EFFEKTHASCHER

Version 1.2
Welcome to Effekthascher ...........................................................1
1. Installation ............................................................................2
1.1. Host-installation ...............................................................................2
1.2 Updates ............................................................................................. 2
1.3 Master-Snaps and Updates.................................................................3
2. The GUI and the Panel-Elements............................................ 3
1.1 GUI-Overview .....................................................................................3
1.2 The Ring-Knobs and their modulation-partners ................................. 5
1.3 Randome(s), defaults(s) & the reset .................................................... 8
3. Modulation-Sources ..............................................................9
4. Signal-Flow & Routing .........................................................11
5. Amp/Dynamics.................................................................... 13
4.1 The level-meter-numerics................................................................13
4.2 Limiter/Max ....................................................................................13
6. FX and Filters ...................................................................... 16
5.1 Overview .......................................................................................... 16
5.2 Buffer-FX .........................................................................................17
5.3 Filters............................................................................................... 19
Addendum A ..............................................................................1
Easter-egg ...............................................................................................1
Options ....................................................................................................1
Curves .....................................................................................................2
 Welcome & Overview

Welcome to Effekthascher
EH is a powerful multi-fx box with 6 separate fx units (74 fx types), 2 filter
sections (over 30 filter types) and a smart and crafty routing/modulation
system. It incorporates the AM Flex System for fastest and most direct access
to 64 saved settings. It is ideal for improvising and live-performances, but also
very useful in each studio-situation.
You can use all fx slots and the filter together or any combination and number
of single units by activating them. All settings will automatically be saved in
the current Flex.

About this Manual

This is an under-construction-manual, but you requested for it, so here
it is! Please keep this in mind and don`t count all the spell- and
grammer, maybe even content-errors. We are still working on it and
there will come updates for it here:
http://aggregato.jimdo.com/demos-docs/

This manual covers only the main-functionality of EH v1.2.

See also the FX and Filter Reference which describes all the fx and filters in
detail.
And see the AM-Flex-System Addendum, wich is also guilty for a lot of
(upcoming) products from AM.

A note about experience level:

We are starting from the assumption that you are familiar with how to use
Reaktor in your DAW of choice and computer music / DSP terminology in
general.
This manual will freely refer to basic synthesis and plugin terms such as VSTi,
LFO, -12db, self oscillation, threshold, delay, cutoff, etc.
If you are a familiar with these terms and meanings: Welcome and get lost in
our universe ;-)

Your first step!

We recommend that you hit the tooltip info button (I) in Reaktors header as
soon you open EH the first time. There are a lot of tooltips for a great number
of interface controls which, in most cases, should give you the info you need
without opening this manual. There is a lot of unique GUI functionality that is
explained only in these pop up tooltips so its best to get used to using them as
you are learning the interface.
 AGGREGATI MUSIKA Effekthascher - 1

Short Overview

1. Global Dry/Wet. Split for low and high frequency. It influences all FX and all
filters.
2. The AM-Flex-System. Here you can call 64 flex on the fly.
3. Menu. It chooses different pages.
4. Final amp- and limiter-section.
5. Global modulation amount (from zero to twice).
6. Perform-Knobs and the XY-Field
7. FX-unit(s)
8. Filter-unit(s)
9. Envelopes, lfo and math-section.
10. Routing-Order.

1 3
2

5
4
10 6

7 8

9
 AGGREGATI MUSIKA Effekthascher - 2

1. Installation
There is no special installation. Just unzip the file(s) (the needed password you
will find in the terms & conditions) and place them to your Reaktor-user-folder.
We strongly recommend that you don`t use the reaktor-factory-folder (will
overwritten by each update from NI) and we also recommend that you create a
special AM-folder inside your reaktor-user-folder.

We will bring some updates in a moderate time-periode and there is no easy

double-click update-automation. You have to do the necessary steps by hand.

We will count/name our updates in the following syntax: product-name plus

the current version-number, with the underline but without a point and empty
space, eg. Effekthascher_v12 for Effekthascher v1.2.
Our updates will never be compatible to earlier versions, so we recommend
that you hold the old version(s) as long as you use them in an unfinished song
or to transfer your own master-snaps. See below!

1.1. Host-installation

1. If your host knows reaktor, just load it with the interface (vst/au/axx) of
your choice PLUS the fx extension. Dont load the normal reaktor-vst/au/axx!

2. Open the reaktor-gui and go to your user-library, choose the AM-folder (or
whereever you have saved EH) and open it.

3. In the host-gui-for-the-plugin you should see the most popular elements (in
useful categories / order) as remote-elements from within your host (without
the reaktor-gui). Connect them to your HW as you want.

