GFI System SYNESTHESIA User manual

1
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
SPEED DEPTH TWEAK SP1 SP2 SP3
Tremolo
Speed(BPM) Depth Glitch Wave‐Shape Panning Gain Yes
HarmonicTremolo Speed(BPM) Depth Frequency Wave‐Shape Panning Subtle|Deep Yes
Chopper Speed(BPM) Depth DutyCycle Normal|Stutter Panning Gain Yes
DynamicTremolo Speed Depth Sens Wave‐Shape Panning DynamicParam Yes
SlowVolume EchoTime EchoLevel SwellTime Tone Feedback Threshold Yes
Filter Speed Depth Mix Mode Wave‐Shape Sens Yes
EnvelopeFilter Sens Depth Mix Direction FilterType QCurve ‐
S&HFilter Speed Depth Mix Glissando FilterType QCurve Yes
Formant Speed/Manual Emphasis Mix Phrases Glissando QCurve Yes
DimensionC Speed Depth Mix Tone Predelay ‐ ‐
Chorus
Speed Depth Mix LowCut HighCut ‐ ‐
Tri‐Chorus Speed Depth Mix LowCut HighCut ‐ ‐
Detune Cents(‐)Cents(+) Mix Tone StereoSpread Modulation ‐
DynaFlanger Speed Delay Mix Static|Dynamic Width/Sens Feedback ‐
TapeFlanger Speed Depth Mix Add|Subtract Wow&Flutter Trigger ‐
S&HFlanger Speed Resonance Mix Add|Subtract Crisp|Gliding Timbre Yes
Phaser Speed Depth Mix Shape Stages Feedback Yes
EnvelopePhaser Sens/Manual Depth Mix Envelope|Manual Stages Feedback ‐
S&HPhaser Speed Depth Mix Glissando Stages Feedback Yes
UniVibe Speed Depth Mix Chorus|Vibrato Vibe Low‐EndThrob Yes
Octave Sub‐Octave Octave Dry ReverbDelay ReverbDecay ReverbLevel ‐
Vibrato Speed Depth Sens Standard|Dynamic Wave‐Shape RiseTime ‐
RingModulator LFOSpeed Shift Mix LFODepth Wave‐Shape Tone ‐
ParametricEQ
Frequency Gain Volume Bass Treble Q ‐
BitCrusher
Sampling Crush Mix InputGain ‐ Volume ‐
PressedJunk Speed Depth Mix Dirt Wave‐Shape Tone ‐
RecordAntics Speed Depth Mix Fidelity SampleRate VinylDust ‐
PhonoFilters Saturation Resonance Volume Mode N/PDensity Filters ‐
Horn(Rotary) SlowSpeed FastSpeed Volume Acceleration MicDistance Pre‐drive ‐
Drum(Rotary) SlowSpeed FastSpeed Volume Acceleration StereoSpread Pre‐drive ‐ 
ArpTremolo Speed(BPM) Depth Chopiness Sequence Panning Gain Yes
ArpFilter Speed(BPM) Depth Mix Sequence Glissando FilterType Yes
ArpFormant Speed(BPM) Emphasis Mix Sequence Voicing QCurve Yes
ArpFlanger Speed(BPM) Depth Mix Sequence Timbre Feedback Yes
ArpPhaser Speed(BPM) Feedback Mix Sequence Stages Feedback Yes
ArpRingMod Speed(BPM) Shift Mix Sequence BaseFrequency Tone Yes
Arpeggiator Speed(BPM) Level Dry Sequence Scale Direction Yes
MISCELLANEOUSSEQUENCER AMPLITUDEFILTERSSWIRLS&SHIMMERSPHASE
ALGORITHMS PRIMARY(Turn) SECONDARY(Twist) Tap/Clock

