Audio Damage Ronin - Manual (Page 14)

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When the Loop switch is turned on, the feedback input is automatically turned off. This is to make it easier to
switch back and forth between looping and non-looping delay applications. If the feedback input were left on
when the loop was turned on, the audio in the delay line would be added to itself over and over again, rapidly
creating a thick, distorted mess.
The Reverse switch causes the delay line to record and play back in the opposite direction. The effect of the
Reverse switch is slightly different depending on whether or not the Loop switch is turned on. If the Loop
switch is turned on, turning on the Reverse switch causes any audio currently being played in the loop to play
backwards, over and over. You can record new audio over the backwards audio, and then turn the Reverse
switch off to hear the original audio played forwards again and the newly recorded audio played backwards. If
the Loop switch is not turned on, you will hear the audio currently in the delay line played backwards once,
and then all subsequent audio will be played forwards, because the new audio coming into the delay line is
being recorded in the same direction as the audio coming out of the delay line. Yes, this is a little confusing at
first, but it becomes more understandable (and a lot of fun) as you play with it.
The Thru switch bypasses the delay line, sending its input signal directly to its output. The delayed signal is
still sent to the output. This enables you to use the Loop switch to record and loop some audio, then play new
material mixed with the loop, but not added to the loop itself. For example, you can record a phrase in the
loop and then solo over the top of the phrase without adding to the loop by pressing the Thru switch.
Filters
Ronin has two multi-mode filters, modeled after the filters found in analog synthesizers. “Multi-mode” means
that the filters have different response modes: low pass, high pass, band pass, and notch (or band reject). An
unusual feature of Ronin’s filters allows you to “morph” between the different response modes rather than
simply choosing one of the four. The filters have a resonance control and will self-oscillate at high resonance
settings. The two filters operate completely independently and, thanks to Ronin’s signal-routing matrix, can be
combined to create more complex filtering effects.
The main filter control is the frequency slider (whose name is abbreviated to freq in
Ronin’s window). This control sets the center frequency, or cutoff frequency, of the
filter. The filter passes and attenuates signals depending on their frequency relative
to the center frequency, and the mode of the filter, as follows:
 Low pass: signals whose frequency is below the center frequency are passed
unmodified, signals whose frequency is above the center frequency are
attenuated.