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Some may disagree, but I’ve always liked the JET sub-algorithm for the “chime-ier” flangers. THRU-0 can be beneficial in a STEREO MISTRESS simulation. But as a generic EHX Mistress emulation; averaging out all of the models and variations …
Dial down the INTENSITY, or up the DEPTH (*RANGE*) to taste. SPEED is the *RATE* equivalent. Keep it between 0.07 Hz. and 10.00 Hz. for authenticity. MODFY DLY O/P (along with the INTENSITY setting) provides the *COLOR*.
The cryptic MODFY DLY O/P control is also the key adjustment for any Filter Matrix emulation. If this parameter was calibrated in milliseconds, it would stay between about 1 and 10 ms. It’d be a smaller range in swept delay mode (up to about 6 ms.).
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SteveBowman wrote:
What the hell is MODFY DLY O/P — the x-knob label on the flanger (and chorus|organic)? I have the stompbox, not the H9, but tweak using H9 Control on iPad. I searched the (latest) manual, this entire forum and I got as far as discovering that it’s “delay offset.” I assume MODFY is knob-speak for “modify.” So can somebody explain why I would want to offset the delay? I of course played with it, and can’t hear any difference. Offset what to what? Is it a stereo panning thing (like DEPTH in other algos), or something more elemental to the flange itself?
Thanks in advance.
Steve
ThinAirX
I see from the ‘Get More Out Of Your Flanger’ thread you’ve been digging deeper. Here’s an old reference link, but still valuable in its clear and progressive explanations. My take on the Eventide implementation follows.
Using Short Delay Effects
http://www.recordinginstitute.com/da154/ARP/chap3Sig/0305delsh.html
Think of the MODFY DLY O/P like the ‘manual’ control on an MXR M-117. It’s a very short delay time (milliseconds, or less), and the heart of flanging, chorus, ADT, and Haas-type FX. It’s the ‘center frequency’ starting point, from which a RATE or SPEED range will deviate. The shortest delays provide a higher apparent ‘pitch’, with relatively longer delays shifting the frequency cancellations lower.
To best hear what the parameter does, turn the DEPTH control down to 0. In the preset below, you won’t hear any of the slow, sweeping SPEED modulation. The DEPTH control will ‘add’ the LFO modulation to the ‘manual’ setting of MDO. Turn DEPTH up to 50, and you’ll introduce the modulation cycling.
I mapped the MODFY DLY O/P parameter to an expression pedal; sweeping the entire range from 0-99. If you don’t have one, you can use the ribbon in the H9 Control app, or dial the physical control on the stompbox itself. The preset becomes a wah-like foot control over the flanging sweep.
The INTENSITY parameter is set high, for an exaggerated effect. It’s a multi-purpose parameter, depending on the algorithm. From what I understand, it’s mainly feedback / regeneration here. But you can hear how resonant delays can be used for vocal formant FX, and in generating discrete ‘pitches’.
CHORUS is based on slightly longer delay times, so the entire MODFY DLY O/P range will shift (as compared to the FLANGER). With DEPTH still at 0, sweeping the span of MDO will give you more of a pitch deviation, from adjustments to the longer delay times. INTENSITY is multi-faceted (I believe wet/dry balance + some feedback here). Turn INTENSITY down to 15 to get closer to a ‘wow & flutter’ effect in an EchoPlex.
As a Sidebar, I wrote:With exploring a ModFactor algorithm, or when emulating a ‘classic’ effect, it’s best to start with the entire 2nd row of parameters at zeroed or neutral settings. See the examples above.As a Hint, I wrote:When venturing into the 2nd row of controls, I like to hit the TAP button once, to synchronize the LFOs. Do it again before saving the preset. Maybe overzealous, but safe practice.As Another Sidebar, I wrote:The DEPTH & SPEED MOD, MOD RATE, and MOD SOURCE controls are the keys to multiple modulation effects. Keep in mind that these parameters ‘add’ to the main settings in the top row of controls. They’re good for creating – for example – an audio triggered PHASER, that also has a sweep cycle, or rate changes in a ROTARY effect. But they can also be used subtly, to add an asymmetrical ‘throb’ to a UniVibe emulation. -
I’ve been meaning to follow up here with – if not a practical preset – at least an demonstrative application.
DEPTH is set to 5, which you would think makes the sweep of the LFO barely audible. Both the SPEED [1.0 Hz. – 3.0 Hz.] and MODFY DLY O/P [0 – 99] are tied to the expression pedal travel. So, the apparent ‘pitch’ of the manual delay offset, and the rate of the LFO sweep, will increase simultaneously.
It’s a bit of a takeoff & landing effect, overlaid on top of the extraterrestrial chatter.
For something a little more down-to-earth, dial back the INTENSITY to 50. Chewy modulation – still with the ‘Leslie’-style ramping – but without the blatant vocal formatting. Turning the INTENSITY all the way down to 0 will still provide some smooth & subtle modulation. It becomes more layered, with dry input floating on top, and the sweeping effects pushed further down underneath it.
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