2
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
01.Tremolo
SP3‐Gain:[0‐7]
Useittomakefinevolumeadjust‐
mentasneeded.
[Tweak]=Glitch
Addsrandomvariationtothetremolospeed.
SP2‐Panning:
 Mono
 Stereo
SP1‐Wave‐Shape:
 Triangle
 Sine
 Square
<Amplitude>
Glitchparameterrandomizethetremolospeed,thisaddsaninterestingandunpredictable
dynamicstotheotherwisestatictremolosound.
SineTriangleSquare
Thisalgorithmmodulatestheamplitudeoftheincomingsignal,resultinginperiodicvolumevaria‐
tion.Thereare4modulatingwaveshapestochoosefrom,andeachonegivesdistincttremolo
characteristic.
PRIMARYSECONDARY
MonoPanning
Left channel out
Right channel out
Left channel out
Right channel out
StereoPanning
TremoloDepth
Setstheintensityofthetremolo
effect.
Tap‐tempo/MidiClock
YES
TremoloSpeed(bpm)

4
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
02.HarmonicTremolo
SP3‐Vibe:
 Subtle
 Deep
[Tweak]=Frequency
Controlsthecrossoverfrequencybetween
theLowbandandtheHighband.
SP2‐Panning:
 Mono
 Stereo
SP1‐Wave‐Shape:
 Triangle
 Sine
 Sawtooth
 Square
crossoverfrequency
Lo‐BandHi‐Band
<Amplitude>
Harmonictremolosplitstheincomingsignalintotwofrequencybands:Low‐bandandHigh‐band,
thenappliestremolotothetwobandsintheoppositedirection,thatis,youhearthelow‐bandsig‐
nalandhigh‐bandsignalalternatingly.Theresultingsoundisauniquelylushthrobingvibewitha
touchofphasing.

Tospicethingsupfurther,we’veaddedaFrequencyparameterwhichcontrolsthecenterfre‐
quencyatwhichthelow‐bandandthehigh‐bandcomponentsintersect,thisgivesawideranging
tonalvariety.

Finally,two‘vibe’modes:SubtleandDeepprovideadditionalflexibilityinshapingtheharmonic
bliss.Ohhey,don’tforgettotrythestereopanningmode!
PRIMARYSECONDARY
TremoloDepth
Setstheintensityofthetremolo
effect.
Tap‐tempo/MidiClock
YES
TremoloSpeed(bpm)

5
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
03.Chopper
[Tweak]=DutyCycle
ControlsthebalancebetweentheOnandOff
periodofthemodulationwaveform.
TremoloDepth
Setstheintensityofthetremolo
effect.
Chopperisahardcuttingsquare‐wavetremolo,withvariableDuty‐Cycleparameter.Duty‐cycle
determinestheproportionbetweentheonandoffperiodofthemodulationwaveform,thistakes
youanywherefromamildthrobingtohelicopter‐likesound.
SP2‐Panning:
 Mono
 Stereo
SP1‐Mode:
 Normal
 Stutter
0
0
lowdutycycle(helicoptersound)
highdutycycle
SP3‐Gain:[0‐7]
Useittomakefinevolumeadjust‐
mentasneeded.
0
0
Normal
Stutter
<Amplitude>
Stuttermoderandomizesthedutycycle,thisaddsanunpredictable,yetinterestingrhyth‐
micgroovetotheotherwisestatichardtremolosound.

PairsverywellwithPhasers,Octave,Flangers.
PRIMARYSECONDARY
Tap‐tempo/MidiClock
YES
TremoloSpeed(bpm)

3
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
SP2‐Panning:
 Mono
 Stereo
SP3‐DynamicParameter
 DynamicSpeed+
 DynamicSpeed‐
 DynamicDepth+
 DynamicDepth‐
SP1‐Wave‐Shape:
 Triangle
 Sine
 Square
[Tweak]=Sensitivity
Controlshowsensitivethealgorithmisto
yourpickingdynamics.
04.DynamicTremolo
<Amplitude>
DynamicTremoloaddsdynamicelementstotheSpeedortheDepthparameter.

 DynamicSpeed(+)andDynamicSpeed(‐):tremolospeedfollowsyourplayingdynamics.
 DynamicDepth(+)andDynamicDepth(‐):tremolodepthfollowsyourplayingdynamics.
InDynamicSpeedmodes,usetheSpeedknob(ortap‐tempo)tosetyourbasespeed.
InDynamicDepthmodes,usetheDepthknobtosetyourbasedepth.

