Specifications

THE EFFECT DEVICES
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Using the Body section as a sound enhancer/phaser/wah
Nothing stops you from using the Body section on its own, without Damage. Try
this:
1. Create a sampler device (e.g. an NN-19) and select an electric piano
patch.
2. Select the sampler and create a Scream 4.
It is added as an insert effect.
3. Turn off the Damage section and instead activate the Body section.
You will find that this adds a resonant character to the sound, which will make it
more “alive” and help it stand out in a mix. You should experiment with the Body
settings to find the character that suits you best. You could also activate the Cut
section- if you e.g. find the sound too bassy, just lower the “Lo” slider a bit.
4. Now flip the rack around and connect the CV out from the sampler’s
LFO to the Scale CV input on the Scream 4.
As you can hear, the Scale is modulated by the LFO.
5. Adjust the amount of Scale modulation with the pot next to the CV
input on the back of the Scream 4, and the speed (and waveform) of
the modulation in the LFO section on the sampler device.
With this type of modulation setup, it’s easy to get lush, dreamy phaser ef-
fects. For a more wah wah-like sound, select Body type B and raise the
Reso and Scale settings.
Emulating vintage digital gear
The first generations of digital instruments (drum machines, synths and sam-
plers) used 8 or 12 bit sampling and processing, at low sample rates. This “lo-fi”
sound is still in high demand, e.g. in hip-hop and R’n’B. Try this:
1. Connect a Scream 4 as an insert for a Redrum, with a suitable kit
selected.
2. Set Damage Type to Digital and turn P1 and P2 fully right.
3. Play back and lower P1 (bit depth) and P2 (sample rate) to get the
sound you want.
You may also want to use the Cut section to emphasize or cut frequencies in
the sound.
Creating a real dynamic wah effect with the envelope follower
As we have shown, you can get auto-wah-like effects with the Body section in
Scream 4 (by using the Auto parameter). You could also use the ECF-42 enve-
lope controlled filter and trigger this with a gate signal - this is after all a “real” fil-
ter and sounds even more like a wah effect. However, to get a “real” auto-wah
effect that responds to the signal level, you need to combine both these devices:
1. Create an instrument device that you want to process with an auto-
wah.
It should be velocity responsive so that the harder you play, the louder it
sounds.
2. Create a Scream 4 device and an ECF-42 device.
Both these should now be connected as insert effects to the instrument de-
vice.
3. Turn off all three sections in the Scream 4.
This is of course a matter of taste - but here we will show how to use the en-
velope follower in Scream 4, not its sound destruction capabilities.
4. Flip the rack around and connect the Auto CV Output on the Scream
to the Freq CV input on the ECF-42.
5. Lower the pot next to the CV input a bit - the envelope follower is
rather sensitive and you probably don’t want the filter to open too
much.
You can adjust this later if needed.
6. On the ECF-42, select the BP 12 (bandpass) mode and set the Res
setting rather high.
7. Play the instrument device and adjust the Freq setting on the ECF-
42 to taste.
As you can hear, the harder (or the more notes) you play, the more the filter
will open.
✪ If you find the auto-wah too responsive, you could add a compres-
sor between the instrument device and the Scream 4 to even out
the level differences a bit.
✪ The Spider CV Splitter and Merger (see page 249) can be used to in-
vert and split the Auto CV output for even greater flexibility.