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Sculpt Features wrote:
- Adjustable crossover frequency (where the low and high bands are split).
- Separate drive controls for low and high band signals.
- Apply compression before or after distortion.
- Compression ratio, attack and release are automatically adjusted to keep overall volume consistent.
- Follows a player’s style and compliments their playing with tunable peaking filters.
- Filters can be placed before or after distortion.
- Supports single or dual amp setups. Stereo out mode features unique spectral panning effects that spread the high and low bands out into the left and right channels.
- Boost a group of frequencies before the gain circuit and cut it afterward. (Or vice versa.)
- Unique view in H9 Control that allows you to visualize and control the parameters of the effect in realtime.
- Switchable noise gate
The spectral panning capability gets buried easily in Sculpt’s extensive feature set. (Note: It’s easy to cultivate many unique “stereo” effects in the H9 in mono; using a hybrid series / parallel routing, and a couple of extra patch cables. ) So, the LOW-DRIVE splits out to Output 1 / Left, and HIGH-DRIVE funnels to Output 2 / Right.
Cool enough.
By manipulating the XOVER point between the two bands, the input signal energy can shift focus to either one of the frequency bands (or both). With BANDMIX, the relative levels going into each band can also be adjusted. That will open up some distinct panning effects, as well as ‘harmonic tremolo’ simulations.
Here’s an exaggerated example to demonstrate. Some ‘dry’ input signal at the center, low band distortion to the left, and high band to the right. The XOVER frequency is mapped to the expression pedal, from 40 Hz. to 5000 Hz. ‘Panning’ will travel ‘backwards’ with the expression pedal travel (more on this below).
It’s easier to see these effects on Sculpt’s alternate EQ Curves view. At full heel on the expression pedal, everything below 40 Hz. gets funneled to LOW-DRIVE (which isn’t much). Nearly all of signal energy (above 40 Hz.) goes to the HIGH-DRIVE, which is panned to the right.
At full toe on the expression pedal, the XOVER frequency is at 5000 Hz. The majority of signal energy is now diverted to the LOW-DRIVE, with what’s left above 5000 Hz. being sent to the HIGH-DRIVE. The result is an apparent signal shift towards the left.
Changing the XOVER split frequency (via the expression pedal) will change the characteristics of frequency content, and apparent pan position, at the same time. There are many ways to take advantage of this feature, from subtle motion cues, through clean / distorted shifts & mixing, to wild ping-pong effects. And it doesn’t just apply to distortion. Similar effects can be constructed with clean, compressed, and filtered configurations.
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Now, if you back off the the extreme settings in the preset above, there are subtle motion effects on tap. Bring up compression, drop out the distortion(s), and add some LOW BOOST at the tail end. This time, the expression pedal targets fundamentals, and sweeps the XOVER parameter from 880 Hz. down to 110 Hz.
One again, using the EQ Curves page will clearly illustrate what’s happening within Sculpt’s internal routing. Here’s the expression pedal at the Heel position (XOVER at 880 Hz.):
And at the Toe position, with XOVER at 110 Hz.
With these kinds of lighter treatments, you can enhance the left-to-right panning with the illusion of front-to-back motion. Pseudo 3D; with brighter reflective surfaces morphing into dampened, darker spaces. This kind of effect pairs up nicely with some light modulation (synchronized or not), or when followed by stereo reverb.
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Another approach uses BANDMIX to blend the input signal between low & high bands. The XOVER point stays fixed; distortion is added to both the LOW-DRIVE and HIGH-DRIVE controls. COMPRESSOR and LOW BOOST are folded in downstream, along with ‘just a touch’ of FILTER-POST cut.
At the expression pedal heel, the BANDMIX is set to LOW 99+HI 15.
Expression pedal toe is at LOW 15+HI 99.
Distortion character, and apparent pan position, are continuously variable along the expression pedal sweep [ BANDMIX ]. I left in a little ‘leakage’ from the opposing band at each pedal extreme. A rhythmic foot (at less aggressive settings) can approach ‘harmonic tremolo’ sounds.
Glitching effects are possible: just ‘silence’ one of the two bands. Controlling the expression pedal mappings with an Aux Switch can really help there (instant band switching). XOVER + BANDMIX – latched together via expression pedal – is also a dynamic combination for fine-tuning via foot control. Lots of power here.
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