AdjustSensitivitytosuityourguitar’spickupoutputlevel.Dialitupofyoufeelthealgo‐
rithmisnotrespondingenoughtoyourpickingdynamics,anddialitdownifyoufeeltheal‐
gorithmisover‐reactingtoyoupickingdynamics.
PRIMARYSECONDARY
TremoloSpeed
TremoloDepth
Setstheintensityofthetremolo
effect.
Tap‐tempo/MidiClock
YES

6
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
05.SlowVolume 
[Speed]=EchoTime
Range:0to1second.
[Tweak]=SwellTime
Controlsthetimeittakesforthe
swelltoreachmaximumvalue.
[Depth]=EchoLevel
Thisalgorithmslowsdowntheattackoftheinputsignal’senvelope,creatinga‘volumeswell’effect
thatisnormallycreatedusingtheguitar’svolumeknoboravolumepedal.

Onethingwediscoveredwhiledesigningthisalgorithmisthatthingsgetexponentiallymoreinter‐
estingwhenwehaveechoesfollowingthisvolume‐swelledsound.Thiscombinationproduceshuge
layersofsoundthatfillsuptimeandspace.Wehavethusaddedafull‐featuredechoeffectinthis
algorithm.
SP2‐EchoFeedback:[0‐15]
SP1‐EchoTone:
 Clear
 Warm
 Warmer
 Dark
SP3‐Threshold:[0‐7]
<Amplitude>
PRIMARYSECONDARY
SettingtheThresholdparameter
Whenplayingsingle‐notesphrasesyouwillmostlikelysettheSwellTimeparameterlowtoget
quicklyrisingvolume,inthiscasesetThresholdlowforbestresult.

WhenplayingwithlongswellyousettheSwellTimeparameterhightogetslowlyrisingvol‐
ume,setThresholdhightogetthebestresult.

IsitpossibletogetonlytheEcho/Delayeffect?
Yesit’spossible,simplysetSwellTimetozero,therewillbenovolumeswells,andyouget
onlytheechoeffect.Nowyouhaveafull‐featuredechoalgorithmwhichyoucanusestand
alone,orpairedwiththeotheron‐boardmodulationalgorithms.


Thisalgorithmcreatesthevolumeswellbydetectingtheonset/attackoftheincomingsignal,it
worksbestwithcleanandprecisesinglenotepickingorcleanchordstrum(notappregiated).
!
Tap‐tempo/MidiClock
YES

7
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
06.Filter
[Tweak]=Mix
Controlsthewetanddrymix.
FilterDepth(FrequencyRange)
Thisalgorithmfilterstheincomingsignalwitharesonantlowpassfilterwhosecenterfrequencyis
modulatedbyanLFO.

Therearealsotwo‘Dynamicmodes’wherethespeedofthemodulationfollowsyourpickingdy‐
namics.
 DynamicSpeed‐:speedslowsdownaspickingstrengthincreases.
 DynamicSpeed+:speedpicksupaspickingstrengthdecreases.
SP2‐Wave‐Shape:
 Triangle
 RisingSawtooth
 FallingSawtooth
 SharkFin
SP1‐Mode:
 StaticLFO
 DynamicSpeed‐
 DynamicSpeed+
<Filters>
InDynamicSpeedmodes,usetheSpeedknob(ortap‐tempo)tosetyourbasespeed.

InDynamicSpeedmodes,adjustSensitivitytosuityourguitar’spickupoutputlevel.Dialit
upofyoufeelthealgorithmisnotrespondingenoughtoyourpickingdynamics,anddialit
downifyoufeelthealgorithmisover‐reactingtoyoupickingdynamics.

InStaticLFOModetheSensitivityparameterisnotapplicable.
PRIMARYSECONDARY
SP3‐Sensitivity:[0‐15]
Tap‐tempo/MidiClock
YES
TremoloSpeed

8
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
07.EnvelopeFilter
[Speed]=Sensitivity
[Tweak]=Mix
Controlsthewetanddrymix.
FilterDepth(FrequencyRange)
Thisalgorithmfilterstheincomingsignalwitharesonantfilterwhosecenterfrequencyismodu‐
latedbyyourpickingdynamics,youmayalsoknowthisasthe‘Touch‐Wah’.