4. Save this work as a DAW-plugin-setting (or whatever its called). Next time
you have only to open this DAW-file and all steps will automatically done by
your host.
Also, we recommend that you use the DAW-user-folder for saving this, not the
factory-one.

1.2 Updates

A big uncomfortableness is, that you have to do steps 1-4 from the last
chapter by each update again. So each update-installation of EH will cost you
at least 10 minutes.

Also, we are only a very small testing-group and it can happen, that we give
out a buggy version. This should (if at all) only reflect little points, but maybe
you prefer a real solide version.
 AGGREGATI MUSIKA Effekthascher - 3

So, to avoid the extra-work to installing an update for the update 3 days later,
its maybe a good choice to wait a week or 2 before installing the new version.
But please not all - we need your feedback to fix hypothetic bugs.

1.3 Master-Snaps and Updates

An update will not automatically deliver your own MS and the flex changes.
See the separate AM-Flex-system manual for how-to-do!

And of course, if we change the filters and fx the new version will never sound
identically comparing to the old one.

2. The GUI and the Panel-Elements

1.1 GUI-Overview

Generally
If an element is bright-green it mostly has a dynamically functionality which
you can influence by mouse (and often also by a CC#, host-remote)
But not all bright green text are ever mouse-elements and sometimes a
darker text is a mouse-element. 1

Buttons
There are toogle-buttons: The power on/off for each unit, the global FXon/
off, the Low/High-Link and the the [F] / [K] selector). This buttons shows one
of their 2 states permanent.

There are temporally buttons like the prev/next-triangle-stepper, the copy/

paste/reset/retrigger elements.
These Elements shows only a short confirm-blink during the press.

There are click-elements which opens a different view in the main window.
E.g. the name-fields in the FX and Filters and the mod-source-chooser below
the big-ring-knobs.
And there are direct-chooser, e.g. the flex- and bank-chooser.

1This is suboptimal and we will refresh the GUI to a later date.

 AGGREGATI MUSIKA Effekthascher - 4

Faders
There is one big vertical fader (level/amp and some horizontal faders
(lfo-curve).
The long horizontal fader below the FLEX-secction in the main view is the
global modulation amount: it multiplies all modulation from zero (no
modualtion) to twice.

Knobs
There are knobs which looks like knobs and their are knobs which are shown
as text- or number-field but which work like knobs (or vertical fader): moving
up/down will select different values.

Other important hints

The state of all gui-elements will saved by each flex.

Except the Perform-knobs (also the XY), the state of the Global FX-on/off and
some other "perfom/test/elements".

There is a small (K) / (F) button on each unit, the filters, the amp/limit-section
and the envelopes/lfos.
This is a very powerful button, it decides if the associated section is called by
each flex-change by its stored values (F - for follow), or if it hold/keep (K) the
current state, independently from its stored flex-values.
Please read the AM-Flex-Addendum for more. This is very powerful and will
escort you by all AM-products.

Most of the gui-elements has a fine-tuning. Hold shift and move the knob/
fader... for smaller settings (mostly divided by factor 10).
Often a bright-green text-field is also a "knob". EG the LFO-Speed, or the
Limiter-Modi... click and drag up/down to select the wished modi.

There is a small green indicator around each ring which shows you the
current outgiven value of the main knob plus/minus the modulation.
The dry/wet-knobs also have a red "overlay" of the indicator-ring which shows
you, where the processed signal is in the panorama-field.
(See the next one and the MODULATION-chapter for more.)
 AGGREGATI MUSIKA Effekthascher - 5

1.2 The Ring-Knobs and their modulation-partners

General

Each ring-knob can be modulated by its small partners below.

The small biopolar knobs below define how much mod-signal is added/
subtracted from the current state to the main knob. Outside middle-position
you will see an equal percent-view how much will added/subtract from the
main-knob: From zero to +100 /-100. All Main-Knobs have a special "ring"
outside. This is the indicator what the knob (itself + plus/minus the
modulation) is currently "outgiven".
All mod-knobs shows in exactly middle position (=no modulation) a small
inside-line-indicator". If you see this, this mod-knob is exactly centered and
will not give out any modulation. Do a double-click of this Knob to get this
position or do a double-click of the UNIT-Name to init all mod-knobs of this
unit with one order!
BTW: a right-click of the FX/Filter-name-field randomizes all mod-sources of
this unit!

Below the small knobs you find the mod-destinations, click in it and a big panel
appears in the main-view and also a frame around the "destination". Now you
can choose your source. Click another time to deselect the "destination". Or
just click another point in the main-meneu or one of the FX/Filter-bring-to-
focus-fileds and the destination becomes deactivated automatically.

