Endorphines GHOST PEDAL User manual

MULTI - DIMENSIONAL EFFECTS CHAIN PROCESSOR

CONTENT
WARRANTY 3
VISIT US 3
INTRO 4
CONNECTING THE POWER 4
TECHNICAL SPECIFICATIONS 4
INTERFACE – FRONT PANEL 5
INTERFACE – REAR SIDE 5
EFFECT TECHNIQUES QUICKSTART 10
VISUALIZING THE REAL TIME VALUES 12
DISTORTED REALITY 13
THREE FLAVORS OF FILTER 14
SPATIAL EFFECTS 14
DELAY 14
REVERB 15
MODULATION ASSIGNMENT 16
EXPRESSION PEDAL ASSIGNMENT 18
TAP FOOTSWITCH ASSIGNMENT 18
BYPASS FOOTSWITCH MODES 19
RESET 20
PRESETS LOAD / SAVE 20
PRESETS DUMP / UPLOAD 21
SETTINGS AUTOSAVE 23
MIDI IMPLEMENTATION CHART 24
FIRMWARE UPDATE 27
CREDITS 28
COMPLIANCE 29
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WARRANTY
1-year warranty is guaranteed from the product's purchase date in case of any
manufacturing errors or other functional deficiencies during runtime.
The warranty does not apply in case of:
🠚 damage caused by misuse
🠚 mechanical damage arising from careless treatment (dropping, vigorous shaking,
mishandling, etc.)
🠚 damage caused by liquids or powders penetrating the device
🠚 heat damage caused by overexposure to sunlight or heating
🠚 electric damage caused by improper connecting
The warranty covers replacement or repair, as decided by us. Please contact us via
email for a return authorization before sending anything. Shipping costs of sending
a module back for servicing is paid by the customer.
VISIT US
https://endorphin.es
https://youtube.com/user/TheEndorphines
https://facebook.com/TheEndorphines
https://twitter.com/endorphin_es
https://www.instagram.com/endorphin.es/
https://www.modulargrid.net/e/modules/browser/vendor:167
For technical requests: [e-mail]
For dealer / marketing inquiries: [e-mail]
ENDORPHIN.ES is a registered trademark.
It is doing business as FURTH BARCELONA, S. L. (EU VAT ID: ES B66836487).
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INTRO
From earth shaking subharmonics and distorted drones, to angelic shimmer reverbs
and anything in-between, GHOST is a pedal for the adventurous sound designers
and the most demanding guitar and synth players. Immerse yourself and go beyond
the boundaries of what is possible with a conventional guitar or synth pedal.
GHOST PEDAL brings you new possibilities of tone shaping with its state of the art
flexible audio routing chain, allowing you to jump between dimensions with a single
press of a button. An intuitive UI coupled with hands-on control and preset storage
allows you to stay in the now and focus on your performance.
CONNECTING THE POWER
Use a quality 9V ‘Boss’-standard center negative power adapter, typically 500mA.
However the unit may be powered from any 9 to 18V center-positive or
center-negative DC plugs (full protection). Power supply not included.
TECHNICAL SPECIFICATIONS
🠚 Audio input impedance: 100 kΩ (line) / 1 MΩ (instrument)
🠚 Audio output impedance: 100 Ω
🠚 Audio input range: up to +12 dBV, instrument amplification +11dB
🠚 Audio connectors: 1/4 or 6.35mm TS unbalanced, MIDI connectors: DIN-5,
power connector: 2.1mm tip / 5.5mm barrel DC jack
🠚 Bypass options: true-stereo on electromechanical relays, buffered, trails
🠚 Audio I/O: 24 bit, 96 kHz with 32 bit floating point internal processing
🠚 Current draw: 250 mA minimum, 9V (adapter not included)
🠚 Dimensions: 190 mm x 125 mm x 60 mm (7½″ x 5″ x 2 ¹⁄ ″)
🠚 Weight: 640 gram (1.4 lbs)
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INTERFACE – FRONT PANEL
INTERFACE – REAR SIDE
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1. IN LEFT (MONO) , IN RIGHT JACKS: line level or high
impedance stereo audio inputs, INPUT LEFT – is normalled , i.e. pre-routed →
to INPUT RIGHT when no audio cable is plugged into IN R jack . Accept
standard unbalanced TS instrument 1/4″cables, guitar or line levels (up to
12dBV or +/-2V) with soft clipping introduced with higher audio amplitudes.
2. LINE / INSTRUMENT AMPLIFICATION SWITCH: select
audio input amplification: line level (to the left, no amplification) or guitar level
(to the right, +11 db or approx. 3.5x gain amplification) to have enough guitar
signal.
