Red Panda RASTER 2 User manual

1
RASTER 2
Stereo Delay With Pitch Shifter
Plymouth, MI • www.redpandalab.com

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Raster 2
Owner’s Manual
Version 2.0 (firmware 2.0+)
October 2021
Red Panda LLC
44712 Helm St
Plymouth, MI 48170
USA
©2021 Red Panda LLC
www.redpandalab.com

3
Please register your product at redpandalab.com/register
Product manuals and firmware updates are available at redpandalab.com/downloads
For technical support, email [e-mail]

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Contents
Introduction 5
Signal Flow 6
Front Panel 7
Getting Started 8
Inputs and Outputs 10
Raster 2 Controls 12
Control Input 22
Web Editor 25
Reset to Factory Defaults 27
 
Using MIDI 29
Support, Repairs, and Warranty 39
Firmware Updates 41
 
Credits 42

5
Introduction
Thank you for purchasing the Raster 2. The Raster™ is a digital delay with a pitch and frequency shifter
integrated into the feedback loop. Forward or reverse delay can be shifted once or have continuously
shifted repeats. It delivers a wide range of sounds including modulated and harmonized delays, reverse
delays, chorus, arpeggios, infinite descents, chaotic self-oscillation, and continuously evolving sound-
scapes.
The core of the Raster™ is a clean delay with 1600 milliseconds of delay time. Three delay ranges allow
you to precisely dial in resonant feedback sounds and instantly change delay time with rhythmic shifts.
The feedback control has infinite repeats at 3 o’clock and chaotic, textured feedback loops at higher lev-
els. Knob responses are carefully tuned for exploration of self-oscillation and feedback on the verge of
blowing up. A tone control sweeps from dark analog-style repeats to digital clarity and emphasizes the
attack at higher settings. The left and right delay times can be set as a ratio, so a single knob changes
both in sync. The two delay channels can be arranged in series, parallel or ping pong.
Pitch shifting repeats up or down in semitone steps creates tempo-synced arpeggios and alien organ
sounds. The detune setting can dial in micro pitch shifts and chorused repeats. The left and right chan-
nels can be shifted by the same amount, a ratio, or opposite directions. At subtle settings, repeats evolve
in a way that sounds natural, but dierent from analog delays.
Beyond pitch shifting, a combination phase/frequency shifter creates subtle evolving repeats, dissonant
harmonies, and barber pole flanging. It can be pushed to extremes for ring modulation and inharmonic
shifted delays that distort and break apart.
The Raster’s modulation section has seven waveforms that can be assigned to delay time, pitch shift, or
amplitude (for tremolo). There are two random waveforms for glitchy pitch jumps, wow and flutter, and
broken tape deck eects. Envelope and inverse envelope enable dynamic flanging and pitch bent delays.
Stereo controls adjust the modulation amount and phase between channels, for subtle shifts or swirling
psychedelic washes.
We started designing version 1 of the Raster in 2012 and released it in 2015. It was a simple looking de-
lay pedal, but the controls were carefully tuned and all of the functionality fit together perfectly, making
it extremely fun to use.
While designing the Raster 2, we wanted to enable as many classic rack mount digital delay tricks as
possible while keeping the fast and intuitive control that made the original Raster so fun to use. All
of the parameters are always available, so you can mix and match dierent eects and explore new
sounds in between.

6
Signal Flow
Parallel
DELAY L PITCH L
DELAY R PITCH R
L L
R R
+
+
+
+
FDBK
FDBK
STEREO
MONO
Ping Pong
DELAY L PITCH L
DELAY R PITCH R
L L
R R
+
+
+
+
FDBK
FDBK
STEREO
MONO
Series
DELAY
L
PITCH L
DELAY
R
PITCH R
L L
R R
+ +
+
+
FDBK
FDBK
FDBK
+

7
Front Panel
LR
LR
LR
LR
LR
[ALT]
TAP TRAILS
FDBK
PRESET
ONSHIFT
CTRL
BLEND
RATE DEPTH
WAVE
M/L/TAP M/L/
SHIFT DELAY
[SAVE]

