Red Panda BITMAP 2 User manual
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BITMAP 2
Owner’s Manual
Plymouth, MI • www.redpandalab.com
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Contents
Introduction 5
Signal Flow 6
Getting Started 7
Inputs and Outputs 8
Controls 9
What the LEDs Mean 10
ON Switch 11
AUX Switch 11
Bitcrushing 12
Waveshaping 12
Filter 12
Low Frequency Oscillator (LFO) 12
Envelope Follower (ENV) 12
Web Editor 13
Control Input 15
Using MIDI 18
Reset to Factory Defaults 26
Firmware Updates 27
Support and Repairs 28
Warranty 29
Credits 30
5
Introduction
Thank you for purchasing the Bitmap 2.
The first Red Panda product was a bitcrusher module released in 2009 for the Line 6 ToneCore® dock.
The Bitmap 1 was released in 2014 and featured an updated bitcrushing algorithm, but had fewer fea-
tures than the 2009 bitcrusher due to hardware limitations. The Bitmap 2 combines the features of both
bitcrushers, along with an unreleased foldover distortion pedal.
The Bitmap 2 is tuned to provide maximum sustain without sputtering on staccato notes. Less extreme
settings add layers of nonlinearities that interact in subtle ways, giving you the warmth and grit of 8- and
12-bit samplers. Sample rate reduction turns your guitar into 8-bit video game sounds or twists scales
into inharmonic melodies. Sample rate modulation adds subtle motion or morphs your guitar into en-
tirely new textures.
Bitmap 2 Features:
• Fractional bit reduction (1-24 bits)
• Sampling rate reduction from 48 kHz to 110 Hz
• Sampling rate modulation
• Envelope modulation of sampling rate and blend
• Waveshaper, wave folder, and window comparator
• Drive control with saturation
• 4 pole lowpass filter
• Presets (4 on front panel, 127 via MIDI)
• MIDI via USB and TRS
• Assignable expression pedal
• Web-based editor
• Stereo input/output
• Line level capability
Why was a bitcrusher our first product? When I was in 5th grade, I heard "777-9311" and 1999. The
drums sounded dierent than anything I had heard before (Linn LM-1). The next year, "Sucker M.C.'s"
had a hard, minimal beat from an Oberheim DMX. Then in 1985, "Marley Marl Scratch" hit with raw,
aggressive sampled drum sounds (2x Korg SDD-2000 triggered by a Roland TR-808). Yo! Bum Rush The
Show blew my mind when I was 14 and is still one of my favorite albums (maybe a Korg DDD-1 and E-mu
SP1200), but "Rebel Without a Pause" was on another level (Ensoniq Mirage). My formative years were
spent listening to bit-crushed samples. Early samplers added a certain type of distortion and musical
noise, and their limitations forced creativity. Manufacturers were pushing the limits of technology and
musicians were using the tools to invent new ways of expressing themselves.
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Signal Flow
DRIVE CLIP
WAVE
WINDOW
WAVE
SHAPER
WAVE
FOLDER
S/H
LFO
BITS FILTER AMP MIXERIN OUT
AGC
Bit crushing and waveshaping are amplitude-dependent eects, so it is helpful to be familiar with gain
staging. Gain staging is adjusting the signal level at each point in the signal path - usually to maximize
signal-to-noise ratio without distortion. In this case, we adjust the signal level to get dierent eects.
The DRIVE control amplifies the input signal with hard clipping. Use it to adjust the input gain based
on signal level. The preset and wave LEDs display the signal level for a few seconds after the knob is
moved (the
⚠
LED indicates clipping). Lowering the drive will cause the signal to sputter and cut out.
Increasing drive will give a more saturated sound.
The wavefolder, wave window, or waveshaper can be used instead of sample rate modulation to create
additional nonlinear distortion. The DEPTH knob adjusts the transfer function that is applied to the input
signal, adding more harmonics as you increase the depth. The eect is amplitude-dependent, so the
combination of DRIVE and DEPTH settings give a wide range of possibilities. Using DRIVE to clip the in-
put signal will flatten the output at a level controlled by the DEPTH (not necessarily the waveform peak).
After drive and waveshaping, the signal is sampled and bit-depth reduced. Samping rate reduction
(FREQ) causes higher partials to fold back down to lower frequencies, where they intermix with the
lower partials, creating inharmonic distortion based on the relationship between the instrument's pitch
and the sampling rate. Bit reduction (CRUSH) makes the waveform less accurate and adds noise that
is correlated with the signal - quiet when you are not playing, white noise during louder passages, and
static-y artifacts as notes decay. The Bitmap uses digital models of A/D and D/A converters similar to
early samplers, which adds additional nonlinearities.
