Source Audio Soundblox Guitar Envelope Filter - Manual

EffEcTS
Here are some brief technical
descriptions of the filter effects
included in the Guitar Envelope Filter.
Some of the filter types are intended
to approximate, but not exactly copy,
some common and well-known
envelope filter effects.
2 POLE fILTERS
01: Resonant low pass. A flat response
at low frequencies, rising to a resonant
peak, and then falling at 12 dB/octave.
Low resonance (low Q).
02: Resonant low pass. High resonance
(high Q).
03: Notch, Resonant low pass. The
frequency response begins flat, then
has a deep notch, then back to flat,
and then a resonant peak followed by
a 12 dB/octave fall.
04: Notch, Notch, Resonant low pass.
Same as 03, but with two notches.
05: Peak, Notch, Resonant low pass.
A resonant peak, followed by a notch,
followed by a resonant low pass.
06: Resonant low pass, Peak, Peak.
As the response of the low pass filter
falls, the fall is interrupted by two
peaks. The low pass resonant peak
moves in the opposite direction from
the additional higher frequency peaks.
07: Two resonant low pass filters in
parallel.
4 POLE fILTERS
08: Resonant four pole low pass.
Like the two pole low pass, but after
the resonant peak, the signal falls at
24 dB/octave.
09: Four pole low pass with two reso-
nant peaks. The resonant peaks are
separated by 1.3 octaves.
10: Peak, Four pole low pass.
A four pole low pass with an extra peak
at a lower frequency than the resonant
peak.
11: Four pole low pass, peak.
A four pole low pass with an extra
peak at a higher frequency than the
resonant peak.
SINGLE PEAK
12: Peak. The frequency response is flat,
except in the region around the peak.
Moderate Q.
13: Peak. As above, with higher Q.
TRIPLE PEAKS
14, 15: Three peaks moving together.
16, 17: Three peaks moving in opposing
directions.
PEAKS AND NOTcHES
18: Peak, Notch, Peak.
19: Notch, Peak, Notch.
PHASERS
20: Notch, Notch. A pair of frequency
response notches creates a
standard two notch phaser. There
is a little feedback to boost the
non-notched frequencies.
21: Notch, Notch, Notch. A three notch
phaser with some feedback.
TROubLESHOOTING
Noise:
Low Power
Change batteries or plug in a DC power supply.
Near noise source Move pedal away from power supplies and other
equipment.
Other equipment Remove other effects from signal chain,
see if noise persists.
Bad cables Swap out audio cables.
Low volume:
Low power
Change batteries or plug in a DC power supply.
Hot Hand doesn’t work:
Low power
Change batteries or plug in a DC power supply.
Not calibrated properly Calibrate the Hot Hand (see Use with Hot Hand).
Not connected Check Hot Hand connections.
Knobs don’t work /light up:
Low power
Change batteries or plug in a DC power supply.
Wrong power supply Use correct power supply (see Quick Start).
Corroded input cable plug Check input cable plug for corrosion on sleeve,
swap out cable if necessary.
TRS (stereo) cable used Only use mono cable for input cable.
For additional assistance, please visit www.sourceaudio.net
Dimensions
• L : 7 inches
• W : 4 inches
• H : 2 inches (including knobs)
Weight
• 1.25lbs
Power
• 125mA @ 9V DC (max 145mA
with Hot Hand Wireless Adapter)
• 15-20 hours battery life
• NEGATIVE tip power jack
Audio Performance
• 115dB DNR audio ADC
• 24-bit audio conversion
• 56-bit digital data path
• Analog bypass
SPEcIfIcATIONS
1. POWER
To power the unit, insert 4 AA batteries (included) or connect a
Source Audio 9V power supply to the 9V DC jack (A) .
2. GuITAR/AuDIO cONNEcTIONS
Next, plug your guitar (or other instrument) into the jack labeled
GUITAR IN (B) via a standard ¼-inch cable. Connect your amp (or
other audio device) to the GUITAR OUT (C) jack, again with a standard
¼-inch cable. Both input and output are mono signals.
Note: The unit will not power up until a ¼-inch plug is inserted into the
guitar input. This is to conserve power when the unit is running on batteries.
Don’t forget to unplug the cable from the input when the unit is not in use—
otherwise the batteries will continue to drain.
3. SENSOR IN (optional)
To use your Guitar Envelope Filter with a Hot Hand sensor: Connect
the sensor to the SENSOR IN (D) jack and follow any instructions
supplied with the sensor.
4. bRIEf KNOb AND PEDAL DEScRIPTIONS
(see Controls section for more details)
• EFFECT selects desired filter type.
• FREQUENCY adjusts the center frequency of the filter.
• SWEEP RANGE adjusts the direction (up/down) and breadth of
the filter sweep or the depth of the Hot Hand modulation.
• SPEED controls the attack and decay speed of the envelope
follower or the motion-sensitivity of the Hot Hand.
• ON/OFF engages and disengages the effect. In calibrate
mode, the ON/OFF switch starts the calibration.
QuIcK START
If possible, dispose of the device at a recycling centre. Do not dispose
of the device with the household waste.
C B
D A
cONTROLS
EffEcT
The effect knob selects the type of
filter to be used. See the effect types
section for more details. The effect
knob also allows you to select the
CALIBRATE mode for calibrating the
signals from a Hot Hand sensor. See
the Use with Hot Hand section for
details.
fREQuENcY
The frequency knob sets the center
frequency of the filter sweep. Turning
the knob counterclockwise will result
in the filter moving over lower fre-
quencies for a darker sound. Turning
the knob clockwise will result in the
filter sweep moving over higher fre-
quencies, which will create a brighter
and thinner sound.
SWEEP RANGE
The sweep range knob controls the
direction and breadth of the filter
sweep. To the right side of the knob,
marked as UP, the filter will move in
a positive sweep from low to high with
greater range as you turn the knob
further to the right. To the left side of
the knob, marked as DOWN, the filter
will move in a negative sweep from
high to low with increased range as
you turn the knob to the left. With the
Hot Hand controller plugged in, the
knob controls the positive or negative
depth of the sweep.
SPEED
The speed knob controls the attack
and decay time of the envelope fol-
lower. The range of the speed control
is divided into two parts. To the left
of the midpoint (12 o’clock) both the
attack and release times of the enve-
lope detector are controlled together.
They range from slow when fully
turned to the left, to fast when set
toward the midpoint. As the knob is
turned to the right past the midpoint,
the attack is fixed at the fastest set-
ting while the decay time gets slower.
In Hot Hand mode, the knob controls
the response of the motion sensor.
FLAIL being the slowest and PICK
being the fastest response. See
the Use with Hot Hand section for
more details.
Note: The envelope follower signal
can be reset to zero by a very brief
moment of silence, allowing the next
note played to experience the full
sweep of the envelope all the way
from zero.
ON/Off
The ON/OFF switch engages or dis-
engages the effect. When the effect is
engaged, the ON/OFF LED will be lit.
The LED will be off in bypass mode.
The ON/OFF switch is also used to
start the calibration routine when the
EFFECT knob is set to CALIBRATE.
FREQUENCY
SWEEP RANGE
HH
MIN MIN
DOWN UP
MAX MAX
FAST FAST
SLOW SLOW
DECAY
ATTACK
& DECAY
SPEED
HH MOTION
HH
FLAIL PICK
EFFECT
17
02
03
04
05
06
07
08
09
10 11 12
13
14
15
16
18
19
21
20
01
CALIBRATE
2 POLE
LOW PASS
4 POLE
LOW PASS
SINGLE PEAK
TRIPLE
PEAK
PEAK &
NOTCH
PHASERS