TM
1
2
3
4
5
6
8
22
21
20
18
17
19
16
10 11 12 13
9
7
14
15
1. SHIFT footswitch.
2. Shift indicator.
3. SHIFT footswitch mode: momentary (M), latch-
ing (L), or tap tempo (TAP).
4. Shift mode switch: transpose by semitones ( ),
detune ( ), or phase/frequency shift ( ).
5. PRESET button and indicators. Hold to save.
6. BLEND knob. From 100% dry to 100% wet.
7. FDBK knob. Delay feedback amount.
Self-oscillates at 3:00 (∞) and above.
8. SHIFT amount knob. Unison at 12:00.
9. USB mini B receptacle for MIDI and firmware.
10. Power jack. 9V DC, 250 mA.
11. 1/4" TRS stereo output.
12. CTRL port. 1/4" TRS jack for expression pedal,
tap tempo, remote switch, or MIDI.
13. 1/4" TRS stereo input.
14. DELAY time knob.
15. Modulation RATE knob.
16. Modulation DEPTH knob.
17. Modulation WAVE button and indicator.
18. DELAY range switch: 400 ms ( ), 800 ms ( ),
or 1600 ms ( ).
19. Feedback mode switch: reverse delay ( ), or
forward delay with repeats continuously shifted
( ) or shifted once ( ).
20. ON footswitch mode: momentary, latching, or
mute output in bypass.
21. Eect on indicator. Blinks yellow for tempo.
22. ON footswitch.
Alternate Controls
LR
LR
LR
LR
LR
[ALT]
TAP TRAILS
FDBK
PRESET
ONSHIFT
CTRL
BLEND
RATE DEPTH
WAVE
M/L/TAP
M/L/
SHIFTD ELAY
[SAVE]
TM
23
24
26
34
33
31
30
32
29
25
27
28
Hold down WAVE/[ALT] button to edit secondary
parameters. Right LED will turn cyan.
Settings are saved to presets and remembered
when power is o. Knobs at center to turn o.
23. Modulation destination: amplitude ( ), shift ( ),
or phase/frequency shift ( ).
24. BLEND left/right balance.
25. Tone control from dark lowpass to full range to
highpass.
26. SHIFT left/right balance.
27. DELAY left/right ratio knob.
28. Modulation left/right relative phase (Φ) knob.
29. Modulation DEPTH left/right balance knob.
30. Hold [ALT] to edit alternate controls.
31. DELAY note divisions: 8th ( ), dotted 8th ( ), or
quarter note ( ). More available via editor and
MIDI.
32. Delay structure: series ( ), parallel ( ), or ping
pong ( ).
33. Eect on indicator is cyan if editing alternate
controls.
34. Trails on/o.

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Getting Started
The Raster 2 is a stereo digital delay with two pitch and phase/frequency shifters integrated into the
delay structure. The delay lines and shifters are independent, but are usually adjusted in ratios or by
"tilting" the eect to the left or right channel. The delay structure is configurable, so that the shifters
can be inside the feedback loop for continuously shifting repeats, or outside the feedback loop to shift all
repeats to the same pitch. The two delay lines can be in series for stacked delays (mono), parallel stereo
delay lines, or cross feedback (ping pong) with the repeats swapping between left and right channels.
Almost all parameters have stereo controls, Used subtlely, you can create delays that shear apart or
gradually pull towards one channel, micro pitch shifting, and random stereo chorusing. It is also possi-
ble to create chords, octave up+down shifts, arpeggios, quadrature or inverted delay modulation, and a
wide variety of other delay- and pitch-based eects. Stereo functions are labeled in gray and accessed
by holding down the ALT button. They are saved to presets, and remembered when the pedal is turned
o. Secondary (alternate) functions allow us to pack in more functionality without increasing the size or
cost of the pedal, but they can make it easier to get lost while you are editing. To make it less confusing,
all of the alternate controls are o when the corresponding knob is at center (12:00).
The modulation section has seven LFO waveforms, envelope, and inverse envelope modulation. Delay
modulation changes the pitch - like an analog or tape delay - as the Raster reads and writes the delay
memory faster or slower. Modulation can also be assigned to the wet signal amplitude for tremolo ef-
fects, or the shift amount for pitch and frequency modulation.
This section will help you get started with the Raster 2. The following sections will discuss the controls
in depth and discuss how to create a wide range of delay- and pitch-based eects.
We also have a growing library of tutorial videos at http://redpandalab.com/rtfm
Plugging In
The Raster 2 requires an isolated power supply that can supply at least 250 mA of current (300+ mA
preferred). Most problems are due to inadequate or overloaded power supplies. See our knowledge
base for information about specific power supplies.
If you purchased your Raster 2 used, first do a factory reset to initialize all settings to their defaults
(page 27).
The Raster 2 has TRS stereo inputs and outputs, configurable using the web editor. The default config-
uration is mono in/stereo out, but you can plug in a mono cable if stereo output is not needed. A variety
of input/output configurations, bypass modes, and maximum signal levels are available to adjust the
Raster for your pedalboard or studio.
Connect your instrument to the Raster's input using a TS (mono cable), and connect the Raster's output
to your amplifier or audio interface using a TS cable.
Turn down the volume on your amplifier and connect a power cable to the Raster, then adjust your am-
plifier's volume to a comfortable level. Press the right footswitch to turn on the Raster.