3. OUT LEFT (MONO) , OUT RIGHT JACKS: final stereo audio
outputs, accept standard unbalanced TS instrument 1/4″ cables.
4. EXPRESSION PEDAL JACK: assignable expression pedal input.
Accepts standard RTS expression pedal, +5V supplied from the ring.
Expression pedal morphing macro settings are saved for each of the nine
presets separately. For more details on how to assign the expression pedal
jack check EXPRESSION PEDAL ASSIGNMENT section below.
5. MIDI IN / MIDI OUT CONNECTORS: are standard DIN-5 MIDI
input and output connectors. MIDI IN accepts a list of CC values (see MIDI
implementation chart at the end of the manual) on the configured MIDI
channel and MIDI clock. MIDI OUT can act as a MIDI THRU or generate CC
messages and MIDI clock on knob’s movement.
6. DC IN JACK: 2.1mm/5.5mm connector for the power adapter – typical
Boss
® standard, 500mA, +9V, center negative. This jack has internal reverse
protection and voltage rectification therefore accepts any DC adapter of 9 to
15 volts of any polarity – center positive or center negative.
7. VOLUME /CRUSH* KNOB with LED: controls the final output
volume (this amount is shown with the brightness of the blue LED brightness:
fully lit shows 100% volume (by default) and fully off - silence). Secondary
/CRUSH* function (pressing or holding SHIFT while turning the knob)
enables the BITCRUSHER , or in other words: lowers the SAMPLE RATE
amount out of the FILTER chain: full 96 kHz at CCW and crushing to a certain
moment until the audio falls down to noise. The amount of bitcrushing is
shown with the brightness of the red LED. When turning this feature, it
radically brings aliasing to the audio signal – use on your own discretion to
creatively add lo-fi flavor. Bitcrusher always stands after the distortion (16)
with cabinet simulator (17*) stages in every routing.
8. DELAY KNOB with LED: controls the DRY/WET MIX OF THE
DELAY effect (that amount is shown with the brightness of the blue LED
brightness). Secondary /TONE* function (pressing or holding SHIFT while
turning the knob) adjusts the tilt EQ after the WET output of the delay chain
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(the amount is shown with brightness of the red LED), which is useful to
enhance the delays or for dub-delays.
9. TIME/DIV KNOB with LED: controls the delay time, from short
audio rate repeats CCW and longer taps CW as a primary parameter (the
amount is shown with the brightness of the blue LED). Secondary /MIDI
CLOCK* function (pressing or holding SHIFT while turning the knob from
noon CW) enables the delay to be synchronized to an external MIDI clock
received at the MIDI IN connector (5). While the external clock is enabled,
TIME/ DIV knob acts as a divider / multiplier for the clock with the dividers
written around the knob on the panel and LED flashes red according to the
external clock speed.
10. REPEATS /TAPS* KNOB with LED: controls the REPEATS or
FEEDBACK level of the delay (this amount is shown with the brightness of
the blue LED). Turn it fully CW for self-oscillation. Secondary /TAPS* function
(pressing or holding SHIFT while turning the knob in 3 sectors from CCW to
11 o’clock, 11 to 14 o’clock and 14 to full CW shown with brightness of the
red LED) changes the stereo behavior of the taps produced by the delay (see
DELAY section below).
11. REVERB KNOB with LED: controls the REVERB DRY/WET MIX
level (that amount is shown with the brightness of the blue LED). Secondary
/TONE* function (pressing or holding SHIFT while turning that knob) adjusts
the tilt EQ before the reverb tank (the amount is shown with the brightness of
the red LED) which is useful to get rid of the boomy low-end
12. DECAY /PREDELAY* KNOB with LED: primary function controls
the decay of the REVERB’s TAIL (that amount is shown with the brightness of
the blue LED). Secondary function in combination with the SHIFT button
controls the AMOUNT OF PRE-DELAY - time of the beginning of the first
reflections of the reverb (the amount is shown with the brightness of the red
LED). Amount of pre-delay may be perceived as the apparent size of our
‘space’.
13. REVERB TYPE / /FILTER* BUTTON: primary function selects the
reverb algorithm between: hall with shimmer, reverse and spring reverbs.
Secondary function in combination with the SHIFT button switches the filter
algorithms: bipolar SVF LP/HP, BANDPASS or COMB filter. Selected reverb
and filter types shown with the columns of LEDs.
14. TAP /ASSIGN* FOOTSWITCH with LED: multi-function foot
switch, can be assigned to various controls via SHIFT+TAP combination. By
default assigned to the TAP tempo of the DELAY and white TAP LED blinks
according to the delay clock. For more details on modes see the TAP
FOOTSWITCH ASSIGNMENT section below.
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15. ROUTING BUTTON: routing chain switching. Each press cycles
through six different orders of audio effects (see DISTORTED REALITY
paragraph below).
