User manual

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Page 15
McDSP Chrome Tone
Tips for using the Modulation
The Input control of the Dynamic section opens up a new dimension in
possibilities. The use of the input audio is the most common envelope-wah
setup. Chrome Tone Wah also allows a separate audio signal to be used as the
input to the Dynamic section via a side chain mode. MIDI data, including note,
note velocity, and controllers (1-128) can also be selected as the Dynamic section
input.
An innovative way to sync the wah (or other lter) frequency modulation to MIDI
beat clock is to use already synced MIDI data as the Dynamic section input. Not
only is the input signal more diverse than any periodic one from the Auto section, it
can be generated from any of the sophisticated MIDI editors found in digital audio
workstations. Groove and swing information can also be included in the MIDI data
timing itself, for even more realistic syncopated rhythmic effects.
Split mode can create great stereophonic sounds when the frequency control is
setup to roughly 50 (halfway up the signal spectrum). As input is received in the
Dynamic section, the lter frequency is decreased in one channel while being
increased in another. Useful not only in lter modes such as wah, low pass, and
high pass, but also in the various phasor modes available in Chrome Tone Wah.
Modulation of the Auto section LFO is done using the Mod control in the
Dynamic section. The ‘S’, ‘R’, and ‘D’ LEDs enable the modulation of the LFO
Shape, Rate, and Depth, at an amount determined by the Mod control. Positive
values increase the Shape, Rate, and Depth controls in their respective clock
wise positions (shape modulates towards shape 2, rate increases up to 2x faster,
Depth increases). Negative values increase the Shape, Rate, and Depth controls
in their respective counter-clock wise positions (shape modulates towards shape
1, rate decreases up to 2x slower, Depth decreases). Note the modulation of the
LFO rate has no effect if the LFO is synced to MIDI beat clock.