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
Ignore the ALT controls (gray labels) until you are comfortable with the basic operation of the Raster 2.
For now, turn the RATE and DEPTH controls all the way down (7:00) and SHIFT control to center (12:00).
Put all toggle switches in their center position.
The BLEND, FDBK, and DELAY controls can be used as an 800 millisecond 3-knob delay.
Self Oscillation
The Raster's DELAY and FDBK knobs are tuned for exploration of self-oscillation and feedback. Start
with BLEND at center (12:00), FDBK at center (12:00), and DELAY at center (12:00). Reduce the DELAY
time until you hear a hollow, resonant sound, then play with the FDBK and DELAY controls
The FDBK control is scaled for infinite feedback at 3:00 (∞) and greater than unity gain above that. The
feedback signal can get very loud, so use caution and protect your hearing.
Digital Delay Tricks
Unlike analog delay pedals, the Raster 2 does not change the pitch as you turn the DELAY knob. Fast
knob movements jump smoothly to the new delay time. Slow knob movements gradually change the
delay time, with the Raster analyzing the signal to minimize glitches.
Start with BLEND at center (12:00), FDBK at minimum (7:00), and DELAY at center (12:00). Play staccato
notes or a drum loop.
Quickly turn the DELAY knob to the maximum, pause, then turn it back to the middle. Then slowly turn
it between the minimum and maximum positions. Increasing the delay time will drag the audio, creat-
ing time stretch eects. Reducing the delay time will compress the signal, skipping slices of audio. By
experimenting with the speed and range of knob movements with dierent signals, you can get a range
of time stretching and glitchy stutter eects.
Now, adjust the DELAY knob for quarter note repeats. Increase FDBK to about 10:30 so the repeats
quickly fade out. While playing a steady rhythm (or drum loop), Move the delay range (right top) toggle
switch between the three positions. The delay time jumps between 8th notes, quarter notes, and half
notes, creating smooth rhythmic changes with no pitch shift.
Web Editor
We provide a web-based editor to configure your Context, access hidden parameters, and fine-tune pre-
sets. See "Web Editor (beta)" on page 25 for more information.. It requires the Google Chrome brows-
er, and can be accessed at
https://www.redpandalab.com/content/apps/raster-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, or MIDI.
OUT 1/4" TRS mono or stereo output.
The Raster supports multiple input and output configurations, bypass modes, and signal levels. These
can be configured using our web editor, or by sending MIDI System Exclusive strings.
The default configuration is mono in / stereo out with DSP bypass and trails, with a maximum signal
level of +8 dBu, which works well in most situations.
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
eects. 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.

Mono in / mono out Input and output use 1/4" TS (mono) plugs.
Mono in / stereo out
(default)
Input uses 1/4" TS plug.
Output uses 1/4" TRS plug with left signal on tip, right on ring.
Stereo in / stereo out Input uses 1/4" TRS plug with left signal on tip, right on ring.
Output uses 1/4" TRS plug with left signal on tip, right on ring.
You can use 1/4" TS plugs in this mode for mono signals.