Fourdistinctfiltertypesofferwiderangingevelopefiltersoundvariety:theclassicLowpass,the
wah‐wahBandpass,thebrightandlivelyHighpass,andthewarmandarticulatePeaking.
SP2‐FilterType:
 Lowpass
 Bandpass
 Highpass
 Peaking
SP1‐Direction:
 Up
 Down
<Filters>
InEnvelopemode,adjustSensitivitytosuityourguitar’spickupoutputlevel.Dialitupofyou
feelthealgorithmisnotrespondingenoughtoyourpickingdynamics,anddialitdownifyou
feelthealgorithmisover‐reactingtoyoupickingdynamics.

TheDirectionparametercontrolsthesweepdirectionofthefilter.
PRIMARYSECONDARY
SP3‐QCurve:[0‐3]
Setsthe‘sharpness’ofthefilterresonance.
Highervalue=morepronouncedfiltering.
Tap‐tempo/MidiClock
NO

9
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
07.Sample&HoldFilter
ModulationSpeed
[Tweak]=Mix
Controlsthewetanddrymix.
FilterDepth(FrequencyRange)
Thisisthe‘stepped’versionofthebasicFILTERalgorithm.TheLFOsignalisarandomizedstep
waveformwhichgivesagroovyandunpredictablesteppingfiltersounds.

TheGlissandoparameterprovidescontroloverthesmoothnessofthesteps.
SP2‐FilterType:
 Lowpass
 Bandpass
SP1‐Glissando:
 0%
 50%
 75%
 100%
<Filters>
PRIMARYSECONDARY
SP3‐QCurve:[0‐3]
Setsthe‘sharpness’ofthefilterresonance.
Highervalue=morepronouncedfiltering.
Glissando0%Glissando100%
CrispstepsGlidingsteps
Tap‐tempo/MidiClock
YES
Therandomnatureofthestepmodulationwaveformmeansthisalgorithmsdoesnothave
asteadytempo;therefore,eventhoughyoucansetthespeedviatap‐tempoormidiclock
youmaynotgetthe‘synced‐tempo’feelinthenormalsense.
!

10
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
09.Formant
ModulationSpeed
[Tweak]=Mix
Controlsthewetanddrymix.
[Depth]=Emphasis
ThisalgorithmappliesasetofFormantfilters,whichmimicthecharacteristicofhumanvocal
tract.Anysignalthatgoesthroughthisalgorithmwillsoundasifitwasradiatedthroughahu‐
man’smouth.Spectrally‐richsignalsuchasanoverdrivenguitarsoundexcitesthesefiltersthe
best,thereforetheoptimalplacementisafter(post)overdriveordistortioneffect.
SP2‐Glissando:
 0%
 50%
 75%
 100%
SP1‐Phrases:
 Phrase1
 Phrase2
 Phrase3
 Phrase4
SP3‐QCurve:[0‐3]
Setsthe‘sharpness’ofthefilter
resonance.Highervalue=more
pronouncedvoicing.
<Filters>
InManualmodetheformantfrequenciesofthefiltersarecontrolledbytheSpeedknob.
Tips:Useanexpressionpedal(mappedtoSpeedknob)inManualmode,andyougetyour‐
selfawaheffectwithhumanvocalflavors.

Forthefirst5modes(Phrase1troughPhrase5)thefiltersaremodulatedusingsmooth
waveforms.FortheGarbledandRandommodesthefiltersaremodulatedusingstepped
waveforms,thisiswheretheGlissandoparametertakeseffect.
PRIMARYSECONDARY
Glissando0%Glissando
CrispstepsGlidingsteps
Tap‐tempo/MidiClock
YES
 Phrase5
 Garbled
 Random
 Manual

11
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
10.Dimension
ModulationSpeed
[Tweak]=Mix
Controlsthewetanddrymix.
ModulationDepth
Thisalgorithmisare‐creationoftheRoland®DC‐2DimensionCpedal,ahighlyreveredeffectunit
withanunmistakablybeautifulsound.DC‐2isbasicallyachoruspedal,withoneimportantdis‐
tinction:ittendstohidethepitchmodulationandperiodicnatureofconventionalchoruseffects,
thusallowspronouncedchorusingwithoutthepitchwobble.Asignalthatgoesintothispedalwill
comeoutsoundingbig,spacious,withasenseofdepth‐sortofadding’dimensions’tothe
sound.