16. DISTORTION KNOB with LED: control over the distortion amount
(shown with the brightness of the blue LED). Secondary function in
combination with the SHIFT button controls the amount of treble content
after the distortion output. Acts as a 6db/oct TILT EQ for low and high
frequencies: clean in the middle (default value), CCW settings being darker
and higher CW settings being brighter (this amount is shown with the
brightness of the red LED).
17. MIX /CABINET* KNOB: primary function controls the GLOBAL
DRY/WET MIX between the clean input at full CCW and the final processed
audio chain output before the VOLUME KNOB (7) at full CW (this amount is
shown with the brightness of the blue LED). Secondary function in
combination with the SHIFT button controls the amount of SPEAKER
CABINET (or COMBO-) SIMULATOR applied from clean audio path at CCW
to full at CW (amount is shown with the brightness of the red LED). Cabinet
simulator has a set of filters to quickly sculpt a distorted tone signal from your
guitar without the need for extra amps or pedals. Cabinet simulator always
stands after the distortion stage (16) before the bitcrusher stage (7*) in every
routing.
18. FILTER /RESONANCE* KNOB: primary function controls the FILTER
CUTOFF FREQUENCY (the amount is shown with the brightness of the blue
LED). Secondary function in combination with the SHIFT button controls the
RESONANCE of the filter (the amount is shown with the brightness of the red
LED). When the BAND-PASS filter is selected (13), this knob defines the
width of the band. In COMB FILTER mode the resonance knob is bipolar and
defines the feedback, adding negative (to CCW) and positive (CW) combs
and at maximum side CW/CCW values enables the resonator.
19. SHIFT /* BUTTON with LED: adjusts secondary parameters while
held down and when using other controls (shift functions are labeled with
asterisk /…* on the panel). When the shift is enabled, its white LED is on and
you may see all the LEDs near the knobs switch from blue to red, showing
visually the amount of secondary parameters with their brightness and
allowing you to edit them (or assign modulation as well!). SHIFT button has
an additional latched action, so you may press it once to leave enabled and
adjust other parameters while operating with one hand only, however, some
rarely used settings like bypass types or tap assignments require the SHIFT
button to be held. After you press and hold SHIFT , tweak some parameters
and release the button - it turns that button action off.
20. BYPASS /PRESET LOAD FOOTSWITCH: is essentially a BYPASS /
enable / activate effect / on footswitch. Each consequent press enables and
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disables the whole effects chain. When the effects chain is enabled, the pink
LED near that footswitch is ON. When the effect chain is bypassed, the LED
is off and also all the remaining LEDs except the preset selection LEDs are
dimmed. Additionally is used to confirm the load of the newly selected preset
with PRESET (24) footswitch.
21. SPEED /MIDI CLOCK* KNOB with LED: controls the frequency
time (speed) of internal LOW FREQUENCY OSCILLATOR or LFO from 0.0333
Hz (30 seconds per cycle) at CCW to 15 Hz (0.0666 seconds per cycle) at CW
as a primary parameter. LED flashes in red LED according to internal LFO
clock. Secondary /MIDI CLOCK* function (pressing or holding SHIFT while
turning this knob from noon CW) enables the LFO SYNCHRONIZATION to an
external MIDI clock received at MIDI IN connector (5). In the external clock
mode this knob acts as a divider / multiplier for the clock with the divisors
similar to values around the TIME/DIV knob (9) and LED flashes blue
according to the external MIDI clock speed.
22. LFO SHAPE /MIDI CHANNEL* KNOB with LED: gradually
selects the LFO shape from the list below (the amount shown with the
brightness of the red LED). Secondary /MIDI CH* function (pressing or
holding SHIFT while turning this knob in 16 sectors from CCW to CW)
changes the MIDI channel from 1st to 16th that the pedal accepts and sends
the MIDI data on.
23. MODULATION /EXPRESSION* BUTTON with LED: used to
assign LFO (22) and expression pedal (4). While holding this button (it will
light up) tweak any of the knobs. The amount by which you tweak this knob
from center position to the sides while holding the MODULATION button sets
the depth of the selected LFO (22), which will be applied to the assigned
parameter. Secondary combination of SHIFT + MODULATION will set the
expression pedal (4) morphing (see 4. EXPRESSION PEDAL ASSIGNMENT
below for assigning procedure). Same as SHIFT (19), MODULATION button
has an additional latched action, so you may press it once to leave enabled
and adjust other parameters while operating with one hand only. After you
press and hold MODULATION , add some parameters modulations and
release the button - it turns that button action off.