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Bypass Mode
Auto
(default)
Uses analog or DSP bypass, depending on other configuration.
DSP Dry signal and bypass passes through DSP. Our pedals use studio-quality A/D
and D/A converters with low latency. This is a good choice in most situations.
Analog Dry signal passes through DSP when eect is on, and buered analog signal
path in bypass. Depending on the input signal, there could be a small click
when the eect is engaged.
Analog + FX Level Dry signal passes through a unity-gain analog signal path.
Kill Dry Dry signal is always muted. Useful for wet/dry parallel eects chains and
mixer aux sends. The BLEND knob acts as an eect level control, but keeps
the same response as other modes.
Analog + FX Level is useful if you want your dry signal to always be at unity gain, because the dry signal
does not go through the A/D and D/A converters, and there is no latency.
Analog + FX Level and Analog bypass modes are not compatible with Mono In / Stereo Out, because the
analog signal path cannot send the left input to both output channels. A workaround is to use a female
TS to male TRS mono to stereo adapter to split the mono input signal to both channels, with Stereo In/
Stereo Out configuration.
Kill Dry is typically used for one or more instruments while recording using a mixer auxilliary send. The
dry signal level is controlled by the channel fader(s) and the output of the pedal only includes the wet
sound. It can be brought back into the mix using an aux. return or a mixer channel. Using a DAW send/
return is similar.

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Raster 2 Controls
Controls are identified by their front panel labels in BOLD. Alternate controls are labeled in gray, and are
related to the primary (blue) control label. They are saved to presets and remembered when the pedal is
turned o. Each each knob's alternate function is related to its primary function and the default setting
is 12:00 (center).
To adjust alternate parameters, hold the WAVE/[ALT] pushbutton until the right LED turns cyan. For left/
right controls (labeled "L/ R"), the PRESET and WAVE LEDs will show the setting as the knob is moved.
Left/right controls are o when the two middle LEDs are lit:
○○○● ●○○○ Indicates left/right control is off.
Almost all of the Raster's functionality is available on the front panel, but a few parameters are only
available by using MIDI, the web editor, or other editors. Those features are marked with a MIDI port
symbol. Editor/MIDI-only parameters are saved in presets and remembered when power is turned
o.
On / Bypass
Press the right footswitch to switch the Raster between enabled and bypass.
On indicator (right LED)
O Bypass
Red On
Cyan Editing secondary controls
Yellow (blink) Tap tempo
MIDI clock
Green (blink) Preset saved
CTRL config saved

M Momentary Eect is active while the footswitch is held down, and switches to bypass as
soon as it is released.
L Latching Pressing the footswitch alternates between active and bypass.
ø Mute Output Pressing the footswitch alternates between active and bypass. In bypass, the
output is muted and the pedal continues recording the input signal.
Trails are disabled.
Mute Output allows you to repeat or loop what you previously played (based on the delay length). To
loop what you just played, set the FDBK knob to the ∞ position and set the delay time to the length of
the loop. When you have played a phrase that you want to repeat, turn the pedal on and it will loop. To

13
rewind what you just played, turn down the feedback and use reverse delay feedback mode.
Trails
Delay trails allow the repeats to decay naturally after the pedal has been switched to bypass.
Global trails setting
OFF Echoes stop immediately when eect is turned o.
ON
(default)
Echoes decay naturally after eect is turned o.
The right LED blinks green on startup to indicate whether trails are on or o:
2 long blinks: trails o
4 short blinks: trails on
Use [ALT]-ON to toggle the global trails setting on or o. You can also change the global trails setting on
the Config page of our web editor.
Preset trails setting
OFF Echoes stop immediately when eect is turned o.
ON Echos decay naturally after eect is turned o.
GLOBAL
(default)
The global trails setting is used.
Trails can be turned on or o at the preset level using our web-based editor. By default, presets use
the global trails setting.
If the ON footswitch mode is ø(mute output), trails are disabled so that you get hear the last phrase
played while in bypass, without extraneous repeats.
Delay Controls
The Raster has two delay lines that can be arranged in parallel or series and assigned to the left or right
channel, depending on the delay structure and input/output configuration. See "Signal Flow" on page
6 for the available configurations.
The DELAY control adjusts the delay time within four ranges. Fast knob movements jump smoothly to
the new delay time. Slow knob movements gradually change the delay time, with the Raster analyzing
the signal to minimize glitches. By experimenting with the speed and range of knob movements with
dierent signals, you can get "drag", time stretching and even glitchy stutter eects.
The DELAY control is scaled to allow fine tuning of short delay times for resonant eects. The minimum
setting has no delay (0 ms) when no feedback is used, for pure pitch shifting and amplitude modulation
eects. When feedback is used, the minimum delay time automatically increases.