After the sampling rate and bit-depth reduction, a 4-pole lowpass FILTER can be used to smooth out the
rough edges. Resonance is available via MIDI, and you can modulate the filter cuto by the LFO or enve-
lope for dynamic filtering.
An automatic gain control (AGC) block analyzes the input signal and the eected signal and tries to
match their loudness so that you can smoothly blend from dry to wet. We tried to handle this automat-
ically - without a separate output level knob - to avoid having to constantly tweaking the output level as
you adjust all of the other controls. (If you find a case where it does not work, please let us know.)
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Getting Started
This section is coming soon.
Web Editor
We provide a web-based editor to configure your Bitmap, access hidden parameters, and fine-tune pre-
sets. See "Web Editor (beta)" on page 13 for more information.. It requires the Google Chrome brows-
er, and can be accessed at
https://www.redpandalab.com/content/apps/bitmap-editor/index.html
Note the "https" URL protocol. "http" will not allow Chrome to access MIDI devices
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Inputs and Outputs
DC POWER Connect a 9V DC center negative power supply rated at 250 mA or higher.
USB USB mini B connector for MIDI, web editor, and firmware updates.
IN 1/4" TRS mono or stereo input.
CTRL 1/4" TRS jack for expression pedal, remote, tap tempo, or MIDI.
OUT 1/4" TRS mono or stereo output.
The CTRL port can be configured using our web editor.
Power
Use a 9V center negative (Boss-style) regulated power supply that can provide 250 mA or more of cur-
rent. The plug should have 2.1mm inside diameter and 5.5mm outside diameter. This is the type of
power supply used by almost all guitar pedals, and we recommend using one designed specifically for
eects. If you have a few pedals, we recommend a multi-pedal power supply with independent regulat-
ed outputs (not daisy chained).
If our pedals detect a problem with the power supply, the bypass LED with change to magenta (or pink),
the pedal will switch to bypass and enter a low power mode. After a few seconds, the pedal will restart.
The most common reasons are that the power supply is not providing enough current, or it is an unregu-
lated voltage converter. Note that some multi-pedal supplies are rated at 100 mA except for a couple of
high-current outputs. Some multi-pedal power supplies also share current across multiple outputs. You
need to make sure the total current required for all connected pedals is within the power supply's limits.
For additional information, please see our knowledge base.
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Controls
MIX
Adjusts the wet/dry mix, from 100% dry to 100% wet.
CRUSH
Adjusts the bit depth from 24 bits down to 1 bit, including fractional bit depths.
FREQ
Adjusts the sampling rate, from 48,000 Hz down to 110 Hz. The sampling rate can be modulated by the
LFO or envelope follower.
FILTER
Adjusts the cuto frequency of the 4-pole filter. The cuto can be modulated by the LFO or envelope fol-
lower. Use our web editor or MIDI to select the filter as the modulation destination. Resonance can also
be adjusted using the editor or MIDI. Both settings are saved in presets.
WAVE (LFO)
LFO waveform and wave modulation selection. The waveform LEDs indicate the current selection:
●○○○ Triangle wave LFO
○●○○ Square wave LFO
○○●○ Random LFO
●○○● Wavefolder
○●○● Wave window
○○●● Waveshaper
RATE (LFO)
LFO modulation rate. The waveform LED will blink at the modulation rate. The LFO can be synced to tap
tempo or MIDI clock. It syncs to quarter notes by default, but a variety of note divisions can be set using
the web editor or MIDI. The modulation note division is stored in presets and remembered when power
is o.
The AUX footswitch can be configured to freeze the modulation (LFO hold) or turn it on/o.
The LFO rate can be set to audio frequencies. It is often useful to lower the modulation DEPTH when
using higher modulation rates.
DEPTH (LFO)
LFO modulation depth and waveshaping intensity. Turn fully counter-clockwise to turn o modulation.
Depending on the WAVE setting, the DEPTH control modifies:
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• LFO modulation amount (±)
• wavefolding threshold and number of folds
• wave window position and width
• waveshaping function
The LFO modulates the sampling rate (FREQ) by default, but can be assigned to the filter cuto (FILTER)
or wet/dry blend (MIX) using our web editor or MIDI. The destination is stored in presets.
DRIVE
Adjusts the input gain from 0 dB to +40 dB. When the knob is moved, the PRESET and WAVE LEDs will
temporarily display the signal level.
Adjust the DRIVE knob so that the
⚠
LED blinks only occasionally to maximize the input range. Reduce it
to make the signal sputter and cut out. Increase it for hard sustain and a more saturated sound.