24. PRESET /HOLD TO SAVE FOOTSWITCH: selects one of 9 presets
(25). Once you select the preset, its LED starts to blink. To load that preset
you have to confirm it with the BYPASS footswitch (20). Loading the presets
will not alter current bypass effect state on or off.
To save the preset you have to hold the PRESET footswitch for longer than 3
seconds. One of the 9 slots will start to blink and you may choose the new
slot to save by pressing the PRESET footswitch a few times. To confirm the
preset save in the selected slot press and hold PRESET (20) footswitch for
longer than 3 seconds.
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🠚 when SHIFT button is enabled, pressing the PRESET (20) footswitch will
select the presets in the reverse direction.
25. 9 PRESET LEDS: nine white LEDs show the currently selected preset
slot and blink when you select the new one without activating it yet.
EFFECT TECHNIQUES QUICKSTART
The fastest way to check the effects palette in the GHOST Pedal is to go through
the factory presets by selecting them with the PRESET footswitch and confirming
the load with BYPASS footswitch.
You can also create effects very fast and intuitively with the GHOST Pedal yourself.
For instant sound design from scratch press and hold four buttons for 2 seconds to
obtain an init patch. Techniques below will explain how to tweak popular sounds
each obtained from that clean init state.
GUITAR CLASSIC OVERDRIVE
To achieve a typical guitar distortion/overdrive effect, adjust the DISTORTION knob
to around 80% and enable the cabinet simulator by pressing the SHIFT button and
turning the MIX knob to approximately 80-90%.
BIG SHIMMER REVERBS
GHOST Pedal has 2 types of shimmer reverbs that can be used to create lush
ambient soundscapes.
Select the HALL/SHIMM. reverb algorithm and set the REVERB beyond the 12:00
position. Once the 13:00 point is crossed you will start hearing a hall shimmer
reverb that gets more intense as you move the DRY/WET knob towards the fully CW
position, adjusting the DECAY to taste. By selecting the 3rd TAP footswitch mode
by pressing SHIFT + TAP until the TAP LED blinks 3 times, the reverb can be frozen
to infinity for additional texture.
Select the REVERSE reverb and set the TAP footswitch to mode 3. Once the TAP
footswitch is pressed a shimmer effect will be added to the Reverse reverb.
LO-FI TAPE A.K.A. ‘SHALLOW WATER’
Low-fidelity effects are generally associated with instability in pitch and have a
darker / corrupted frequency content that can be achieved by using filters, distortion
and sample rate reducers. GHOST Pedal allows you to achieve all of these
characters in a variety of forms, below you will find a list of techniques that can be
used to achieve a lo-fi sound:
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🠚 Pitch warble: select a fluctuating random LFO SHAPE with low or medium LFO
SPEED . Adjust the DELAY to around 40-50% with delay time set to 9:00, set delay
REPEATS anywhere between 7:00 and 12:00. Map LFO to delay TIME by pressing
the MODULATION button and turn the delay TIME knob from the 12:00 position to
approximately 12:30 (small modulation usually works best).
🠚 Frequency spectrum effects: by adding DISTORTION you can warm up the sound
and make it more tape-like when used with the pitch warble effect above, for this
purpose keep distortion effect before the delay in the signal chain. Additional low
pass filtering can make your sound darker, adjust the FILTER cutoff to taste. If you
desire to break the sound even more, try adding a bitcrusher effect by pressing the
SHIFT button and turning the VOLUME/crush* knob clockwise.
WAH-WAH
Wah-wah effects are fun to explore if you want to make your guitar sound more like
a synthesizer. This can be achieved by selecting the env. - envelope follower LFO
SHAPE . Map the LFO to the FILTER cutoff by pressing the MODULATION button
and turn the FILTER knob clockwise from the center 12:00 position to approximately
14:00-15:00. Set the filter / RESONANCE* to taste by pressing the SHIFT button and
turning the FILTER knob. Play some short notes and adjust the FILTER knob to
desired position until you hear the filter modulation. If you want a low pass filter
wah-wah set it fully CCW and if you want a more high pass filter feel set it to
approximately 12:00. Use the LFO SPEED knob so set the sensitivity of the
envelope follower: from slow at fully CCW position to fast and snappy at fully CW
position. By mapping an expression pedal to the FILTER cutoff can give you more
control over the cutoff point.
ROBOT VOICE
You can achieve a robotic vowel synthesis effect by adding bitcrusher effect to the
wah-wah configuration above. Since the bitcrusher is part of the Distortion effect
make sure that DISTORTION comes after the FILTER in the selected ROUTING
configuration. Add bitcrusher by pressing SHIFT and turning the VOLUME knob. Set
the filter resonance to at least 50% to create resonance peaks, which are essential
when dealing with vowel synthesis.
