Chase Bliss Audio Generation Loss MKII User manual

Table of Contents
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6
16
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28
32
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38
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42
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Overview
Getting Started
Controls
Wow
Flutter
Models
Saturate
Failure
Aux
Classic Mode
Customize
Ramping
Ideas
External Control
Signal Flow
Bye
6
10
12
14
Knobs
Toggles
Footswitches
Hidden Options
Power req: 9VDC Center Negative ~250 mA

Overview
You can think of Gen Loss as a VCR deconstructed.
It takes each of the oddities and artifacts tape
machines impart on your sound and gives them
an independent control.
So you can choose.
Maybe wow isn’t for you – that’s fine, turn it off.
Have one part of your tape machine horribly
broken, while the rest is pristine and perfect.
Within Gen Loss are all the parts you need to
faithfully recreate a whole library of tape
machines, or you can ditch that idea and build
something new. A magnetically saturated
chorus, or a randomized stereo splitter, or a
versatile EQ.
Or all of the above, saved to different presets.
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02
Within Generation Loss MKII are two different
approaches to the same challenge:
To recreate the nostalgic sounds of tape,
specifically VHS.
One built through
imagination and intuition (Classic).
One built through
study and analysis (MKII).
This manual will focus on the new MKII features.
Also, we’re going to call it Gen Loss from now on
because it’s easier.
We are here to show you how.

VOLUME
SATURATE
MODEL
FAILURE
WOW
DRY NOISEAUX
FLUTTER
Getting Started
The first thing to do is acclimate Gen Loss
to your setup. This will only take a moment.
The default setting will work for most:
Mono in, mono out. Stereo in, stereo out.
Whatever goes in comes out. Simple.
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04
Almost every setting will conjure up a tape
machine of some kind. Let’s go a little further and
look at it piece by piece.
After controls, of course.
Try maxing out each
knob, one by one,
while leaving the
others as pictured.
Explore how mixing in
some dry signal can
expand your sound.
Now try this.
Nice and wistful.
Try out the different
AUX functions.
If you have a mono
input, but want to split
it to stereo output:
Turn on MISO.
And if you want unique
stereo processing:
Turn on SPREAD.

Sets the depth of slow, smooth, random
pitch modulation. Your classic tape-style
motion, like unpredictable vibrato.
WOW
A
WOW MODELVOLUME
A B C
Wobble, boost, filter.
BVOLUME
Sets the output level of the wet signal.
Noon is unity, max is boosted by 2x. If
ramping is engaged (pg. 38), the function
of this knob will change. The volume
setting will be remembered, but it now
controls the speed of the movement.
CMODEL
Steps through a library of tape machine
models, each with its own unique EQ
profile. VCRs, cassette decks, camcorders
and more, each one designed through
frequency-analysis of physical hardware.
LP (CLASSIC MODE) Sets the cutoff frequency
of a resonant low-pass filter. Roll counter-
clockwise to remove high frequencies.
Controls - Knobs
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06

D E F
FLUTTER FAILURESATURATE
Controls - Knobs
Wriggle, distort, disrupt.
Sets the intensity of fast, twitchy, random
modulation. Affects both amplitude and
pitch, giving the impression of quivering,
trembling tape.
(CLASSIC MODE) Similar to MKII, but without
amplitude modulation.
FLUTTER
D
ESATURATE
Recreates a unique form of magnetic
saturation that occurs when loud signals
are recorded to tape. Known as a magnetic
hysteresis loop.
GEN (CLASSIC MODE) Sets the sample rate. Roll
counter-clockwise to degrade the audio
quality and introduce digital aliasing.
FFAILURE
Gradually introduces a number of small
malfunctions that naturally occur in tape
machines and give them that living feel:
snags, drops, crinkles, and pops. Can be
customized using the dip switches and
hidden options.
HP (CLASSIC MODE) Sets the cutoff frequency
of a resonant high-pass filter. Roll
clockwise to remove low frequencies.
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08