Insteadofprovidingfourpre‐setsoundsasintheoriginalpedal,weoptedtoprovidefullcontrol
overtheSpeedandDepthparameters.Forevengreatersoundsculptingwehavealsoadded3
tonalflavorsandpredelaycontrol.

Thisisasubtleeffect,butit’sindeedthestrengthofthealgorithm‐itdoesn’tmesswithyour
tone,justmakeit‘dimensional’.Worksbestinstereo.
SP2‐Predelay:
 6ms
 8ms
 10ms
 12ms
 14ms
 16ms
 18ms
 20ms
<Swirls>
PRIMARYSECONDARY
SP1‐Tone:
 Warm
 Natural
 Vibrant
SP3‐<n/a>
reservedforfuturedevelopment
*Allproductnamesmentionedinthisdocumentaretrademarksoftheirrespectiveowners,whichare
innowayassociatedoraffiliatedwithGFISystem.Thesetrademarksofothersareusedsolelytoidenty
theproductswhichhadinspiredusduringdevelopmentofSynesthesia.DC‐2DimensionC®isaregis‐
teredtrademarkofRolandCorporation.
Tap‐tempo/MidiClock
NO

12
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
11.Chorus
ModulationSpeed
[Tweak]=Mix
Controlsthewetanddrymix.
ModulationDepth
Aclassicchorusthatisinspiredbyacoupleofselectvintageanalogchoruspedals.Usethisalgo‐
rithmtoaddfullnessandachieverich,shimmeringsoundofthe80’s,ormaybejustatouchof
subtlepitchmovement.
SP3‐<n/a>
reservedforfuturedevelopment
<Swirls>
PRIMARYSECONDARY
SP2‐HighCut:[0‐7]
SP1‐LowCut:[0‐7]
Tri‐ChorushasthesameparametersarrangementastheChorusalgorithm.
Tap‐tempo/MidiClock
NO
12.Tri‐Chorus
<Swirls>
Tap‐tempo/MidiClock
NO

13
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
13.Detune
[Speed]=Cents(‐)
Setstheamountofpitchshiftin
thedownwarddirection.
[Tweak]=Mix
Controlsthewetanddrymix.
[Depth]=Cents(+)
Setstheamountofpitchshiftin
theupwarddirection.
Thisalgorithmdetunesthesoundafewcentsupandafewcentsdown,thenmixesthemwith
theoriginalsoundtocreatealushchorus‐likesoundbutwithoutthepitchwobble.

Youcanadjustthelowerpitch(indicatedby‐cents)andtheupperpitch(indicatedby+cents)
independently.

TheStereoSpreadparametercontrolsthepanningofthedetunedcomponents.Atminimum
valuethedetunedcomponentsaremixedequallyforbothleftandrightchannel,whileatmaxi‐
mumvaluethedetunedcomponentsaretotallyseparatedandsenttoitsrespectiveoutputchan‐
nel,creatingastereowideningeffect.
SP2‐StereoSpread:[0‐7]
SP1‐Tone:
 Warm
 Natural
 Vibrant
SP3‐Modulation:[0‐7]
<Swirls>
PRIMARYSECONDARY
Tap‐tempo/MidiClock
NO

14
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
14.DynaFlanger
ModulationSpeed
[Tweak]=Mix
Controlsthewetanddrymix.
[Depth]=Delay(Manual)
ThisisourtakeontheclassicFlangereffect,themostversatileofallmodulationeffects.
The4availablemodes:
 Static:staticmodulationbyLFO(standardflanger).
 DynamicWidth(+):theflangingsweepswideraspickingstrengthincreases.
 DynamicWidth(‐):theflangingsweepswideraspickingstrengthdecreases.
 DynamicSweep:theflanginsweepfollowsthepickingdynamics.