If NA/ITS is selected, the mod-amount knobs will have no effect. This is guilty
for all (small) green knobs and its "destinations".
But the red (ITS) pan-mod-amount, works a little bit in its own way: Here is
the amount-knob (if "ITS" is selected = the full range of modulation by itself)!
See below: PAN-Modulation!

??? Debug your own traps:

Very often it looks/sounds that there is no modulation: If the main-knob is e.g.
at 10% and a long-time-LFO is subtracted to this, there will come a long period
under zero. In this case the indicator (and the sound) clips at zero, meanwhile
the LFO is running its curve. So it "seems" that there happens nothing, but this
is a wrong conclusion: Its only clipped now. The same higher 100. First when
booth: the main-knob plus/minus the mod is inside its 0-100 range you will
see and hear the modulation.
It does not matter what the source is: A main-knob (plus/minus the mod) can
never smaller zero or higher 100!
That can be confusing (especially live - doing only a not-really-focussed short
view of it).
 AGGREGATI MUSIKA Effekthascher - 6

Because this, we will implement an indicator that the signal is "modulated", but
in the moment outside its range in one of the next updates. So long, keep this
in mind.

PAN-Modulation
The red-panorama modulation is a little bit unique. The bipolar amount-knob
looks and reacts different.
In middle-position (= the big ring and the small mod-amount is completely
red) it works like except from a Fx without this. The processed signal goes to
booth sides = as "wet" as the general setting.
But outside the middle it will bring the processed signal only more to the left
or to the right channel, the non-covered-position will be dry.

???
This is very important, don`t merge the dry/wet with the PAN-setting!
If there is only a general 10% wet, the red-pan will not add more, it will only
give this 10% more to the left or right (or in middle-position to booth sides),
but this 10% wet always keep the money to play!

Again:
The red indicator around the main knob shows you the panorama-position of
the FX, independently from its general Dry/Wet. All Pan-settings does not
influence the normal dry/wet. They only give the current "dry/wet" to the left/
right channel!

The overlayed red indicator and the small red-pan-amount knob are double-
bipolar knobs: In middle it shows you a "Full-knob" (indicating the wet-signal
is going to both sides in the same" strong") ; in left/right focus it will subtract
"pixels" from left/right and also wet-signal from left/right.
It mirrors the outgiven FX-to-Pan exactly (if there is an area without red pixels,
this area will not wet-signaled, it sounds dry!).

!!! In Opposite to the normal mod-amounts and indicators this setting defines
the start-point of the mod, not their end!!!!
A normal mod-knob/indicator shows you the highest/deepest reachable
setting, but this one shows you the startpoint and the mod will added/
subtracted FROM this, not TO this!

If "ITS" is the source - the position of the mod-knob defines the pan-state by
the mod-knob itself.

!!! To understand how it works, its maybe the best to test it with the KILLERS-
EQ (to find in unit 2/5 and all knobs set to zero) and the scope. Also choose
"ITS" for the small mod-amount. Now move this small pan-mod and you will in
 AGGREGATI MUSIKA Effekthascher - 7

extrem positions hear nothing on one side (or in middle nothing general) -
don`t get confused, in this case NOTHING = full FX!.

Tipp: If you use this really gentle and in opposite directions on different units it
will make your sound really wide in a complete fresh way. Or use a mod-source
and turn the amount just slightly. If more than 9- or less than 15-oclock this
is mostly a SFX. Use settings smaller 8- or higher 16-clock and this will
become a new friend of you!
If you don`t want any Pan-mod, just double-click the pan-mod-amount.
 AGGREGATI MUSIKA Effekthascher - 8

1.3 Randome(s), defaults(s) & the reset

Yes, in plural: you can set different randome(s) and different default(s).

In the main-view and working general

Random
A click at the random-button will randomizes all mod-sources.
A right-click there will only randomizes the ring-knobs.

Default
A click on the def-button in the main view will default all the small mod-
amount-knobs to zero; 25; 50, 75, or 100% depending on the letter you hit:
For really 50 click the "A" or the "U" or any space between.
A right-click will defaults in the same way, but only for the ring-knobs!

Anyway, this will always be a global random/default.

But you can also random/default only in one unit:

A right-click in a FX-name will randomize the mod-sources exclusive for this

unit.
A double-click there will only "default" all mod-amounts to middle (=zero).

Why does a default and a random does not affect the same elements?
We default the amount-knobs instead the randomized mod-source-chooser,
because a defaulted amount has the same effect as would there be N.A.
selected.