Controls - Toggles
Recall, mix, select.
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10
AUX
A
Selects a performance effect, activated by
the left footswitch. You can set how quickly
these effects set in using the hidden options.
BDRY
Sets the loudness of your clean signal.
CNOISE
Introduces noise, which is made up of two
elements: hiss and mechanical noise. The
level of these two noise sources can be set
independently via the hidden options.
DPRESETS
The left and right positions each store a
preset, while the middle position is live
(current settings). To save to the right
slot, hold the right foot switch for 3
seconds, then add the left footswitch for
another 3 seconds. Do the same for the
left slot, but start by holding down the
left footswitch. The middle LED will blink
to indicate success.
A B
D
C
AUX DRY
PRESETS
NOISE
NONE - Pure tape machine.
SMALL - Drops in a touch of clean, keeping the tape effect
dominant but creating a bigger and more detailed sound.
UNITY - Your clean signal will match the input level, useful
for chorusing and other flavors of sun-soaked modulation.

Engage, perform, tweak.
BYPASSAUX
BA
Activates the pedal.
Controls - Footswitches
BYPASS
A
Activates the AUX function.
Hold for momentary. You can use the
hidden options to adjust the onset speed
of the AUX effects.
AUX
B
B
HOLD
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Gen Loss has a variety of bypass and dry
thru options. In its default state, it is true
bypass with analog dry thru. See pg. 44 for
the specifics.
Holding down both footswitches accesses
a hidden menu that fine-tunes various
aspects of Gen Loss. Keep the switches
held down while making your changes,
and release when you’re finished. See
next page for the options.
HIDDEN OPTIONS
A
B
HOLD

MECHANICAL NOISE LEVEL (SATURATE knob)
Sets the volume of the mechanical noise
introduced by the NOISE toggle. Noon is zero:
Rotate clockwise for hum, rotate counter-
clockwise for VCR noise.
CRINKLE / POP LEVEL (FAILURE knob)
Sets the volume of the crinkle and pop sounds
introduced by the FAILURE knob.
BYPASS TYPE (MODEL knob)
Gen Loss has a DSP bypass option for clickless,
artifact-free switching. When activated your
clean signal will be digital thru, even with Gen
Loss bypassed. Rotate clockwise beyond 12:00 to
activate DSP bypass, rotate counter-clockwise
of 12:00 to revert back to true bypass.
INPUT GAIN (DRY toggle)
Use this to match the saturation to your input
signal. The right position allows for heavier
distortion, but note that it can also introduce
digital aliasing with louder input signals.
AUX ONSET (WOW knob)
Sets how long it takes for the AUX effects to set
in. The further clockwise, the longer it will take.
From instant arrival to crawling transitions.
HISS LEVEL (FLUTTER knob)
Sets the volume of the hiss introduced by the
NOISE toggle.
Hidden Options
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MECHANICAL
NOISE LEVEL
BYPASS
TYPE
CRINKLE &
POP LEVEL
AUX
ONSET
HISS
LEVEL
LINE LEVEL | INSTRUMENT LEVEL | HIGH GAIN
Hold down both footswitches until the LEDs turn
green to access the hidden options.

Wow is your classic tape-style movement.
It gives you those signature off-kilter pitch bends,
reminiscent of vibrato but random and rubbery.
Let’s isolate it.
Around 10 is the sweet spot for a nuanced sound
that isn’t overpowering. Higher settings evoke
struggling machinery and melted tape.
WOW is also your key to getting some unique
chorus sounds.
Flick the DRY toggle over
to UNITY and expand.
If you’d like to get a little stranger, dial in some
FLUTTER at this point for a shivering chorus. While
it can be interesting to isolate the two, WOW and
FLUTTER are very much partners and are best
used together for a convincing tape effect.
So let’s talk about that.
Wow
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VOLUME
SATURATE
MODEL
FAILURE
WOW
FLUTTER

Flutter is a rapid, wriggling movement that is
largely unique to tape.
Unlike wow, with its erratic wobbling, flutter has
an even, anchoring effect. It provides a steady
presence that is almost more like texture than
modulation. Never too high, never too low, just
twitching away in the middle.
It affects both loudness and pitch.
Let’s crank it.
VOLUME
SATURATE
MODEL
FAILURE
WOW
FLUTTER
Now turn it down just to the point where you stop
noticing it. This is a good trick for more subtle,
realistic settings.
Using FLUTTER without WOW can be useful for
a sound that feels vintage, but not broken.
Reminiscent of an older time, but without any
obvious modulation.
Try dialing in just a bit of FLUTTER when using
Gen Loss like an overdrive, EQ, or chorus. A secret
ingredient for that extra touch of nuance.
Flutter
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This is your tape library.
The MODELknob steps through a variety of EQ
profiles sampled from physical hardware.
A good way to explore the models is to recreate
the settings from Getting Started(pg. 04) so you
can hear how all the different parts interact.
Go through the models one by one and see what
suits you.
Different instruments or sound sources will sound
dramatically different from model to model.
Model
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OFF
1
2
3
4
11
12
10
9
8
567