DUB ECHO
To achieve a dub-style echo effect, turn the DELAY to taste and apply a low pass
filter to the delayed signal by adjusting the Delay /TONE* control by pressing SHIFT
and turning the DELAY CCW from the center position. Tweak the main FILTER
cutoff to add even more variation to the input signal or alternatively map a random
LFO SHAPE to the FILTER cutoff to free up your hands.
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EXPERIMENTAL DELAY FREEZE
One way to create strange delays on the GHOST Pedal is to enable the delay
LOOPER by setting the TAP footswitch to mode 2 by pressing SHIFT + TAP until the
TAP LED blinks twice. Apply stepped random LFO SHAPE to delay TIME to taste
and play some notes into the pedal while pressing the TAP button. This will result in
a randomly modulated delay looper buffer that can create a strange and beautiful
bubble-like texture which usually works best with shorter notes.
QUANTISED LOOPER
Set the TAP footswitch to enable the delay LOOPER - mode 2. Press the SHIFT
button and turn Delay TIME knob clockwise (delay TIME LED will turn blue) to
enable MIDI clock sync of the delay time. Send a MIDI clock signal to the MIDI input
and play some audio while pressing the TAP button. The length of the looper can be
adjusted in subdivisions or multiplications of the tempo by turning the Delay TIME
knob. By applying a random LFO to Delay TIME the looper can turn into an
interesting glitch and stutter effect.
VISUALIZING THE REAL TIME VALUES
You may notice each knob has an LED next to it which can become of different
brightness of blue , red or a mixture of both colors - fuchsia .
When you change the preset or apply modulation you may see those LEDs will
change their brightness or will be breathing . Those are real time parameter’s change
visualization while the physical knobs remain motionless.
Since each knob may set various parameters: primary, secondary and modulation
depth, the current physical knob position may not always reflect its real parameter
value. That’s where the LEDs come to help.
Primary parameters are written in capitals: VOLUME, DELAY, TIME, REPEATS,
REVERB, DECAY, FILTER, DISTORTION and MIX are shown with the brightness
of the blue LED.
Secondary parameters are labeled with an asterisk /…* next to the primary
parameter: /crush*, /midi clk*, /tone*, /taps*, /predelay*, /reso*, /midi ch*,
/cabinet* . They and are set in combination with the SHIFT /* button and are shown
with the brightness of the red LED.
Some parameters have a bipolar nature with an important center position: LP/HP
FILTER and all /tone* controls of the DELAY , REVERB and DISTORTION pass clear
unaffected sound when they are in the center position. The LED becomes fuchsia
when that certain parameter stands exactly in or crosses the center value.
Also some parameters have discrete values : i.e. not a continuous change but a
selection of a few parameters placed around the knob moving range: /midi clk*,
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/taps*, /midi ch*, /midi clk* . You will see LED shortly blinking fuchsia when we
move to the next settings from the list.
DISTORTED REALITY
The power of the GHOST PEDAL lies in its stereo complex audio effect chain with
96kHz, 32-bit internal audio processing, consisting of 8x oversampled distortion
algorithm with cabinet simulator and bitcrusher , a multimode filter , delay , reverb
and a modulator - LFO . All the knobs positions and settings can be saved and
recalled from 9 presets slots. The order of the three main processing blocks -
DELAY/REVERB , VCF , and DISTORTION - can be changed by pressing the
ROUTING button (15), letting you instantly achieve different flavors of sound.
There are six all possible orders for the DELAY+REVERB (FX) ,
DISTORTION+CABINET SIM+BITCRUSHER (DISTOTION) and VCF (FILTER)
blocks:
1. DISTORTION 🠚 FILTER 🠚 FX
2. DISTORTION 🠚 FX 🠚 FILTER
3. FILTER 🠚 DISTORTION 🠚 FX
4. FILTER 🠚 FX 🠚 DISTORTION
5. FX 🠚 DISTORTION 🠚 FILTER
6. FX 🠚 FILTER 🠚 DISTORTION
The selected order is shown by the white LED (15) near the selected option.
🠚 HINT : experiment with the audio chain order to fit your needs and find new and
unexpected sounds with a push of a button.
We advise exploring the routing chains and picking your favorite based on each
situation.
LO-FI
One of the ways to lower audio fidelity is to use the onboard bitcrusher effect. It
radically brings aliasing to the audio path the more we turn it up – use on your own
discretion creatively to add lo fi flavor.
Bitcrusher can be accessed by holding the SHIFT button and turning the VOLUME
KNOB (7). From full 96 kHz at CCW and crushing to a certain moment until the
audio falls apart to noisy clicks and buzzes. Default value is at CCW (clean signal).
The bitcrusher is placed after the distortion (16) with cabinet simulator (17*) stages.
