Frequency Shifter (FRS)
The FREQUENCY SHIFTER is an advanced model with several improvements over existing designs:
  • Greatly improved signal-to-noise ratio
  • Extremely high carrier frequency rejection
  • A very clean sound down to very low signal levels (unlike conventional shifters which have increasing distortion at low levels) 
  • No squelch circuit and, therefore, no annoying dropouts or "pumping" action in the sound
These improvements have so improved the quality of the sound, that even the most subtle natural sounds can be processed. Apart from its effect, the FREQUENCY SHIFTER does not intrude with extraneous noises or distortions. The FREQUENCY SHIFTER does not transpose. Rather it shifts each harmonic of the signal by a fixed value equal to the shifting frequency. Thus, as the shifting frequency becomes larger, the relationships between overtones are altered, and timbres change dramatically.

Uses of the FREQUENCY SHIFTER abound. It can be used to frequency modulate natural sounds (from musical instruments, for example), to produce the "Leslie effect" of rotating speakers, and to synthesize other phase shift and vibrato effects. In concert halls, frequency shifters are often used to control feedback. It performs special effects on human speech, excellent for "computer-like" or "alien-type" speech. One of its most dramatic effects is frequency shifting of an echoed sound, where delayed signals get successively fed back and shifted up or down to produce incredible arpeggios of multiple echoes. Such an effect can be produced with the FREQUENCY SHIFTER and a reverb chamber or tape delay. Quite similar (and other rather far-out) effects can be produced with the use of the Analog Delay module.

...[This] basic unit features a built-in oscillator (with 0 and 90 degree outputs) whose sine wave outputs provide for the smoothest and cleanest shifting. Additional features include output VCAs for both the UP and DOWN shifted signals, and an Output providing a COMPRESSED version of the input.

Control Module (C/M)
The CONTROL MODULE (C/M) is provided for economic utilization of extra panel space and as a low-cost source of manual triggers. Also included are two sections for attenuating control voltage or audio signal levels.

Wilson Analog Delay (WAD)
The Wilson Analog Delay was specifically designed to allow internal functions such as filtering, feedback, and delay to be determined by the user as a patch programmable function. Features of the Wilson Analog Delay include the following:
  • VOLTAGE VARIABLE DELAY OVER A VERY WIDE RANGE, from a minimum of .0005 sec. to greater than one half second ** 
  • Availability of the TWO DELAYED OUTPUTS (A & B), one which is twice the delay of the other. 
  • A FLANGING OUTPUT with a control to set its depth 
  • A 1 VOLT PER OCTAVE (V/OCT) OUTPUT to permit controlling external VC filters easily. 
  • THREE INPUTS, each with its own gain control and specific function. IN-1 is the main audio input for internal or external signals. IN-2 is suitable for audio, but also for the input of control voltages to be delayed. IN-3 is connected via a switch to provide feedback selectively from either the "A" or "B" delay outputs, or from the AUX jack. This channel features a processing-type control to scale and invert either the feedback from "A" or "B" or the AUX signal. 
  • An INNOVATIVE NOISE-CANCELLATION CIRCUIT which produces a very clean sound, as opposed to the "muffled" quality of more conventional analog delays. 
These features provide an amazingly varied palette of effects. Here are some of the possible ways to use this module:
  • "GLIDING" FREQUENCY SHIFT effects (the frequency shift effect is never steady, but is a function of envelopes varying the delay rate). 
  • STRAIGHT DELAY (perceived as fast repeats as in the delay between two tape recorder heads). 
  • ECHO CHAMBER EFFECTS, where the delayed signal is fed back into the Analog Delay's input. (The switchable AUX input is particularly valuable for this type effect, especially if an external VCA is inserted into the feedback loop, allowing voltage control of the number of echoes as well as their rate of occurrence). 
  • DELAY AND ECHO OF CONTROL VOLTAGE ENVELOPES (via IN-2). Though the maximum guaranteed delay is .5 second, in practice the delay will go to more than 5 seconds for low frequency signals such as control voltages. 
  • MODULATION EFFECTS resulting from the modulation of the input signal by the clock internal to the Analog Delay. 

Cross-Fader (XFAD)
The CROSS-FADER (XFAD) is an equal-power cross fade unit. The module has two signal inputs. As one signal increases in level at the output under manual or voltage control, the other signal decreases in level at the output. This effect is used to accurately fade one sound in while fading another out. Cross-fading with voltage control permits a smooth transformation between two different timbres. If a sound and its reverberated image (available with the Wilson Analog Delay) are sent through the cross-fader, the reverb mix can be voltage controlled. This effect can be used to modify the spatial characteristics of a sound event, from immediate presence to distant ambience. In addition to the cross-fade function, a VCA controls the output amplitude.

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