doc/manuals/Crusher.html

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  12             <h1>Crusher</h1>
  13             <a href="images/Calf - Crusher.jpg" title="Calf - Crusher" class="prettyPhoto"><img class="thumbnail" src="images/Calf - Crusher.jpg" /></a>
  14             <h2>Functionality</h2>
  15             <p>
  16                 Crusher is a bit crusher with enhanced functionality. A bit crusher is used
  17                 to audibly <strong>reduce the amount of bits</strong> an audio signal is sampled with. This doesn't
  18                 change the bit depth at all, it just produces the <em>effect</em>. Material
  19                 reduced in bit depth sounds more harsh and "digital".<br/><br/>
  20                 Calf Crusher is able to even round to <strong>continous values</strong> instead of discrete
  21                 bit depths.<br/><br/>
  22                 Additionally it has a <strong>D/C offset</strong> which results in different crushing of
  23                 the lower and the upper half of the signal.<br/><br/>
  24                 An <strong>Anti-Aliasing</strong> setting is able to produce "softer" crushing sounds.
  25                 <br/><br/>
  26                 The killer feature of Calf Crusher is the <strong>Logarithmic</strong> processing.
  27                 This setting switches from linear distances between bits to logarithmic ones.
  28                 The result is a much more "natural" sounding crusher which doesn't gate low
  29                 signals for example. The human ear has a logarithmic perception, too
  30                 so this kind of crushing is much more pleasant.<br/><br/>
  31                 Lorgarithmic crushing is also able to get anti-aliased.
  32             </p>
  33             <!--<h2>Tips</h2>
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  36             </p>-->
  37             <h2>Controls</h2>
  38             <ul>
  39                 <li><strong>BPM:</strong> Tempo (in beats per minute) to use when setting delay time.</li>
  40                 <li><strong>Subdivide:</strong> Fraction of a beat to use as a unit of delay time (1 = quarter note, 2 = quaver/8th note, 4 = semiquaver/16th note, 3 = 8th note triplet and so on)</li>
  41                 <li><strong>Delay L/R:</strong> Delay length in units specified by BPM and Subdivide. If Delay L is set to 3 and Subdivide is set to 4, then delay time for the left channel is 3 16ths.</li>
  42                 <li><strong>Feedback:</strong> Percentage of delayed signal fed back to delay line. Setting it to zero creates a single copy, setting it to higher values creates a repeating echo.</li>
  43                 <li><strong>Mix mode:</strong> If set to <strong>Stereo</strong>, this effect works as two independent delay effects, one effect per channel. If set to <strong>Ping-Pong</strong>, the feedback paths of the delays are cross-wired so that output from left channel is fed back to the right channel and vice versa. This causes the sound to bounce back between two channels. The other modes (L then R and R then L) uses the output of one channel's delay line as the input of another, via feedback output.</li>
  44                 <li><strong>Medium:</strong> Controls bandwidth loss caused by the delay. <strong>Plain</strong> means no frequency loss, as typically seen with a traditional digital delay. <strong>Tape</strong> and </strong>Old Tape</strong> apply different degrees of filtering to simulate loss of low and high frequencies common in tape-based delay units.</li>
  45                 <li><strong>Stereo Width:</strong> Controls the stereo panning of delayed signal.</li>
  46                 <li><strong>Amount:</strong> Amount of the processed (delayed) signal.</li>
  47                 <li><strong>Dry Amount:</strong> Amount of the unprocessed (dry) signal.</li>
  48             </ul>
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