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Detailed Operating Instructions
At the heart of Hypersleep is a clock controlled directly by the Space knob. In turn, this
clock sets the delay/reverb time for the BBD. The lowest settings yield a slapback echo
with a blurry decay. As the knob is turned clockwise, the echoes begin to separate and
smear out, until the delay time of the longest tap reaches a maximum of approximately 200
milliseconds.
The Feedback knob plays a critical role in determining the reverb character—or indeed,
whether Hypersleep functions as a reverb at all. At low settings, the echoes function more
akin to a traditional short analog delay, despite the aforementioned smearing of the repeats.
It is at this setting where modulation effects will take on a more traditional character as well
(see below). At higher settings, the outcome is dependent on the Space setting. Short time
settings will result in unusual resonances and comb-filtered textures as certain delay lines
constructively and destructively interfere. At longer settings, increasing Feedback means
the reverb output will ring out longer, with a distinctive fluttery characteristic. When the
Feedback is turned counterclockwise, increased decay will give way to self-oscillation.
Together, Rate and Depth control the low frequency oscillator (LFO) tied to the Space set-
ting. This modulation is akin to wiggling the Space control back and forth. The waveform is
triangular in shape, with a moderately exponential response designed for an even-sounding
pitch vibrato at all settings. Rate is the speed of the modulation, from imperceptibly slow
to nearly in the audio range. Depth controls the intensity of the modulation. At minimum
the LFO is entirely off, at maximum the LFO is manic and seasick. Tthe maximum amount
is scaled with the Space control to optimize the usable range at all combinations of knob
positions.
The outcome of the LFO depends greatly on the other settings. When applied to a typical
reverb sound it can be used to subtly animate the reverb trails, or warp them into an in-
distinguishable mess. If Feedback is set low, the LFO may even be used for chorus, vibrato,
and quasi-flanger textures, particularly at low Space settings. At higher Feedback settings
the pitch-bent echoes can compound on themselves for an exaggerated effect.
The Level and Mix controls have a self-explanatory function. The Mix control will range
from full dry to full wet with every possible shade in between. Full wet settings are par-
ticularly useful for lo-fi effects and pitch vibrato. The Level control is primarily intended
for matching the output to the unaffected tone. At higher settings hotter signals will clip
slightly. This is normal and can be used to great effect.
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