14
[ALT]-DELAY adjusts the oset or ratio between the left and right delay. Turn the knob left or right to
control which delay is heard first. Turning the control counter-clockwise from 12:00 will shorten the left
delay time. Turning the control clockwise will shorten the right delay time.
[ALT]-DELAY settings close to 12:00 will add a small time oset between delay channels (0-30 ms). That
causes a sense of space and motion as the repeats gradually separate or shear apart.
At higher settings, the delay times are set to ratios: 3:4, 2:3, 1:2, 3:8, 1:3, and 1:4. The DELAY knob ad-
justs both delay times proportionally.
Delay Ranges
The right top toggle switch adjusts the delay range, between 400 ms and 1600 ms maximum delay
times. Each delay range is 2x the previous range, so that you can make rhythmic changes by halving or
doubling the delay time. 3200 ms forward delay (with 1600 ms reverse) is available using the editor or
MIDI. It is saved in presets and remembered when power is o. Moving the delay range switch will reset
the range.
Delay range switch
Short 0-400 ms delay
Medium 0-800 ms delay
Long 0-1600 ms delay
0-3200 ms forward delay, with 1/2 time reverse delay
available via editor or MIDI CC
Tone Control
The TONE control gives a wide range of filter responses, from analog-style dark echoes to a high-
pass-filter that causes repeats to thin out as they decay. Clean repeats work well for sound-on-sound
eects, or you can emphasize the picking similar to some classic tape delays. Tone aects the initial
delay and all repeats.
The TONE control can be changed by holding down the [ALT] button and adjusting the FDBK control. The
ton setting stored in presets and remembered when the pedal is turned o.
Tone control settings (approximate)
7:00 Very dark repeats
9:00 Dark repeats similar to analog delay
12:00
(default)
Bright repeats
1:30 Bright repeats with emphasis on attack (picking)
3:00 Highpass filtered
5:00 Bandpass "telephone" filtered
Feedback

15
The FDBK control adjusts the delay line feedback (regeneration). Infinite repeats at approximately 3:00
(∞), with greater than unity feedback above that. Due to nonlinearity and filtering in the feedback path,
the exact spot where self-oscillation occurs will depend on the input signal and tone control. Increasing
the FDBK control beyond self-oscillation will add distortion.
Using the SHIFT control with continuously shifting repeats ( or ) will suppress self-oscillation, except
at very small shifts, because the signal frequencies are dierent each time through the feedback loop
and are not reinforced. Using one of the single-shift feedback modes ( ) allows you to generate feed-
back and self-oscillation that is independent of the delay time.
The feedback mode (center) toggle switch selects forward or reverse delay and whether the pitch/
phase/frequency shifter is inside or outside the feedback loop.
Feedback mode switch
Reverse /
shift all
Reverse delay with continuously shifted repeats
Forward /
shift all
Forward delay with continuously shifted repeats
Forward /
shift once
Forward delay with repeats shifted once
Reverse /
shift once
Reverse delay with repeats shifted once
available via editor or MIDI CC

Feedback left/right balance is adjustable via the editor or MIDI. At 50%, both delay lines use the
FDBK control setting. Below 50%, the left delay feedback remains the same and the right delay
feedback is reduced. Above 50%, the right delay feedback remains the same and the left delay feed-
back is reduced. The FDBK control will adjust both values proportionally. The setting is stored in

16
presets and remembered when the pedal is o.
You can set the feedback left/right balance control to its minimum or maximum value to disable feed-
back for the right or left delays, respectively. With the series delay structure, for example, that allows
you to put a slapback delay in front of a longer delay with feedback.
Intermediate settings are useful for balancing the overall decay time with dierent delay times. A longer
delay will need less feedback for the same overall decay time, since there are fewer repeats.
Subtle settings will cause the signal to shift to one side as it fades out. That can be combined with small
left/right delay time dierences to create a sense of movement.
Feedback Invert
Inverting the phase of the delay feedback changes the character of resonant flanging sounds. It will only
be noticeable with short delay times.
Use the editor or MIDI to set feedback invert. The setting is stored in presets and remembered
when the pedal is turned o.

