A harmonic tremelo is basically a pair of tremelos that are 180 degrees out of phase. The first tremelo is run through a low pass filter and the second tremelo is run through a high pass filter. The result is a tremelo type sounds but the volume remains rather constant.
Attack Decay Swell
This is an example that shows how to use the fx_adsr_envelope effect to control the attack and decay of a played note. The ADSR envelope standads for attack-decay-sustain-release and controls how quickly a note fades and out. The sketch also demonstrates how to route the new note pedal event to the ADSR envelope so each time you play a new note, the ADSR envelope is applied. By turning attack and release way down, each note sounds like a quick pluck. And increase attack creates a swell effect like an ebow.
This is an example that shows how to use the fx_delay effect to create a delay effect that can be activated with momentarily with a footswitch like in dub songs. Regular music and then you hold down the left footswitch and things will be delayed. Release the footswitch but the delays still ring out.
Polyphonic guitar synth pedal
This is a polyphonic guitar synth meaning that it tracks multiple strings. It uses an FM synth engine along with ADSR envelope generator and an output filter. The pedal is configured by default to use a triangle (OSC_TRIANGLE) wave that is modulated with a sine wave (OSC_SINE). However, lots of interesting sounds can be created by swapping these out with out types of oscillators (e.g. OSC_SQUARE, OSC_RAMP_POS, OSC_RAMP_NEG, OSC_RANDOM, etc).
Sends all low notes through a delay so you can create rhythmic repeating low patterns by playing low notes. And then play over them. The effect uses a tight low-pass filter to cut off all frequencies above 100-300Hz (controlled via left pot). The output of this runs through a compressor to make the bass notes solid with even volume. And then the output of the compressor runs into the delay.
Uses the slicer to create a rhythmic pattern of filter effects
Uses the FLIP FLOP OCTAVE model in the destructor to emulate a flip flop circuit to generate tones at the frequency you're playing at or octaves below. This is basically how the original Boss OC-2 pedals worked.
Uses the slicer effect to distort the incoming signal, chop it up and send through different filters
Creates a Theramin using a Sparkfun distance sensor. When the measured distance from the sensor is less than about 2.5 feet, the tones are mixed in. And when there is nothing in front of the sensor, the tones turn off. This sketch relies on a Sparkfun distance sensor that can be obtained here: https://www.sparkfun.com/products/14722
This is an implementation of a typical flanger pedal. This sketch uses the variable delay block to create a time / pitch shifted version of the original signal. When this is mixed with the original signal, it creates the "flange" effect. The effect becomes pronouced with feedback.
Delay Major Minor
Volume swell effect that also has optional minor and major third intervals that can be optionally mixed in when the left or right foot swtich is held down. The minor and major thirds are fed through their own delays. Overall, this creates an interesting ambient effect. It takes a little practice using the minor and major third buttons but once you get the hang of it, cool things can happen.
This is an example that shows how to use the fx_biquad_filter effect to create a parametric filter.
Page 1 of 3