Bitcrusher allows to obtain interesting vowel sounds in ROUTING (15) types when
distortion is placed after the filter: modulating the filter cutoff with high resonance
and applying the bitcrusher effect after.
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🠚 HINT: another trick to to add lo-fi flavor to your audio is to slowly modulate the
time of the DELAY (9) with fluctuating random LFO (22). That will create a flutter
effect simulating a wobbly tape playback.
THREE FLAVORS OF FILTER
To switch the filter type you simply press the SHIFT + REVERB /FILTER* button (13).
There are three filter types to choose with:
🠚 Bipolar LP-HP zero-delay feedback 12db/oct state-variable filter aka isolator:
opens from LP silence at CCW to clean unprocessed sound at noon and closes
smoothly in HP silence at CW
🠚 BAND-PASS 12db/oct state-variable bypass filter ( BPF ) with resonance control
setting the band-width
🠚 COMB filter with resonator at high resonance settings. Creates phaser -alike
effects especially when slightly modulated.
Comb filter is capable of self-oscillation at full CW or CCW RESONANCE settings.
/ RESONANCE* knob (18*) behavior in Comb filter is special: it is bipolar, so from
noon (zero resonance) it either adds negative (CCW) or positive combs (CW).
SPATIAL EFFECTS
This chain of audio effects (a.k.a. FX ) consists of a delay which is then routed into
the reverb with mid/side widener.
DELAY
The delay can be synchronized externally via MIDI CLOCK applied from MIDI IN
CONNECTOR (5), or by using the onboard TAP TEMPO footswitch (14), with
maximum delay time of 2,5 seconds. Three configurations of delay taps are
available, toggled between by holding the SHIFT + REPEATS /TAPS* knob. Delay tap
configurations are RLRL, LRRL, and STEREO mode – also known as true stereo,
where taps will appear at OUT 1 or OUT 2 only if something is present at IN 1 or IN
2 respectively. Delay can be looped by infinitely recirculating its audio buffer by
setting the TAP (14) footswitch to mode 2. Secondary /TAPS* function (pressing or
holding SHIFT while turning the knob in 3 sectors from CCW to 11 o’clock, 11 to 14
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o’clock and 14 to full CW shown with brightness of the red LED) changes the stereo
behavior of the taps produced by the delay. Available delay tap configurations are:
🠚 RLRL: left and right summed aka Ping Pong, taps 2 and 4 hard-panned left, taps
1 and 3 hard panned right (LED in red , but fully off, is a default taps mode). In that
mode LEFT OUTPUT JACK (3) is a true mono output.
🠚 LRRL: left and right summed, their taps 1 and 4 hard-panned left, taps 2 and 3
hard panned right (LED in red semi-on)
🠚 STEREO: left and right inputs tap independently in their corresponding left and
right outputs. In this mode the total delay time is halved (LED in red fully on).
BUFFER CLEAR. When using long delay times it may be desirable to clear the
delay buffer in order to quickly introduce new audio material into the delay line. To
do so, turn both the DELAY (8) and REPEATS (10) knobs to their full CCW positions
to delete the buffer content.
LOOPER. When TAP footswitch (14) is assigned for delay ‘freeze’ (see TAP
FOOTSWITCH ASSIGNMENT below), it activates and deactivates delay LOOPER -
i.e. infinitely recirculating delay’s audio buffer. When the looper is enabled, incoming
into delay dry audio signal is turned off enabling the looped part to be played purely.
You may still blend a clean signal to it with a MIX knob (17).
🠚 NOTE: Tap tempo via the TAP footswitch (14) doesn’t work if an external MIDI
clock is applied.
REVERB
There are three very different reverb algorithms:
🠚 Lush stereo HALL REVERB that adds shimmer after the Dry/Wet control is
turned beyond 60%. Additional controls such as TONE and PREDELAY (12) can be
accessed by pressing the SHIFT button and turning either the REVERB Dry/Wet (11)
or Reverb DECAY (12) knob respectively. This HALL REVERB can be frozen by
setting the TAP FOOTSWITCH (14) to mode 3.
🠚 Whooshing REVERSE REVERB . By default the PREDELAY amount is set to
maximum and is reversed, meaning that if predelay is set to fully CCW then the pre
delay value is at its maximum. Predelay controls reverse time (length of the buffer
that is being reversed), the bigger the predelay value the more of the reverse effect
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you will hear. Shimmer effect can be added to the REVERSE REVERB by setting the
TAP FOOTSWITCH (14) to mode 3.
🠚 Vintage SPRING REVERB with spring excite functionality that can be activated
by setting the TAP footswitch (14) to mode 3.
MID/SIDE widener stays after the reverb and increases the stereo field
simultaneously with the amount of Reverb DECAY knob (12). This feature is best
audible on true stereo signals processed with the GHOST.