Thisversatilealgorithmmaytakealittlemoretweakingtofullyunderstandwhattheparameters
aredoing,andwhatit’scapableof,butifyoutakethetimeyou’llberewarded:)
SP2‐Width:[0‐15]
(inStaticmode)

Sensitivity:[0‐15]
(inDynamicmode)
SP1‐Mode:
 StaticLFO
 DynamicWidth(+)
 DynamicWidth(‐)
 DynamicSweep
<Swirls>
Resonance(Feedback)parameter
Theresonanceparametergoesfrommaximum(‐)feedbacktomaximum(+)feedback.
 Settheknobatmidpointforzerofeedback(noresonance).
 Turnclockwiseformorepositive‐feedbackresonance.
 Turncounter‐clockwiseformorenegative‐feedbackresonance.

Delay(Manual)parameter
Thisparameterprovidemanualcontrolthedelaytimeshiftoftheflanger.
Usage:setWidthtozero,thenusetheDelayparametertomanuallysweepstheflanger.This
canbedoneeitherusinganexpressionpedalorrampingfunction(mappedtotheDepthknob).
PRIMARYSECONDARY
SP3‐Feedback:[‐8to+7]
Tap‐tempo/MidiClock
NO

15
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
15.TapeFlanger
ModulationSpeed
[Tweak]=Mix
Controlsthewetanddrymix.
ModulationDepth
Thisalgorithmisanemulationofthewayflangingwasdoneintheolddaysusingtapemachine,
youmayalsoknowthisastheThru‐ZeroFlanger.Whilestayingtruetotheconcept,weputinour
owninterpretationwithmodernparametersandimplementationtomakesurethealgorithmis
asfuntouseasitisgreatsounding.
SP2‐Wow&Flutter:
 Off
 On
SP1‐Mode:
 Additive
 Subtractive
SP3‐Trigger:
 LFO
 Manual
<Swirls>
ManualTrigger
InManualtriggermodetheflangersweepiscontrolledviatheDepthknob.Thisprovidesa
waytoaddanexpressivetouchtoyourplaying‐>usetheramping*function(mappedtothe
Depthknob)tomanuallytriggertheflangersweep.

*Seetheusermanual(chapter1.10,page9)forinformationontherampingfeature.

MixParameter
Setmixto100toachievemaximumsignalcancellation,backifofftoreducethesignalcancel‐
lation.
PRIMARYSECONDARY
Tap‐tempo/MidiClock
NO

16
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
)
16.Sample&HoldFlanger
ModulationSpeed
[Tweak]=Mix
Controlsthewetanddrymix.
[Depth]=Resonance
Thisisthe‘stepped’versionoftheflangeralgorithm.TheLFOsignalisarandomizedstepwave‐
formwhichgivesagroovyandunpredictablesteppingflangingsounds.

TheTimbreparameteraltersthevoicingoftheresonance,settolowvaluesforfornaturalvoic‐
ing,andsettohighervaluesforamoreaccentuatedvoicing.

Thisalgorithmoffersanimpressivelywidestereoimage,tryitoverastereoamporheadphones!
SP2‐Steps:
 Crisp
 Gliding
SP1‐Mode:
 Additive
 Subtractive
SP3‐Timbre:[0‐7]
<Swirls>
PRIMARYSECONDARY
CrispstepsGlidingsteps
Tap‐tempo/MidiClock
YES
Therandomnatureofthestepmodulationwaveformmeansthisalgorithmsdoesnothave
asteadytempo;therefore,eventhoughyoucansetthespeedviatap‐tempoormidiclock
youmaynotgetthe‘synced‐tempo’feelinthenormalsense.
!

17
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
17.Phaser
ModulationSpeed

[Tweak]=Mix
Controlsthewetanddry
ModulationDepth
ThisclassicphaseralgorithmismodelledaftertheMXR®Phase90pedal,whichuses4‐stage
phase‐shiftingelementstocreatesmoothandswirlyphasingsounds.Weextendedthesonicpos‐
sibilitiesbyincludingthesubtler2‐stagemodeandthemoreradical6‐stageand8‐stagephasers,
youcangofromsmoothandsubtleallthewaytothickandintensephasingsounds.TheReso‐
nance(feedback)controlprovidescontinuousadjustmentofthephasingintensity.
SP1‐Wave‐Shape:
 Sine
 Square
<Phase>
PRIMARYSECONDARY
*Allproductnamesmentionedinthisdocumentaretrademarksoftheirrespectiveowners,whichare
innowayassociatedoraffiliatedwithGFISystem.Thesetrademarksofothersareusedsolelytoidenty
theproductswhichhadinspiredusduringdevelopmentofSynesthesia.MXR®isaregisteredtrade‐
markofDunlopManufacturing,Inc.
Tap‐tempo/MidiClock
YES
SP2‐Stages:
 2Stages
 4Stages
 6Stages
 8Stages
SP3‐Resonance:[0‐7]