But maybe you want with this new random-sources try another "amounts"? For
this reason, the sources will keep. (as long reset flex/new random/ change
flex).

The Flex-Reset
is completely different from the "defaults":
It will reset the last (automatically) saved values of ALL elements (big and
small knobs, all choosen-fx-general, fx-on/off... envelopes, lfos...., but for all
units, where "follow" is activated) for this flex: its like you would recall the
flex!
The master-snap-reset is the most brutal reset. It will recall all 64 flex by its
old values, saved to this master-snap. So be carefully with this, its a global
ORDER". To avoid an unintentional reset for this a double-click is necessary.
Please have also a look at the AM-Flex-Addendum to really understand how it
works.
 AGGREGATI MUSIKA Effekthascher - 9

3. Modulation-Sources
Envelopes
There are 3 Envelopes. Each the same, except envelope 1 - this one will
automatically retriggerd by an intern, quantized clock (use the bright-green
numeric-knob in the lfo-header to set this clock = from 1/64 to 8 bars)
So this envelope is more a special "waveform" LFO than an envelope. Try it, its
fun!

Except this, all envelope are the same.

Attack and Decay are not really linear, but not sooo "exponential" as in normal
ADSR, where the half means 5% of full. Here the half-knob means circa 22%..
of full. And full is a longer time than the usual industry-standard. A standard
full Attack and Decay time (= 10 seconds) is everywhere around 15 and 16 o
clock. Later, you will really feel the power of "exponential": all settings
greater will increase the time to a lot, up to 2 minutes.

So keep this in mind. Maybe i will create general more linear envelopes (i
don`t really understand this "exponential-industry-standard), but you all are
"used" to this standard and there should be a good reason to cook our own
soup. So, so far, here is only a more/less "controlled" exponential-curve.

Hold (H) defines the endpoint. The envelope will never fall below this
threshold.

All envelope get retriggered if you hit the RETRIGGA button in the main-view.

Tipp: Some Parameters really profit from retriggerd envelopes like most bend/
pitch/stretch/scratch... especially if you use the same on different knobs in
different amounts... Its often more interesting than a LFO.
But if you want hard-jumps without interpolation a hard-pulsed LFO (or a
stepper) is the better choice. E.g. if you want 2 or more special remix-patterns
and only this: Use a hard-puls LFO or a stepper (without smooth)!
 AGGREGATI MUSIKA Effekthascher - 10

LFOs
There are 2 synced, LFOs. Booth the same:
In the upper area you can select the time-modi.

Bi = straight, binary" beat

Tri = triplet beat
Dot = dotted beat

Beside this you can choose the circle-time (synced to selected beat-modi, of
course).

With the fader in the bottom you can choose a position between hard-pulse,
saw-like-curve and a smooth sine.
Hard-pulse settings are great for RMX or other templates where you want to
jump to this index without the interpolation steps.

If you need more special curves use a LFO with another operand in the Math-
section.

MATH
The Math combines 2 mod-sources to an unique source. It can create really
pseudo-"random" curves or exactly what you calculate.

M1 calculates (source1 + (source2 x 0.5) "wrap" 0-1).

M2 calculates (source1 + (source2 x0.333) "inverted wrap" 1-0).

The "wrap" take care that the sum is never smaller 0 or higher 100 (minus 8 is
also a plus 92, or plus 127 only a 27 and so on).

As operands (sources) (for booth) you can only choose the 3 Envelopes, the 2
LFOs and booth SQ.

SQ
There are also 2 SQ-sources for modulating. There will coming an update for
this and a special chapter later.

"Perfoma"
Finally there are 6 perform-knobs and one XY field to modulating by your
hand. Per default this knobs/field will zeroed by each flex-change. If you don`t
like this behavior, you can deactivate it in the options.
 AGGREGATI MUSIKA Effekthascher - 11

4. Signal-Flow & Routing

The Input goes through filter 1 first, then through the 6 FX units which can be
dynamically ordered (explained below). After the Fx units, it passes the global
frequency splitter which determines how low/mid/high signals are globally
equalized. If global FX is off, the signal is passed through dry. There is a dry/
wet slider at the bottom center of the EQ window. This determines the mix of
the EQd setting with the dry signal
After this, the signal goes to the Amp/Limiter section in the top right corner.

If your sound interface and assignments are setup correctly, it should the go to
your host, then your speakers and finally to your ears;-)

Orders and Routing

(This will updated in the next version)

EH provides a dynamically ordering and a crossfade-able routing between

seriell or parallel for the 6 FX-units.1
Booth filter-sections can be blend from seriell to parallel, but they have their
fixed position in the signal-chain. Filter 1 is always in the first position and
Filter 2 works always after the FX.