Each delay line has an associated pitch/phase/frequency shifter. The dual pitch shifters can be placed
inside or outside of the feedback loop, for continuously shifted repeats or repeats that are shifted up or
down and stay there. With the series structure, both shifters are assigned to the second (right) delay.
See "Signal Flow" on page 6 for an illustration.
Shift indicator (left LED)
O Shift o
Orange Shift on
The SHIFT footswitch turns the shift eect on or o, at the amount set by the SHIFT control. Momentary
footswitch mode is useful for injecting pitch jumps. If the SHIFT footswitch mode is set to TAP, the shift
indicator will turn on or o based on the SHIFT control value.
Shift footswitch mode
M Momentary Shift is on while the footswitch is held down
L Latching Footswitch toggles shift between on and o
TAP Tap tempo Footswitch is used for tap tempo
The SHIFT control adjusts the amount of pitch, phase, or frequency shifting. The function and scaling
depend on the shift mode toggle switch.
Shift mode switch
Transpose Transpose ±12 semitones
Detune Smooth detuning from a fourth down to a major third up
Frequency shift Frequency shift ±500 Hz

17

[ALT]-SHIFT adjusts the shift left/right balance. In most shift modes, turning the control counter-clock-
wise will cause the right channel to shift less, then no shift, then shift opposite the right channel at the
minimum. Turning the control clockwise will keep the right shift constant while reducing, disabling, and
then inverting the left delay shift. The SHIFT control will aect both channels. See the "Transpose," "De-
tune," and "Phase / Frequency Shifting" sections below for details about each mode.
The shift left/right balance is stored in presets and remembered when power is o. Set the [AL-
T]-SHIFT control to 12:00 to set equal shifts on both delay lines.

If you prefer to set the left and right shift amounts independently, use the editor or MIDI to turn on
indepent left/right shift. With this setting, the SHIFT control sets the left delay shift amount and
[ALT]-SHIFT sets the right shift amount.
Transpose
Transpose mode shifts up or down one octave in semitone steps. This mode is useful for pitch shifting,
arpeggiated delays, harmonized delays, and generating chords from single note lines.
The expression pedal (or MIDI CC 4) will adjust the pitch shift smoothly, enabling sweeps and pitch dives.
Shift left/right balance will adjust the right delay shift relative to the left shift amount set by the SHIFT
control. The PRESET and WAVE LEDs will show the selection. For chords and inversions, the right shift
will adjust as the SHIFT control is moved to maintain useful ratios.
Position (approx.) LEDs Right shift
5:00 ○○○○ ○○○○ O
8:30 ●●○○ ○○○○ -1 octave
9:30 ●○○○ ○○○○ Inversion
10:30
11:30
○●○○ ○○○○
○○●○ ○○○○
Chord inversions
12:00 ○○○○ ○○○○ Unison
12:30
1:00
2:00
3:00
○○○○ ●○○○
○○○○ ○●○○
○○○○ ○○●○
○○○○ ○○○●
Chords

18
Position (approx.) LEDs Right shift
5:00 ○○○○ ○○●● +1 octave
If independent left/right shift is enabled, the LEDs will show the control position instead of the patterns
above.
Detune
Detune mode smoothly shifts from a 4th down to a major third up, with emphasis on small pitch ratios.
Small shifts created chorused or detuned sounds. When used with delay, subtle detuning will cause
each repeat to change slightly, creating a unique but interesting and natural evolution as the sound de-
cays.
The Shift left/right balance control will keep the left (CCW) or right (CW) delay shift constant while
reducing and then inverting the detuning of the other delay. Turning the control counter-clockwise will
keep the left shift constant while reducing, disabling, and then inverting the right delay shift. Turning the
control clockwise will keep the right shift constant while reducing, disabling, and then inverting the left
delay shift. At the minimum and maximum settings, the delays will be detuned in opposite directions.
The SHIFT control will aect both channels proportionally.
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Around 12:00, the SHIFT control will add phase shifting. Phase shifting with very short delays is good
for bubbling resonant sounds. With longer delays, the repeats evolve in a way that sounds dierent from
analog or tape delays.
Higher and lower SHIFT settings use frequency shifting (single sideband modulation), which destroys
the harmonic relationship between signal components. Each partial is shifted up or down by a fixed
number of Hertz (0-500). Frequency shifting creates metallic sounds. With frequency shifting in the
feedback loop, the harmonic structure of the notes is pulled farther apart with each repeat.
The dierence between pitch shifting and frequency shifting can be illustrated by looking at the first 5
harmonics of a A above middle C (A440) when the fundamental is shifted to 660 Hz using pitch shifting
and frequency shifting.
Harmonic A440 (Hz) Pitch Shift + perfect fifth Frequency Shift + 220 Hz
Fundamental 440 660 660
2nd harmonic 880 1320 1100
3rd harmonic 1320 1980 1540
4th harmonic 1760 2640 1980

