SOUNDS
CHORUSED DELAY
Use detune ( ) or phase ( ) mode with small shifts to create chorused repeats.
OCTAVE/HARMONY DELAY
Use transpose ( ) mode with only the first repeat shifted ( ).
SELF-OSCILLATION
Set the SHIFT knob at or near 12:00, FDBK above 3:00, and DELAY below 10:30. Adjust the delay to change the fre-
quency. Phase shifted ( +
) repeats create bubbling, psychedelic resonant sounds. Unshifted repeats ( ) give distort-
ed self-oscillation.
OVERDRIVEN FEEDBACK
Feedback settings above 3:00 create overdriven feedback and distorted growls. Phase shift ( ) mode with unshifted
repeats ( ) is good for creating squelchy, overdriven feedback sounds.
OLD SCHOOL PITCH SHIFTING
Use transpose ( ) mode with no delay or feedback for discrete semitone shifts. For continuous pitch shifting, use de-
tune ( ) mode. The pitch shifting algorithm adds a slight warble, similar to classic digital pitch shifters.
PLASTIK BASS
Use detune ( ) mode with reverse (
) repeats. Set SHIFT to approximately 1:30, FDBK to 2:00, DELAY to 8:00, BLEND
at 9:30. Adjust SHIFT, FDBK, and DELAY for squelchy resonance.
REVERSE DELAY
Disable SHIFT and set feedback mode to reverse (
). The reverse effect is more noticeable at longer delay settings.
At shorter delays, short segments are reversed which gives more of a tremolo sound. With feedback and pitch shifting,
short delays create cascading shifted trails and alien textures.
BARBER POLE FLANGING
Use phase ( ) mode with shifted (
) repeats. Set FDBK around 2:30 and a short delay to create sounds that seem to
continuously shift up or down in pitch.
ORGAN
Use transpose ( ) mode with repeats shifted (
), SHIFT at 5:00, FDBK around 2:00, DELAY at 7:00, and BLEND around
3:00. Lowering the blend will bring in more of the guitar attack and adjusting the FDBK knob will change the overtones.
ARPEGGIOS
Use transpose ( ) mode with medium to long delays to shift (
) each repeat up or down by semitones.
Minor thirds: dissonant intervals that stack to form diminished 7th chords.
Major thirds: augmented chords have a static harmonic characteristic, which can blur tonality.
4ths and 5ths: stack to form quartal and quintal harmonies.
7ths: stacking 7ths will give you nicely spaced tone clusters that sound very dissonant.
Expression Pedals and Control Voltages
Any expression pedal with a 10k-50k ohm linear pot will work. For example, the Roland EV-5, Moog EP-3, M-Audio EX-P,
or Mission Engineering EP-1. You can also use an Electro-Harmonix 8-Step Program to sequence the sampling rate. For
control voltages, 0-3.3V on the tip is the correct range. The Raster has current limiting in case you use a TS cable, but it
is best to use a 1/4” TRS cable with the ring unconnected. The Expert Sleepers “floating ring” cable is an easy way to do
that. We also sell suitable cables at store.redpandalab.com.