Each routing and ordering will be saved within the flex.

All 6 fx-units can be placed in different orders. You can do this only by the 1-6
field below the big low/high-knobs - the numbers in the FX-units itself are only
visual feedback and shows their position in the chain.
And you can also blend each FX in the panorama-field, independently from
its chain/parallel-position (go back to chapter 1.3)

Depending on the FX wich the units currently host, this can sound very
different or almost not hearable: If there is a static-buffer-FX like freeze or
elastico, 100% wet in the last stage, you will not hear any changing on the
units in the chain before the buffer-fx until the buffer-fx gets new-refreshed.2
Keep this in mind and try another order, where the buffer-fx is more in pole
position.

And also a distortion before an e.g. envelope-filter sounds mostly quiet

different than the the opposite, same for gate/verb/drive combos.... and so on.

1 parallel-processing will coming with v 1.3

2 e.g. by changing the buffer-size (knob 1)
 AGGREGATI MUSIKA Effekthascher - 12

As said often it sounds very subtle (use the scope), but equal often you can
very profit from this.

Well, there is no possibility to put e.g. #5 before #2 without re-order the other
ones. There are only 8 pre-defined order-templates so far, which affected all
others too. But there is a logic, that the booth-time units not so often in last
stages (see above, because buffer).
Tipp: To understand how different it can be: Copy a flex (with e.g. 4 effects)
and double-click paste (now you have an bank with 8 identically flex). Now
change only the order for the different flex and hear the differences.
 AGGREGATI MUSIKA Effekthascher - 13

5. Amp/Dynamics

At the last stage in EH, the signal passes through the Amp/Dynamic-Section in
the upper right corner.
Below the level-meter/fader you see the outgoing value in dBs.
If the incoming signal is higher than zero dB, this field will light up red,
indicating that the signal is too loud.
In this case reduce the level or use the limiter. (See above.)

4.1 The level-meter-numerics

As you can see, the level-meter readout does not react to the incoming signal
continually. It is a highest-peak readout. That means within one cycle
(changeable in options), it only gets refreshed if the current value is higher
than the previous values for the cycle.
See Addendum>Options.

4.2 Limiter/Max

Below the level meter is the Limiter Section with 5 modi:

NA = dry signal, no limiting.

AIR = very smooth (dry), but reliable limiting (never more than -0.2 dB)
PHAT = limiting with soul and color, glueing, also a loudmaker
SAT = same as PHAT, but a little bit more punchy
DRIVE = is more an FX: it pumps and smears and overdrives

If you need a -0.2 dB under all circumstances only the AIR-mode guarantees
this.
The other 3 types maybe don`t react as fast as need. This is really seldom (eg.
extrem fast filter-moves with extrem resonance) but it can happen.

It is possible to switch the limiter with your flex: the mode is stored in it, but
we recommend, that you keep by one type during a performance, because
there CAN BE (really seldom and really short, but possible) over-amplitude
during the re-wireing: There is always a very short period where the signal is
not limiting.

In the options you can deactivate the always current limiter (default = on),
so a flex-change also recall the stored type.
 AGGREGATI MUSIKA Effekthascher - 14

AIR is always a good choice, it needs very little CPU, its 100% reliable and its
not hearable in a wide range - it colors first if the signal is much times
overdrived. This is guilty if THRSH and REL = zero!

If THRSH and REL = zero, the limiter is invisible. Just move the amp-fader
and it will limeting or not. As soon the incoming signal is in acceptable way
too loud/overdriven you will not mark the limiting.
If the signal is dozens times too loud, you will hear the limiting! But as said,
this is only guilty if THRSH and REL = zero!

THRSH is here more a clipper/sat/overdrive (read it as TRASH;-)

REL = release-time of the compression: as more often as louder but also more
smearing.
With high settings of this, AIR mutates to a trash-fx

To see how reliable and also less coloring, even with extrem overdrived
signals it works, try this:
First set the volume of your Hifi-speaker near zero. Use the multi-filter in
section 1 with highest resonance and move the cutoff. All below 0.2 dB. Now
switch to N.A. - you will see an extrem red dB amplitude.

If you want really loudness with glueing/soul use PHAT or SAT. Booth quite
the same, but with high THRSH and REL you will hear the difference.

THRSH defines the threshold where the limiting starts. Higher settings means
an earlier startpoint and gives more loudness but also more compression-
ducking.