ENV DEST
The envelope follower can modulate the sampling rate (up or down) or wet/dry blend. You can also as-
sign it to the filter cuto for autofilter eects, using the web editor or MIDI.
ENV
Envelope modulation amount.
PRESET
Press to cycle between presets or live knob settings (all LEDs o). Hold to save the current settings to
the selected preset slot. The right LED will blink green when the preset is saved.
You can select presets 0-126 using MIDI program change messages. MIDI program 127 selects the cur-
rent knob settings. You can save to any preset using our web editor or MIDI SysEx messages. To save a
preset using a simple MIDI controller, first press the PRESET button until all of the LEDs are o and then
hold down the PRESET button and send a program change message.
What the LEDs Mean
Left LED Right LED
Red LFO hold Bypass
Red (blink) Blue On
Green (blink) LFO on (AUX) Yellow (blink) Tap tempo
Green (blink) Preset saved
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ON Switch
The ON footswitch engages or bypasses the eect. A short press will switch between on and bypass
(latching). When the pedal is in bypass, pressing and holding the ON switch will momentarily engage the
eect, returning to bypass when the switch is released.
The latching on/o state is remembered when power is o.
AUX Switch
The AUX footswitch can be assigned to dierent functions using our web editor or MIDI system exclusive
messages.
Tap (default)
Pressing the AUX switch sets the tap tempo. Tap in quarter notes to set the tempo. The LFO note divi-
sion can be set using our web editor or MIDI. It is saved in presets and remembered when power is o.
Adjust the RATE knob or hold the AUX switch for 2 seconds to disable tap tempo.
Preset
Pressing the AUX switch cycles between front-panel presets and the manual knob and switch settings.
Preset Shift
Holding the AUX switch momentarily jumps to the next preset. Releasing the switch goes back to the
previous preset or manual settings. It can be used to add emphasis. Works with these settings:
Manual --> Preset 1
Preset 1 --> Preset 2
Preset 2 --> Preset 3
Preset 3 --> Preset 4
Pressing the AUX switch alternates between turning the modulation on and o. The left LED blinks
green when modulation is switched on and red when it is switched o. This aect the LFO and wavesh-
aping, so it can be used to add modulation or more extreme digital distortion.
LFO Hold
Holding the AUX momentarily freezes the LFO at its current value. Releasing the switch will cause the
LFO to run again. The left LED is red while the LFO is held.
Pressing the AUX switch alternates between LFO hold (left LED red) and running (left LED o).
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Bitcrushing
This section is coming soon.
Waveshaping
This section is coming soon.
Filter
This section is coming soon.
Low Frequency Oscillator (LFO)
This section is coming soon.
Envelope Follower (ENV)
This section is coming soon.
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Web Editor
The web editor can be used to configure your pedal, access hidden parameters, and fine-tune presets.
It is intended for "oine" configuration and editing. For live performance editing, we recommend using
dedicated MIDI hardware or software and MIDI control change messages.
Connect your pedal to a computer using a USB cable and go to the web editor URL using Chrome:
https://www.redpandalab.com/content/apps/bitmap-editor/index.html
Note the https in the URL. http will not allow the browser to acess your MIDI devices.
The editor uses Web MIDI, which is not supported by all browsers. We ocially support Chrome.
Pedal Status
The web editor indicates whether the pedal is connected. If the status is "not found", ensure that the
pedal is turned on and connected to your computer. Click the refresh button to refresh the status.
Edit
The Edit tab shows all of the pedal's realtime parameters. The on-screen controls are updated to match
the current state of the pedal, but hidden parameters are not updated. Press the Refresh button to up-
date all of the parameters. The web editor's controls allow higher resolution changes than MIDI continu-
ous controller messages.
Ctrl Port
The Ctrl Port tab allows you to configure the pedal's CTRL port for an expression pedal or remote switch.
The control port mode (expression or remote) is stored globally, but expression pedal assignment and
remote switch configuration are stored in each preset.
The expression pedal can be assigned to up to 6 parameters, with a minimum/maximum range for each.
Preset
The Preset tab allows you to send MIDI program change messages and save presets to the pedal's on-
board memory. Preset 1 is also available via the pedal's PRESET footswitch.
The Config tab allows you to configure the pedal for your setup.
If the pedal detects an error condition, a diagnostic code will be displayed on this tab.
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This tab also displays the installed firmware version and the input power supply (PSU) voltage. A low
PSU voltage may indicate that the power supply is not able to provide enough current to properly power
the pedal.
Help
The Show MIDI Devices button on the Help tab will display all of the MIDI devices accessible by your
browser.