19
Harmonic A440 (Hz) Pitch Shift + perfect fifth Frequency Shift + 220 Hz
5th harmonic 2200 3300 2420
The shift left/right balance ([ALT]-SHIFT) control will keep the left (CCW) or right (CW) delay shift con-
stant while reducing and then inverting the shift of the other delay. Turning the control counter-clock-
wise will keep the left shift constant while reducing, disabling, and then inverting the right delay shift.
Turning the control clockwise will keep the right shift constant while reducing, disabling, and then in-
verting the left delay shift. At the minimum and maximum settings, the delays will be shifted in opposite
directions. The SHIFT control will aect both channels proportionally.
Frequency shifting creates similar sounds as ring modulation, but all of the new components are either
above or below the original frequency. Ring modulation adds new components above and below the
original. You can get a ring modulation eect by setting the shift left/right balance to its minimum or
maximum value and using a series delay structure or mono output.
Blend Controls
The BLEND control adjusts the wet/dry blend from 100% dry to 100% wet. The dry signal level is at full
volume until approximately 12:00.
[ALT]-BLEND adjusts the left/right balance of wet/dry levels. At 12:00, the left and right delay outputs
use the same wet/dry blend. Turning counter-clockwise, the left delay output remains at the BLEND
control setting and the right delay output level is reduced. Turning clockwise, the right delay output re-
mains at the BLEND control setting and the left delay output level is reduced. When a left/right balance
is set, the BLEND control will aect both delay outputs proportionally; the favored delay will follow the
BLEND control, and the other delay will get proportionally quieter.
If you prefer a unity-gain analog dry signal with the BLEND control acting as an eect level, use the edi-
tor to select Analog + FX Level bypass mode.

20
Modulation Controls
Adjusts the modulation LFO frequency from approximately 0.05 - 10 Hz. The modulation waveform LED
blinks at the LFO frequency (if MOD DEPTH is not o).
When envelope or inverse envelope modulation is selected, this control will have no eect.
The MOD PHASE L/R (ø) control adjusts the relative phase of the modulation between the left and right
delay lines. At 7:00 and 5:00 the LFO waveforms will be inverted relative to each other. At approximate-
ly 9:30 and 2:30, the LFO waveforms are 90° out of phase (quadrature), which creates a wash or tum-
bling eect. At any setting besides 12:00, the random LFO waveforms are independent.
The setting is stored in presets and remembered when the pedal is turned o.
Adjusts the modulation LFO frequency. The modulation waveform LED blinks at the LFO frequency (if
MOD DEPTH is not o).
When envelope or inverse envelope modulation is selected, this control will have no eect.
The MOD PHASE L/R (ø) control adjusts the relative phase of the modulation between the left and right
delay lines. At 7:00 and 5:00 the LFO waveforms will be inverted relative to each other. At approximate-
ly 9:30 and 2:30, the LFO waveforms are 90° out of phase (quadrature), which creates a wash or tum-
bling eect. At any setting besides 12:00, the random LFO waveforms are independent.
The setting is stored in presets and remembered when the pedal is turned o.
The Raster's modulation section has seven LFO waveforms and an envelope follower that can be as-
signed to delay time (default), shift amount, or wet signal amplitude (tremolo).
The LFO waveforms are bipolar (-1 to +1). The RATE control adjusts the LFO frequency from approxi-
mately 0.05 Hz to 10 Hz. It can be synced to tap tempo and MIDI clock using the editor or MIDI continu-
ous controller messages. The modulation waveform LED blinks at the LFO frequency (if MOD DEPTH is
not o).
The modulation depth L/R control ([ALT]-DEPTH) will decreate the modulation amount on the right chan-
nel as it is turned left, and vice versa. It emphasizes modulation on the left (counter-clockwise) or right
(clockwise) channel, with the maximum set by the DEPTH control. Moving the DEPTH control will aect
both channels proportionally.
The RATE control has no eect on envelope and inverse envelope. Envelope modulation is unipolar,
wither up (envelope) or down (inverse envelope. For stereo inputs, the envelope detector uses the maxi-
mum of the left and right channels.
Delay modulation
(Default)
Delay modulation changes the pitch - like an analog or tape delay - as the Raster reads and writes the
delay memory faster or slower.
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