shimmer Pitch Adjust A single pitch shifter with a range from one octave down (-12 semitones) to one octave up (+12 semitones) is inside a modulated Hall algorithm. The Mod control sets the pitch and the Filter control adjusts how much of the pitch shift is added to the reverb decay. Time - Decay size of the space Filter - Amount of pitch shift added to reverb Mod - Pitch of shifter...
- Page 45 90s Programs: Processing power increased and the size of electronics decreased in the 90s giving both much more advanced high end devices and more a ordable low cost units. This bank focuses on some of the higher end algorithms of the era which have interesting combinations of delay, pitch, modulation and reverb.
- Page 46 Downward Spiral Based on the previous ‘Void’ algorithm but with a pair of slightly detuned pitch shifters inside the reverb. The Mod control sets how much detuning and thus how quickly the pitch of the decay spirals down. Also, apparently the title of a popular record of the decade - who knew? Time - Decay size of the space Filter - Low Pass Filter...
- Page 47 ChordHall A pair of pitch shifters with 4 sets of intervals run into a modulated Hall algorithm. The pitch e ect is not in the decay of the reverb so the pitch remains stable. Good for making tritone chords from mono oscillators. Time - Decay size of the space Filter - Low pass filter Mod - Intervals of pitch shifters:...
- Page 48 Formant Verb A set of bandpass filters create an ‘Ahhhh’ sound that feeds a Hall type reverb. The Tune control moves the center frequency of the filters from male to female ranges. Time - Decay time of the space Filter - Center frequency of formant filters Mod - No function...
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