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Control Input
The CTRL (control) input supports dierent methods of remotely controlling the pedal:
• Expression pedal
• Control voltage (CV) with 0-3.3V range
• Tap Tempo
• TRS MIDI in (tip active)
• Remote switch
To configure a expression pedal or remote switch, hold down the right footswitch while plugging it in.
The pedal will detect which device is connected using the steps below. You can also use our web editor
to configure the port.
The configuration is remembered when power is turned o. Expression pedal assignments and remote
switch settings are stored in presets and remembered when power is turned o.
Expression Pedal
An expression pedal can be assigned to any combination of knob settings at the heel and toe position (up
to 6 parameters). Moving the expression pedal will morph between the settings.
You can also calibrate the range of the expression pedal, to ensure that its full travel is used.
Calibrating Expression Pedal Range (no knob assignments):
1. Start with the pedal powered on and nothing plugged into the CTRL port.
2. Hold the right footswitch while plugging in the expression pedal. The right LED will blink yellow
three times to indicate it is in CTRL configuration mode. You can release the right footswitch and
begin configuration immediately.
3. Move the expression pedal to the heel down position.
4. Move the expression pedal to the toe down position.
5. Hold the right footswitch for 3 seconds to save the configuration. The right LED will blink green to
indicate that the configuration has been saved.
Configuring Expression Pedal Knob Assignments
1. Start with the pedal powered on and nothing plugged into the CTRL port.
2. Hold the right footswitch while plugging in the expression pedal. The right LED will blink yellow 3
times to indicate it is in CTRL configuration mode. You can release the right footswitch and begin
configuration immediately.
3. Move the expression pedal to the heel down position.
4. Adjust the knobs for the desired sound.
5. Move the expression pedal to the toe down position.
6. Adjust the knobs for the desired sound.
7. Hold the right footswitch for 3 seconds to save the configuration. The right LED will blink green to
indicate that the configuration has been saved.
Knobs that are not adjusted during configuration will not be aected by the expression pedal. Expres-
sion pedal assignments are stored in presets and when the expression pedal is unplugged or power is
turned o. Expression pedals with 5-25 kΩ linear potentiometers work best.
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Control Voltage
Control voltage input is configured the same way as an expression pedal.
CV Range: 0-3.3V (with over/under-voltage protection)
Tip: 0-3.3V input
Ring: 3.3V output (with current limiting)
Sleeve: ground
The expression input has current limiting in case you use a TS cable, but it is preferable to use a 1/4”
TRS cable with the ring unconnected. We sell a suitable cable at our web site, and the Expert Sleep-
ers ‘floating ring’ cable is another option. Instructions for building your own cable are available on our
Knowledge Base.
Tap Tempo
Uses a normally open momentary switch. Configure it using the web editor.
TRS MIDI
Select MIDI (TRS) in the web editor to use the control port as a MIDI input. This is a non-standard MIDI
interface, because there is no optocoupler on the input to prevent current loops, but it is used by many
guitar pedals. You will need a converter or a MIDI controller with 1/4" TRS outputs, which are available
from Empress Eects, Disaster Area Designs, and others.
Remote Switch
A remote switch has up to 4 modes of 4 switches that can access presets and pedal functions. It works
with our remote switches, some third-party switches, and is DIY friendly for dierent control interfac-
es. See our Knowledge Base for infomation on building a compatible switch. Note that the switch uses
parallel resistors, and switches with shorting contacts will not work without an adapter (most tap-tempo
switches and the Roland FS-6, for example).
1, 2, 3, and 4-button switches are supported. The modes and functions accessible will depend on the
number of buttons. A single-button switch can load or save your favorite sound.
To save a preset, hold the corresponding button for two seconds. The right LED will blink green to indi-
cate that the preset has been stored. Presets are also accessible via the PRESET button and MIDI pro-
gram change messages.
Configuring a Remote Switch:
1. Start with the pedal powered on and nothing plugged into the CTRL port.
2. Hold the right footswitch while plugging in the remote switch. The right LED will blink yellow 3 times
to indicate it is in CTRL configuration mode. You can release the right footswitch and begin configu-
ration immediately.
3. Press one of the buttons on the remote switch to select a mode.
4. Hold the right footswitch for 2 seconds to save the configuration. The right LED will blink green to
indicate that the configuration has been saved.