AMU-2 (designed by AMULETS)
TYPE: NA
An imaginary model based on deteriorated
tape and a barely functioning recorder.
11
Models - Continued
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OFF
TYPE: NA
Turn all the way counter-clockwise
to bypass MODEL. Unfiltered.
CPR-3300 Gen 1
TYPE: VHS
An old VCR in rough shape.
1
CPR-3300 Gen 2
TYPE: VHS
The sound of CPR-3300 Gen 1, re-recorded
to that same VCR. A copy of a copy.
2
CPR-3300 Gen 3
TYPE: VHS
The sound of CPR-3300 Gen 2, re-recorded
to that same VCR. A copy of a copy of a copy.
3
Portamax-RT
TYPE: CASSETTE
Desktop-style, all-in-one
4-track recorder.
4
Portamax-HT
TYPE: CASSETTE
Desktop-style, all-in-one 4-track
recorder, played back at half-speed.
5
CAM-8
TYPE: CASSETTE
Camcorder. Sampled using the
built-in mic.
6
DICTATRON-EX
TYPE: CASSETTE
Handheld voice recorder. Sampled using
the built-in speaker and an external mic.
7
DICTATRON-IN
TYPE: CASSETTE
Handheld voice recorder. Sampled using
the built-in speaker and the internal mic.
8
FISHY 60
TYPE: CASSETTE
Toy recorder. Sampled using the built-in
speaker and the internal mic.
9
MS-WALKER (designed by BlankFor.ms)
TYPE: CASSETTE
Portable, personal music-player.
10
M-PEX (designed by Marcus Fischer)
TYPE: ¼” REEL
A reel-to-reel using old, brittle tape.
12
MS-WALKER

Saturate
SATURATE introduces a unique form of dynamic
distortion that occurs when a loud signal is
recorded to tape, overwhelming it.
It’s called a magnetic hysteresis loop and it
doesn’t really matter how it works, but it is kind
of cool: the magnetic structure of the tape
essentially shifts, altering any future sounds
that are recorded.
The SATURATE knob mathematically recreates
this effect.
Much of the sweep is subtle to capture the
authentic felt-but-not-heard vibe you would
usually hear in tape recordings. But feel free to
blow things out – you’ll find mis-biased and
gnarly textures at the extreme.
The amount of saturation will vary based on your
instrument. You can use the hidden options to
match the input gain to your setup, or access a
high gain setting for heavier distortion (pg. 15).
Try turning everything else off and using Gen
Loss like an overdrive.
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Recording onto tape leaves an impression on magnetic material.
Future recordings are distorted by what the signal did in the past.
SATURATE and MODEL are interactive. The tape
models come after saturation in the signal flow
(pg. 44), molding and filtering the distortion.
Each model will exaggerate certain parts of the
saturation while suppressing others.

Failure
The FAILURE knob is a multi-effect made of the
small imperfections that are a natural part of
tape. It introduces a living feel - unpredictability
- and is also the key to stereo processing.
You have some options for customizing it:
The crinkles and pops are made up of two parts:
Try adjusting the various parts to get things to
your liking.
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DROPS
Playback errors that cause brief
moments of silence; the result of
the playhead losing contact with
the tape.
SNAGS
Abrupt pitch spikes; the result of
the tape briefly getting stuck.
CRINKLES AND POPS
Micro-disturbances that produce
a shaky, crumbling feeling; the
result of tape becoming weathered
and uneven, and/or having debris
on its surface.
You can bypass the drops and/or snags
using the dip switches.
You can set the loudness of the crinkles and
pops using the hidden options (pg. 15).
THE SOUND
The audible rustle of crinkles and pops.
You will hear these even if no audio is
going into the pedal. This is the part you
can adjust with the hidden options.
THE EFFECT
The way the crinkles and pops process the
incoming sound, causing it to crumble and
spike. This is the only part of FAILURE you
can’t turn off.