REL sets the time of the compressed signal. Higher settings gives more
average loudness but tend to smear in small settings and does it in high
settings.

With higher settings for THRSH and REL the limiter goes more and more into a
FX, a little bit like a dirty-warming-transient-shaper.

DRIVE is a trash-fx with limiting-function too;-)

The small horizontally meter

It indicates how much is limiting. Not available for AIR and of course not for
N.A.
But you can also use the level-meter as indicator for the AIR. Its not exactly,
very rough, but every time you see orange - the limiter probably works.
 AGGREGATI MUSIKA Effekthascher - 15

Pre-AMP and Volume-Control

There is no explizit volume-control (like the big knob on your HIFI-system) and
no pre-amp for quiet signals.

Don`t merge amplifying and volume-control!

Volume-Control is a step outside EH, like moving the big knob on your HIFI-
system.
Amp-control (via the big fader) is an intern process and will stored in the
current flex.

In a DAW you dont need an explizit volume-control: Just use the track-volume
for this.
But this will influences the whole song, and its also stored in the song, so the
only way to get a dynamically-volume-control is your HW or the master-fader
in your DAW.

BUT NEVER use the reaktor-volume-output (in the header)! This will reseted at
every flex-change and can jump extrem, comparing to your old setting!
And also don`t use the amp-fader for this: If you change the flex, the setting
of this will stored!

Pre-Amp can be a big thema if your input is very quiet or the the units itself
produce a non-AGC-signal.

All limiters are designed to keep the level below -0.3 dB and begin to work at
approximately -6 or -24 dB, depending on your THRSH setting.
To do this proper they work in conjunction with the incoming amp.
The AMP itself can give 24-extra-dB.

TBC
 AGGREGATI MUSIKA Effekthascher - 16

6. FX and Filters
5.1 Overview

There is a pre- and a post-filter-unit. Each with 24 selectable types. Booth can
blend from seriell to parallel processing, but booth has their fixed position in
the signal-chain.1 Filter 1 before and Filter behind the 6 fx-units.

And there are 6 FX units, which host different FX-Banks. The booth left are the
delay, time and pitch-fx; the booth in the middle host rooms, verbs, amps and
filter-fx and the booth right are for drive, saturation and distortion-fx, also
some dirty "filters" and so called "modulation-FX".
Choose a fx- or filter-type either by using the prev/next buttons rightside the
name or by clicking in the name and than in the appearing window in the
main-view.

The order in the GUI is not always the order in signal-routing. Have a look at
the small numerics left the fx-name to see how it is currently routed and read
the routing-chapter to become familiar with this.

Each FX-unit on the upper side has a clone on the lower side.2
There is no possibility that an unit has "no FX". But of course you can power
on/off the units with the small power-button to deactivate.

In most cases the knobs get a meaningful "static" label, which indicates for
what is for.
Some FX are really advanced, in this case the last knob is labeled with a # and
a number to show you the current template, choosen by this knob.
If a knob is choosing a rhythmically length you will see the current bar/beat-
grid for this. If there is a "T" or a "D" behind, the grid is triplet or dotted.3

For saving CPU, all non-needed FX gets automatically sleep if inactive and
awaken immediately as active.
But some FX needs a buffer, before going active, e.g. RMX, and also long-
delays need a feed, so keep this in mind.

1 seriell/parallel blending will come with version 1.3

2
In further versions, with more fx-types we will leave the clone-concept - the booth units will become than only
brothers, no twins anymore.
3Coming with 1.3 - so far, the knob is labeled Time.
 AGGREGATI MUSIKA Effekthascher - 17

5.2 Buffer-FX

Buffer FX like freeze, elastico, RMXuses a dynamically incoming stream to

fill their buffer, and will repeat this until the hell is frozen.

Inside one buffer, the later (or in the chain earlier) incoming signal does not
matter, until the FX get the order to refill its buffer.
This can be confusing, so read the next sentences and the order- and routing
chapter.

All buffer FX have a SIZE parameter, which decides how long the buffered
content is.
If this SIZE parameter gets retriggerd (eg by modulation, or each FLEX-
change), this will start a new buffering at is all.
The flex/buffer will start extrem hard-quantized, but your incoming signal
maybe will not be so. So sometimes you hit a snare+++ and another time
you do it again but this sounds different: you don`t hit the same time!
There is no guarantee that your sound is always the same. Its absolut
important when you activate/refill a buffer-fx and by hand, you hit the exact
time only per random.
Flex are quantized and should get the right (synced) modulations-values by
this. But a guarantee is only for the quantize of a flex, not for their
modulations, and of course not for the incoming signal.
And well, a FX on/off or other kind of manual-retrigger will never hit the exact
point. Only per random! The size/buffer is ever quantized, but the start-point is
maybe not the same.