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Remote Modes
Mode Switch Function LED Indication
1 A Preset 1
Double tap: manual settings
Hold (4 sec): save
Blinks green when saved
B Preset 2
Double tap: manual settings
Hold (4 sec): save
Blinks green when saved
C Preset 3
Double tap: manual settings
Hold (4 sec): save
Blinks green when saved
D Preset 4
Double tap: manual settings
Hold (4 sec): save
Blinks green when saved
2 A Next preset
B Bypass / on
Hold: momentary on
C LFO hold
DTap
Hold (4 sec): disable tap
Blinks yellow at tempo
In mode 2, LFO hold (C) will freeze the LFO while the button is held down.
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Using MIDI
Your pedal supports USB MIDI (in/out) and 1/4" TRS MIDI (input only).
USB MIDI
Your pedal is a class-compliant USB device, which allows you to:
• Control all parameters
• Access additional hidden parameters
The pedal can work with any USB MIDI host, including:
• Macintosh and Windows computers. The pedal shows up as a MIDI device and is available to all pro-
grams.
• Apple iPad, iPod touch, and iPhone using the Lightning to USB 3 Camera Adapter.
• Standalone USB MIDI hosts allow you to connect the Tensor to hardware with 5-pin DIN MIDI connec-
tors without the use of a computer. Examples include:
iConnectivity iConnectMIDI4+
iConnectivity mio4
Disaster Area Designs Gen3 MIDI controllers with their gHOST option
Kenton MIDI USB Host MkII
MidiPlus USB MIDI Host
See our Knowledge Base for up-to-date information
The pedal sends and receives on MIDI channel 1 by default. You can change the MIDI channel using MIDI
System Exclusive messages or our web-based editor. The MIDI channel is remembered when power is
o. See "System Exclusive (SysEx)" on page 24 for more information.
TRS MIDI Input
See "Control Input" on page 15 for information about configuring TRS MIDI. Only MIDI input is support-
ed, so you can use the web editor to change parameters and configuration settings, but it will not show
the current state of the pedal.
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MIDI Timing Clock
MIDI timing clock messages are used to synchronize multiple MIDI devices to a single clock transmitter.
The clock is typically provided by a DAW in computer-based setups and a sequencer or drum machine in
hardware-only setups. Dedicated MIDI clock generators are available for more complicated setups that
need tight synchronization, and some devices can convert between MIDI clock, DIN sync, and taps.
How MIDI clock works
MIDI clocks are sent out at regular intervals by a clock transmitter to one or more receivers. The trans-
mitter controls playback and sets the tempo.
The transmitter never tells the receivers the actual tempo. Instead it sends 24 timing clock messages
every quarter note (24 PPQ) and the receivers each calculate the tempo independently.
Start, stop, and continue messages are used to synchronize playback between devices. The transmitter
continues sending timing clocks when it is stopped so that receivers can be ready when playback starts
or continues. A start message will reset playback to the first beat, and a continue message will pick up
where playback left o.
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MIDI real time messages are high-priority messages that can interrupt other MIDI messages to ensure
the best possible syncronization timing. However, the accuracy of the clock depends on the transmit-
ter and any devices it passes through. It is common to have +/-1 milliseconds of jitter, with is irregular
timing due to individual clock ticks arriving too early or too late. All equipment that receives MIDI clock
needs to smooth out the timing to maintain a stable tempo. The smoothing algorithm needs to handle
jitter, but also track sudden or gradual tempo changes accurately and naturally. Dierent manufacturers
use dierent synchronization algorithms, which can lead to sloppy timing. This was more of a problem
with older MIDI equipment that had slower processors and complex setups with long MIDI chains and
routers. It can also be a useful technique, synchronizing multiple hardware sequencers to give each
musical part a slightly dierent timing and feel.
Some devices do not transmit start, stop, and continue messages, so the pedal will begin synchronizing
if it receives a MIDI timing clock message without a start or stop message first.
Comparison to tap tempo
Tap tempo is set by tapping quarter notes on a footswitch. It is simpler to set up, but is not synchronized
to other equipment unless you are using a multi-pedal tap tempo controllers. Tap tempo controllers
have an electronic switch on each output that simulates a footswitch press.
Neither tap tempo nor MIDI timing clock sends tempo information. The pedal calculates the tempo from
the input and adjusts to tempo changes. Because MIDI timing clock sends 24 clock ticks per quarter
note instead of 1 tap per quarter note, it enables tighter synchronization between equipment.
Note divisions for the pedal's parameters are configured the same way for tap tempo and MIDI clock, so
you can switch between methods for recording and live use.
In the web editor's Config tab, set Receive MIDI Clock to On. You can also send MIDI continuous con-
troller #110 to the pedal with a value of 64-127. The MIDI clock setting is remembered when power is
turned o.
Setting note divisions
Configure note divisions using the pedal's "shift" mode, or using the web editor. See "Tap Tempo" for
information about note divisions for each parameter.
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