MODULATION ASSIGNMENT
You can assign a movement to literally any knob or as many knobs you like in a
desired amount directly or inverted. Applied modulation then sums up in its depth
with the manual knob value (a.k.a. offset ) along with the expression pedal min-max
settings.
The LFO can be synchronized to external MIDI CLOCK applied from MIDI IN
CONNECTOR (5) by pressing or holding SHIFT while turning SPEED /MIDI
CLOCK* knob from noon CW. When an external MIDI clock is enabled this knob
acts as a divider / multiplier for the clock with the divisors similar to values around
the TIME/DIV knob (9) and LED flashes blue according to the external MIDI clock
speed.
🠚 NOTE: MIDI STOP and further MIDI PLAY message will restart the LFO cycle
when it is synchronized to the external MIDI clock.
The SPEED or frequency of internal LFO / MODULATOR can be set from 0.0333
Hz (30 seconds per cycle) at CCW to 15 Hz (0.0666 seconds per cycle) at CW.
There are following LFO shapes available:
🠚 sine wave
🠚 falling sawtooth ramp (becomes rising sawtooth rap with applied inverted
modulation)
🠚 square wave
🠚 stepped random / sample & hold wave
🠚 is a smooth / fluctuating random wave, inspired by the Source of
Uncertainty
TM generators in modular synthesizers. With this shape the selected
LFO
SPEED knob (21) sets the probable rate of random change.
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🠚 env. means ENVELOPE FOLLOWER : instead of a cycling wave, a modulation
contour shape is extracted from the incoming audio according to its dynamics. LFO
SPEED knob (21) acts as a slew rate adjustment with long at CCW or fast slew at
full CW.
🠚 NOTE: envelope follower can open a totally new world for dynamic modulation
possibilities. Apply it gently to the FILTER with adjusted /resonance* to get a
wah-wah effect. Apply it inverted to VOLUME to simulate a compressor and that’s
just the tip of the iceberg.
TO ASSIGN THE MODULATION : simply tweak the knobs while holding the
MODULATION (23) button. Doing the same with SHIFT /* enabled will assign the
modulation to secondary parameters.
The amount by which you tweak a knob from center to side positions while holding
the MODULATION button (23) sets the depth of the selected [LFO] SHAPE (22),
which will be applied to the assigned parameter.
You can apply modulation so the LFO will move the knob from its current position
directly (positive modulation) or inverted (negative modulation). When you hold or
latch MODULATION (23) button, all the parameter knobs (except SHAPE and
SPEED ) temporary become polarizer (or so called ‘attenuverter’) knobs which set
the depth of modulation from center / zero position (no modulation) to CW for
positive or CCW for inverted modulation. Amount of positive modulation depth is
shown with the blue and negative modulation with the red brightness of the LED
which stands next to the parameter we apply modulation and increases to
maximum when the knob reaches the sides. There is no modulation applied when
the LED is off when MODULATION button (23) is active. Parameter LED blinks
shortly in fuchsia when the knob crosses the center point - that’s convenient to
know when we want to set the modulation to zero depth.
After you release the MODULATION button, you will see the modulation applied with
the LED brightness near the knob - it will breathe according to the [LFO] SPEED
knob (21). You may assign those movements to any primary or certain secondary
parameters to the LFO with various depths. To have the LFO covering the full range
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of the knob, adjust its modulation in maximum or minimum (full blue or red) and
then add a manual knob offset.
🠚 NOTE: you can’t modulate discrete values with LFO (e.g. selecting MIDI
CHANNEL or enabling MIDI SYNC).
🠚 HINT: MODULATION (23) button can also be pressed once (latched) so you can
adjust the modulation depth playing with various parameters with one hand.
EXPRESSION PEDAL ASSIGNMENT
To set the expression pedal press SHIFT + MODULATION /EXPR* : the
MODULATION button starts flashing slowly. Put the expression pedal in the lower
heel position (or any initial / min position) and set the position of the knobs to their
desired positions. Then press again SHIFT + MODULATION /EXPR* : MODULATION
button starts flashing fast. We put the expression pedal in the upper toe position (or
any other final / max position) and set the position of the desired knobs. After, we
exit the expression assign mode by pressing SHIFT + MODULATION /EXPR* third
time and MODULATION stops flashing: expression settings are made and saved. If
in one of the positions we put the pedal not fully up or down, then all further side
values have no effect on the parameter. This makes sense when we want to make
the expression pedal start working from, let’s say the middle of the move. Similar to
an expression pedal, all manipulations with the CC#01 received at MIDI IN (5) are
interpreted identically to the expression pedal and vice versa: manipulation with the
pedal sends CC#01 on the pedal MIDI OUT (5).
