User Manual
Table Of Contents
- Welcome
- Table of Contents
- Feature Overview
- Connecting the Pedal
- Connections
- Controls
- Controls (Bass)
- Theory of Operation
- Distortion Types
- Stereo Operation & Signal Routing
- Preset Storage and Recall
- External Control
- Expression Control
- Neuro Desktop and Mobile Editors
- The Neuro Desktop Editor
- Sound Editor
- Master Controls
- Morphing Controls
- Compressor Module
- Distortion Module
- Multi-band Tremolo
- LFO Module
- Graphic Equalizer Module
- Single Tremolo/Envelope & Noise Gate/Input Filter Modules
- Envelope Generator, Balance, and Knob Assignment Modules
- The Neuro Mobile App — with New Direct MIDI-USB Support
- Neuro Hub
- MIDI
- USB
- Specifications
- Troubleshooting
- Frequently Asked Questions
- What kind of instruments can I connect to the Ultrawave’s inputs?
- Can I power the Ultrawave directly over USB, without using the 9 Volt supply?
- When connecting the Ultrawave to a recording interface or mixer, should I use a Lo-Z (microphone) or Hi-Z (line / instrument) input?
- Why doesn’t the Ultrawave respond to MIDI messages being sent to it?
- Can I use the Ultrawave in my amp’s effects loop?
- How do I update the firmware?
- Rubber Feet
- Waste Disposal Notes
- Warranty
- Version History
Table of Contents Ultrawave Multiband Processor User Guide
11
• applying EQ where necessary to shape the tone.
• allowing for a complete set of alternate states to be defined in the multiband processor and
then “morph’ between both states via LFO), envelope, or expression.
• creating 2 complete signal paths with routing options for parallel processing, cascading,
placement of the effect in 2 locations of a pedal board, and the creation of complex stereo
images.
Simplified Multiband Distortion Example
The diagram above shows the Ultrawave in a classic multiband distortion application. Following a
gain/compression stage, the signal is then split into ten separate bands. Each band then passes
through dedicated and separate level setting and distortion stages. Finally, the ten bands are
summed together to form the output signal. There are many interesting consequences of passing
the signal though the ten bands rather than a traditional single band distortion stage. Firstly, the
distortion tone is significantly more harmonically complex. Secondly, it is possible to play complex
chords with more clarity. This occurs because each guitar string tends to find its own path through
one of the ten bands and is not “stepped on” by the harmonics of a neighboring string. The net
result is a distortion sound palette that is not found on the thousands of common distortion pedals
that are on the market.