REMIX is a sonderfall.
It dynamically!!! buffers 1 bar and divide it into 16-notes. So we have always
16 chunks inside it. But by each 16-clock-circle it starts the buffering again and
will overwrite the last heard chunck (or, if you want, the newest).
So if your input switch from eg. a drumloop to a guitar, you will first hear the
guitar after 15 steps (or almost 1 bar = 1x16 minus 1= 15 steps).

RMX based of one-bar-patterns/templates for rearrange the chunks.

To work without artifacts we need at least an intern 1-bar-buffer.
Because this, there is a delay/latency when you activate RMX. You will only
hear the normal, unprocessed signal for one bar, first, after the buffer is filled,
you get the remixed one.

The buffer-filling is a dynamically process, updated each 16 note. If you

change your input, this will happen dynamically, so maybe you hear a (new)
guitar-chunk between an (old) drumloop (if we keep the example from above).
 AGGREGATI MUSIKA Effekthascher - 18

If you switch a FLEX directly to another Flex which host a RMX, this RMX does
not need a new buffer-fill, so you can smooth switch between your remixes
like ever you want. BUT if there is a flex without the RMX and you switch back/
for to a flex within a RMX, this RMX is handled as a new RMX and has to fill
its buffer again!
For more description of the RMX, or the other ones in general see the FX&Filter
manual.
 AGGREGATI MUSIKA Effekthascher - 19

5.3 Filters

EH offers a wide bunch of filters, from bread&butter and standard types to high
advanced filter-designs (wich are being more effects than classical filters) in 2
filter-sections.
Booth sections share some types, but booth sections have also their exclusive
types. Filter 1 (the pre-fx-one) host a wide bunch of special- or fx-filters.
Filter 2 (pre-fx) is thought as your final stage (before amp/limiter) and so for
their are more bread&butter-types and EQs.

Each filter in EH v1.2 has not our automatic-gain-control (AGC), so far. It will
updated. AGC takes care that a jump from FX or filter is in its inherent level in
an acceptable range.
Well, the always on-limiter take care, that there never will be an over-amp-
signal, but thats not AGC. AGC takes care that the levels are intern
compatible, that you feel the amp is equal, before a dynamic-unit has to
work.

So sometimes there are the feel of level-jumps, depending on the filter-types;

their resonance settings and some other variables.
So, we will implement AGC for the new filters later.

If not done before, please have again a look at the routing-chapter.

Filter 1 is always in pole-postion and filter 2 always behind the fx-chain, but
booth can blend from seriell to parallel.
With 100% parallel from filter 1 (pre) the filter has no effect before the fx-
units. It will sidepass-trough the parallel outport (and finally added to the
whole signal). It will not filter the incoming signal for the fx-chain and all
behind.
Also filter 2. It can filter all the wet-signal AFTER the fx-chain, or it can only
filter the dry-input and add to the fx-processed-main-signal, without filtering
this chain.
And anything between for booth filters-units. So, if you bypass all fx you have
only 2 filters: parallel, seriell or a mix of the signal(s).1

1 As always said: Parallel-processing will come with v1.3

 AGGREGATI MUSIKA Effekthascher - 20

Filter-Names
All filters have of course a name. A HP, BP or LP means that this
type is designed to passes high, band, or low frequents. And there is the
opposite, eg a BC means that it CUTS the frequencies around its
settings, in opposite to a BP(ass).
A N means notch and if the name remember you to a classic, we call
it free-emulation: It never sounds as, it only sounds similar (but
mostly better;-))

A numeric behind shows how deep this filter is going around its cutoff-
frequency: 1, 2 ,4, 8, 12 means -6, -12, -24, -48 or even -60 dB. This is
technically a little bit simplified, but for the praxis, you don`t need to
know more.
For the none-standard-filters, have also a look to the FX & Filter-
addendum, which describes this more in detail!

Normally i would say: try it! But there are so many variables in it, i can
only say: explore it:

Take any flex, deactivate each other FX/filter, set low/high to 100% and
the filter you want to what you want, double-paste it (now you have 8
identically settings) and play with the knobs, than switch to the
brother(s). and change them.
Cutoff (Knob)
All filters have a cutoff-knob (should be well known).