TAP FOOTSWITCH ASSIGNMENT
Each of the 9 presets has its own assigned TAP footswitch (14) destination. By
default it is assigned to the TAP-tempo of the delay (9). The amount of the LED
blinks during SHIFT + TAP combo shows the assigned mode:
🠚 one blink (by default) means that the foot switch is assigned to TAP TEMPO
for setting delay time overriding TIME/DIV KNOB (9) setting when internal clock is
enabled and vice versa: when moved, TIME/DIV KNOB overrides previously set TAP
TEMPO values. The TAP LED blinks showing the delay tempo (with both internal or
external delay sync).
🠚 NOTE: Tap tempo via the footswitch doesn’t work if an external MIDI clock is
enabled.
🠚 two blinks means that the TAP footswitch is assigned to enable / disable
the delay's looper (recirculating the delay buffer audio). This feature has a latched
action – meaning that the looper remains enabled after a single press and the LED
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remains on. On the next press of the TAP footswitch the looper is off and the LED is
off. While the delay looper is ON, the delay clock still blinks on the same LED, but
inverted (turning OFF on each tick of a delay clock).
🠚 three blinks assigns the TAP footswitch to influence selected active
reverb function (13): freezing hall reverb (latched action), adding shimmer to reverse
reverb (latched action) or exciting virtual spring reverb (momentary) making it
self-oscillate.
🠚 four blinks assign the TAP footswitch to se;lect the ROUTING type
as if you press the ROUTING BUTTON (15) with a foot.
🠚 NOTE: only one from four options can be assigned to TAP footswitch at a time
(either tap, either delay looper or selected reverb action). You may access all those
functions simultaneously via MIDI (see MIDI implementation chart at the end of the
manual).
BYPASS FOOTSWITCH MODES
There are three bypass options that can be selected by pressing and holding SHIFT
+ BYPASS for more than 4 seconds. The number of SHIFT button blinks shows the
selected BYPASS type:
🠚 one blink (by default): TRUE BYPASS means that the stereo relays are
physically connecting audio input jacks to the effects or detaching them from the
effects rerouting to the output jacks directly without any buffers. You may hear
clicks in the pedal inside during relay bypass switching. When the pedal is
unpowered, its bypass is always true enabled – meaning it will pass the audio
signals from audio IN L/R to audio OUT L/R accordingly preserving your tone.
🠚 two blinks: BUFFERED BYPASS means that the relays are always on and
we enable/disable effects chain in the DSP code setting the MIX control to CCW.
This type of bypass might be useful if you need a buffered audio input to preserve a
tone or volume amplitude.
🠚 three blinks : TRAILS BYPASS means a variation of buffered bypass,
however it keeps the whole effect chain active while the original signal is bypassed.
This type of bypass is useful if you wish to for example have a controlled long
reverb tails or delay still recirculating while the original signal passes clean.
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RESET
In case you have tweaked everything so hard you have distorted signal main
outputs, a reset adjusts all advanced / secondary parameters to their default values,
so you may start tweaking from the beginning.
SOFT RESET : press all four buttons (13) (15) (19) (23) simultaneously and hold them
for more than 3 seconds. Release them once all the LEDs are on and the pedal will
reset the current preset to its default values. Current preset is not saved – you have
to do that manually, otherwise the previously saved preset will be restored from that
slot on the next power up (see PRESETS LOAD / SAVE section below)
HARD RESET : press all four buttons (13) (15) (19) (23) simultaneously and hold
them for more than 10 seconds. Module will erase all its presets to default empty
ones and all the MIDI settings to default as well.
After the module’s reset: FILTER , DELAY’s , REVERB’s and DISTORTION’s /TONE*
controls are in the middle (no filtering applied); MIX and VOLUME controls set to
100% (CW value) and cabinet simulator set to 0 (off).
PRESETS LOAD / SAVE
Ghost pedal has 9 preset slots: which correspond to 3x3 LEDs array (25) above the
PRESET footswitch (24). You may still play with the current preset but only select
the new slot to load. Preset selection and saving is made with the idea to be
operated with one foot only.
TO LOAD A PRESET
🠚 shortly press PRESET footswitch (24) a few times to move the blinking LED over
to one of nine slots you wish to load.
🠚 Press BYPASS footswitch (20) and the new preset will be loaded. All the
parameters which have continuous changes will slew to the new preset values to
avoid any clicks.
🠚 NOTE: loading the new preset with a single BYPASS footswitch (20) confirmation
will not alter current bypass effect state on or off.
Once you make any changes to the knobs on your GHOST Pedal (see SETTINGS
AUTOSAVE section below) you wish to recall later, you have to save them. If the
changes were not saved, you will have a previously saved preset recalled on the
next pedal startup.
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