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