18
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
18.EnvelopePhaser
[Speed]=Sensitivity
(inEnvelopemode)

=Frequency
(inManualmode)
[Tweak]=Mix
Controlsthewetanddrymix.
ModulationDepth
Thisisthe‘dynamic’versionofthebasicPHASERalgorithm,wherethephasenotchsweepsfol‐
lowsyourpickingdynamics.Aswithotheralgorithmsthatreliesonsignaldynamics,theoptimal
placementisbefore(pre)overdriveordistortioneffect.Thefourstagemodesandresonancecon‐
trolarestillavailable.

SP2‐Stages:
 2Stages
 4Stages
 6Stages
 8Stages
SP1‐Mode:
 Envelope
 Manual
<Phase>
InEnvelopemode,adjustSensitivitytosuityourguitar’spickupoutputlevel.Dialitupofyou
feelthealgorithmisnotrespondingenoughtoyourpickingdynamics,anddialitdownifyou
feelthealgorithmisover‐reactingtoyoupickingdynamics.

InManualmodethecenterfrequenciesofthephasernotchiscontrolledbytheSpeedknob.
Tips:Useanexpressionpedal(mappedtoSpeedknob)inManualmode,andyougetyour‐
selfa“sweepnotches”effect,reminiscentofawah.
PRIMARYSECONDARY
Tap‐tempo/MidiClock
NO
SP3‐Resonance:[0‐7]

19
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
19.Sample&HoldPhaser
ModulationSpeed

[Tweak]=Mix
Controlsthewetanddrymix.
ModulationDepth
Thisisthe‘stepped’versionofthebasicPHASERalgorithm.TheLFOsignalisarandomizedstep
waveformwhichgivesagroovyandunpredictablesteppingphasersounds.

TheGlissandoparameterprovidescontroloverthesmoothnessofthesteps.
SP2‐Stages:
 2Stages
 4Stages
 6Stages
 8Stages
SP1‐Glissando:
 0%
 50%
 75%
 100%
SP3‐Resonance:[0‐7]
<Phase>
PRIMARYSECONDARY
Glissando0%Glissando100%
CrispstepsGlidingsteps
Tap‐tempo/MidiClock
YES
Therandomnatureofthestepmodulationwaveformmeansthisalgorithmsdoesnothave
asteadytempo;therefore,eventhoughyoucansetthespeedviatap‐tempoormidiclock
youmaynotgetthe‘synced‐tempo’feelinthenormalsense.
!

20
AlgorithmsReference
SYNESTHESIA
(FirmwareV2.0.x)
20.Univibe
ModulationSpeed
[Tweak]=Mix
Controlsthewetanddrymix.
ModulationDepth
Are‐creationoftheclassicUni‐vibe®effect.Technicallythisissimilartoa4‐stagephaser,butthe
uniquephasemodulationsweepscreatedbytheuseoflightbulbsandlight‐dependentresistors
LDRs(intheoriginalpedal)givesitssignaturesound,thesoundsthatwasmadehugebyJimi
Hendrix,RobinTrower,andothersinthe60’sand70’s.Whileoriginallydesignedasarotary
speakereffectsimulation(notsoclose)pedal,itbecameaneffectitsownright.
SP2‐Vibe:
 Original
 Extended
SP1‐Mode:
 Chorus
 Vibrato
SP3‐LowEndThrob:
 Full
 Reduced
<Phase>
PRIMARYSECONDARY
*Allproductnamesmentionedinthisdocumentaretrademarksoftheirrespectiveowners,whicharein
nowayassociatedoraffiliatedwithGFISystem.Thesetrademarksofothersareusedsolelytoidentythe
productswhichhadinspiredusduringdevelopmentofSynesthesia.Uni‐Vibe®isaregisteredtrademarkof
DunlopManufacturing,Inc.
Tap‐tempo/MidiClock
YES