The cutoff-field (Label)

Above the cutoff-knob, their is mostly1 another numeric-knob, which is also
the label: Its called cut (with a number behind).
If you move up/down this field, you can select special smoothness/speed-modi
for the cutoff-modulation.
There are 12 modi, from very fast (direct) to more slow (smooth).
If the cutoff is unmodulated, or not moved by hand, this mode has no effect,
also with small resonance- or band-settings, this is often only subtle.
But with high resonance, a very fast (ideally pulsating) lfo and a self-
oscillating-filter-type, and of course a full mod-range, this selector can change
the cutoff / the filter in a dramatically way. Try, its fun!

1for the 12-pole filters, this is not available

 AGGREGATI MUSIKA Effekthascher - 21

Resonance
Of course, there is also Knob for resonance.
Depending on the current-filter this knob goes from zero to 1 = self-oscillation.
(Most filters offer the possibility to go into self-oscillation.)
There is also the possibility to set the curve for resonance. (See addendum)

The 3rd filter knob

For all standard filter and the most others the 3th knob is either for bandwide/
FRQ settings (you see BAND or FRQ as label) or for blending between two
types: H>B blends from highpass to bandpass and B>L blends form bandpass
to lowpass.
But sometimes you see another name and in this case, it does what the label is
meaning for:
-DRV is an extra-saturation-feedback inside the filter
-A_E_O_U selects a vocal-freqeuncy and its only for the Vowel-filters. (The
current one should be brighter than the rest, but this feature is in beta.)

The 3rd knob-label differs, depending the types.

BAND = bandwide, gives more / less pass to smaller/wider frequencies.
DRIVE = saturates, drives, distorted the filter intern.
<-> = Blend. From one typ to another (eg BP > LP) or between the pole-
deepnes (eg 1>4).

Filter-Summary
The last stage-filters are only standard-filters or EQs. You should familiar
with them.
But in the input-filters-unit you will find beside the standard-filters also some
very special types. Please have a look to the FX/Filter Addendum, to see, what
you get.

But for booth filter-units and all types of filter: The knob-description above is
guilty for all, except the EQs. There the knobs are called: Low, Mid, High.

The second EQ is sharper, with more resonance around the eq-points.

 EFFEKTHASCHER Addendum - 1

Addendum A

Easter-egg

Yes, there is one, even with a useful functionality;-)

Options

Here you can set some default behavior for some elements.

Level-Refresh
The numerics below the amp are highest-peak-holder. That means between
one circle they get only refreshed if a newer value is higher than all other ones
from this circle.

This is useful to compare different settings. Most people tend to feel louder is
better but this assumption often leads to wrong conclusions. With this readout
you can get a better more objective visualization of the loudness of your
signal. Best to A/B compare with and without the limiter and take care to make
sure the peaks are close. You will be surprised how often more is actually less!
In options, you can define how long a cycle is (in seconds from zero to 1.5
minutes).
The default is 2 seconds and this is only for an overview of the "average"
peaks and does not result in such frequent fluctuations. You may want to use
longer cycle times to aid in comparing settings.
Anyway, you can set from near zero to 1,5 minutes (= 90 seconds).

Reset PK
If on, alle Performance-Knobs (PK) and the XY-filed will init by each flex-
change.

qwertz
If on, you can select a flex by using the qwertz-row of your computer-keys or
the white-keys of octave 4(or 5).
Most DAW will not transmitted this data to a FX-plugin, so this is often possible
in standalone mode.
Factory-Default is off.

Knob-Behavior
For the global Low/High (dry/wet) and for booth resonance-knobs you can
select another curve than linear as default. See next chapter.
 EFFEKTHASCHER Addendum - 2

Curves
You can define different "curves" how the knob-movement is working:
- linear
- sine
- loga
- arcsin
- expo

Linear = the knob drives the way from 0-1 in a linear way

Sine = the knob drives faster then linear in smaller settings and slower in
higher settings.

Loga = similar to sine, but in a more radical way.

In booth settings you have a finer resolution for higher values. (e.g. if you
want to sailing near the self-oscillate)

ArcSine = is a "inverted" sine-curve. It drives slower then linear in smaller

settings and faster than linear in higher settings.

Expo = similar to sine, but in a more radical way.

In booth settings you have a finer resolution for smaller values.

Here an overview in percent for each mode:

Linear 5 10 20 30 40 50 60 70 80 90 95

Sine 7,8 16 31 45 59 71 81 89 95 98,8 99,7

Loga 10 20 40 56 68 80 87 89 98 99,2 99,6

A-Sin 3,2 6,4 13 19 26 33 41 49 59 71 80

Expo 2 4 8 12 16 20 28 36 52 76 88

Beside this you can use the shift-button to become a finer adjustment. For
most knobs this is finer by factor 10 than regularly.