The TAP footswitch and the RATE knob have the same effect on modulation rate, which is determined by the control
that has been used last.
The TAP footswitch operates in the 0.2 – 2s range. Additionally, the TAP SCALE knob can be used in TP mode to
divide or multiply the rate by fixed values between 2x and 32x. Turn the knob CCW to slow the LFO rate down (divide)
or CW to speed it up (multiply).
In EX mode (expression pedal simulation), filter cutoff movement is controlled by the ATTACK and RELEASE knobs;
LFO MAIN is disengaged in that mode. An AHR (attack/hold/release) filter envelope is triggered upon pressing the
TAP footswitch. As long as you hold the TAP footswitch down, filter cutoff will stay at the value determined by the
DEPTH knob.
Banks & Patches
The patches are organized into 4 banks, each holding 3 patches.
To select a bank, press and hold the ON footswitch and move the MODE/BANK switch to the desired position:
●
UP:
Blue Bank
(the ON LED glows blue).
●
MIDDLE:
Red Bank
(the ON LED glows red).
●
DOWN:
Magenta Bank
(the ON LED glows magenta).
After that, you can release the ON footswitch and use the MODE switch to navigate within the bank.
To select patches from the fourth bank (
Cyan Bank
), press and hold the TAP footswitch and move the MODE/BANK
switch to any position. After that, you can release the TAP footswitch and use the MODE switch to navigate within
the bank.
The config file provides access to another way of selecting patches.
All patches have been significantly reworked compared to those found in the Prism-9. Some of the algorithms have a
similar character to the original ones, but their functionality has been greatly improved.
Blue Bank
The ON LED glows blue.
MODE
switch position:
●
UP:
Synthation Flow
“The Prism at its finest”. This patch pays homage to Michael Garrison — particularly to his “Images” album which
still sounds amazing 35 years since its release. Finally, this kind of sound is available in a simple guitar pedal.
All three octaves and a fifth are used in the pitch shifting section. Only the pre-reverb filter block is engaged,
resulting in mild filtering with barely noticeable movement. The reverb sounds soft but completely replaces the
dry signal. All those elements together create a lush pad for the incoming signal. This patch is probably the
closest one could get to the original Prism-9.
●
MIDDLE:
Shu Melody
With its clear sound and mild post-reverb filtering, this patch works great for melodic lines where you might want
a soft pad which doesn’t get too crazy. The reverb smoothens the tone, while the rather simple LFO wave is
handy if you want to boost mod rate into the audio range via the BEAT switch. This patch works best in Kill Dry
mode.
●
DOWN:
CM116
Another classic sound: this time, you can use your guitar or bass to get tones reminiscent of Tangerine Dream.
LFO wave multiplication is quite uncommon in the guitar world. The incoming signal is enriched and expanded
by the pitch shifting section. Both the pre- and post-reverb filter blocks are used; those aren’t fully mixed in with
the dry signal, resulting in a well-balanced sound. LFO2 is 32 times faster than the main one, so you can get
rhythmic patterns at low values of the RATE knob or constant filter movement at higher ones.
