Endorphin.es ANDREW HUANG GHOST 16hp, Manual, Page: 13 / 19


MID/SIDE
widener stays after the reverb and increases the stereo field
simultaneously with the amount of TAIL reverb knob. This feature is best audible on
true stereo signals processed with the GHOST.
Both delay and reverb have advanced secondary parameters and modes that can
be accessed by pressing the
ROUTING button in combination with either a knob or
another button. These controls are internal and do not have CV control; they are
designed as ‘set and forget’ controls to fine­tune your sound.
ADVANCED DELAY PARAMETERS

R REPEATS KNOB:
controls the light TILT EQ that adjusts
the TONE / brightness of repetitions: from sparkling clean to dub delays. That
TONE* range for repeats is identical to TONE input shaping control.

R TAP BUTTON:
switches the way the delay taps are
distributed (hard panned) in the stereo OUTPUTS 1/2. When the TAP button blinks
once – the taps appear on OUTPUTS 1 and 2 in an LRLR pattern. When the TAP
button blinks twice – the tap pattern is LRRL . When the TAP button blinks 3
times – STEREO mode is selected, where the delay taps appear on
either L or R output only when there is something present on L or R input, aka true
stereo operation. The true stereo mode shortens the maximum delay time by half.
Minimum delay time manually set with TIME/DIV knob corresponds to approximate
C4 note (~261 Hz) in LRLR and LRRL taps and approximate C5 note (~523 Hz) and
1 octave more with external 1v/oct
TIME CV applied.
 NOTE: Tap tempo via the TAP button doesn’t work if an external clock is applied.
ADVANCED REVERB PARAMETERS

R TAIL KNOB:
sets the PRE­DELAY amount for the reverb,
which is an important control that can add additional depth to your sounds,
particularly useful when processing percussion. Full CCW knob position
corresponds to no pre­delay and full CW position corresponds to maximum
possible pre­delay time (up to 0.5 seconds). The pre­delay setting is especially
useful when used with
REVERSE reverb.

HOLD BUTTON:
freezes the reverb creating an infinite recirculation in the
feedback loop, which is reminiscent of what is called a ‘wall of sound’ . When