Failure - Continued
FAILURE is responsible for the multi-layered
stereo image you experience with SPREAD on.
Its various effects manifest differently on the
left and right channels, creating a moving
stereo image. The drops have the most
pronounced and abrupt effect, but you can
bypass them to get more subtle deviation from
the crinkles and pops.
A creative utility of FAILURE is that it can function
as an unpredictable stereo splitter. Turn on the
SNAG BYP, SPREAD, and MISO dip switches, and
turn down the other knobs. Your signal will skitter
randomly from left to right, but will otherwise
sound clean.
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LEFT CHANNEL
RIGHT CHANNEL
ORIGINAL AUDIO
ORIGINAL AUDIO
This is a drop.
Here are
some crinkles. A small
drop!
Some more
dang crinkles.

FREEZE
Back by popular demand, the
hidden fourth AUX function: Freeze.
Tape machines don’t do this, but
who cares. It’s fine. This one is only
available in CLASSIC MODE.
Aux
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Gen Loss has three different AUX effects (and one
hidden favorite), for your performance needs.
Select your effect, press the AUX footswitch,
and it’s on. The AUX footswitch can be held
down for a momentary effect, or tapped for
standard on/off. Freeze captures and holds the last-played
sound indefinitely, which you can then process
with Gen Loss’ various effects.
To access FREEZE, set the AUX toggle to FAIL and
turn on both the DROP BYP and SNAG BYP dip
switches. And make sure you’re in CLASSIC MODE.
STOP
A tape-stop effect that slows your
wet signal to a rubbery halt.
FILTER
Bypasses the selected tape model,
letting your signal pass through
unfiltered.
FAIL
Maxes out aspects of the FAILURE
knob, for the feeling of complete
malfunction.
CLASSIC
DROP BYP
SNAG BYP
You can adjust how long it takes the AUX effects
to set in using the hidden options (pg. 14).

Classic Mode
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CLASSIC MODE brings back the sound and
features of the original CooperFX and Chase
Bliss Generation Loss.
Simply flick the CLASSIC dip switch, and you’ve
got a different pedal.
Many of the controls are the same, but they
work quite differently behind the scenes. Just
like MKII, CLASSIC MODE is a compilation of
parts that can be isolated if you wish.
CLASSIC MODE also has its own way of creating
a stereo image when the SPREAD dip switch is
engaged. Here you get a smooth panning effect
that moves in time with the WOW modulation.
CLASSIC MODE is its own little world – a work of
fiction. An imaginary tape machine, based on
nothing in particular.
Maybe this is what you need.
VOLUME
GEN
LP
HP
WOW
FLUTTER
Flip that
CLASSIC
dip switch.
VOLUME
GEN
LP
HP
WOW
FLUTTER
UNITY
VOLUME
GEN
LP
HP
WOW
FLUTTER
NONE
It can be a
filtered chorus,
for example.
Or a sample
rate reducer.

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The dark blue-labeled dip switches on top of Gen
Loss allow you to configure it for your setup and
fine-tune things to your liking.
MISO
Mono In, Stereo Out. For using Gen Loss to split a
mono signal into a stereo image.
SPREAD
Engages unique stereo processing of the left and
right channels. You’ll get a different effect
depending on the mode:
MKII: Introduces a malfunctioning stereo image
created by the FAILURE knob.
CLASSIC MODE: Introduces a smooth panning
effect created by the WOW modulation.
Customize
DRY TYPE
When engaged, all of the pedal’s effects except
WOW and FLUTTER will be applied to your dry
signal. This makes it possible to create saturated,
malfunctioning chorus effects. See the signal
flow on pg. 44.
DROP BYPASS
Removes the drops (volume manipulation) from
the effect of the FAILURE knob.
SNAG BYPASS
Removes the snags (pitch warping) from the
effect of the FAILURE knob.
HUM BYPASS
Removes the mechanical noise from the effect of
the NOISE toggle.
MISO
SPREAD
DRY TYPE
DROP BYP
SNAG BYP
HUM BYP