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Tiptop Audio FX Manual

This document provides a user manual for three effect modules: the ECHOZ, ZVERB, and Z5000. It describes the features and functions of each module, including their 24 different effects programs, button and knob controls, and CV input jacks for modulating parameters. The user is guided through setting up and using the modules, switching between effect programs, and adjusting parameters like time, filter, and feedback.

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Albert Sirkia
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0% found this document useful (0 votes)
28 views48 pages

Tiptop Audio FX Manual

This document provides a user manual for three effect modules: the ECHOZ, ZVERB, and Z5000. It describes the features and functions of each module, including their 24 different effects programs, button and knob controls, and CV input jacks for modulating parameters. The user is guided through setting up and using the modules, switching between effect programs, and adjusting parameters like time, filter, and feedback.

Uploaded by

Albert Sirkia
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 48

ECHOZ

ZVERB

Z5000

www.tiptopaudio.com
A user manual for ECHOZ ZVERB Z5000 effect modules

This user manual covers the use of the ECHOZ, ZVERB and the
Z5000 Multi Effects modules. Due to similarities in method of
operation this user manual covers all 3 modules with sections
describing the programs on each afterward.

ECHOZ - Is an FX module fully dedicated to time delay effects from


emulation of tape echoes to early digital delays to complex multi-fx
units. 24 different programs cover a wide range of options and
internal signal path structures.

ZVERB - Has 24 different types of effects available ranging from


typical reverbs to more complex effects that combine delay and
pitch shifting with reverb. The effects are grouped by decades
based on either the era an algorithm or device was introduced or the
time when the effect was most popular.

Z5000 - The Z5000 is a Multi Effects module, it provides 24 effects


that include reverbs, delays, modulation, pitch and harmonizers. The
effects in the Z5000 were carefully selected to provide both
commonly used delay and reverbs and also some unusual sounding
and experimental effects.

Hardware Features:

- 8hp
- 3 illuminated buttons for bank selections
- 8 programs per bank, total 3 banks
- 3 CV inputs for all 3 DSP parameters
- Analog clocking of DSP with CV
- Black version: +12V@130mA -12V@20mA
- White version: +12V@100mA -12V@20mA

01
Let’s get started.

TIME FILTER

FBACK/MOD

TIME
FB/MOD FILTER

AUDIO SOUND SYSTEM

Set the Fidelity to max (CW), turn on power, patch audio into the In
jack, patch the left and right output to your sound system. Make sure
to patch both left and right so you get the full joy of stereo.
Set the following knobs to the center: MIX, IN, TIME, FILTER,
FEEDBACK/MOD.

02
TIME FILTER

FBACK/MOD

TIME
FB/MOD FILTER

There are 3 buttons on the module, each one lets you scroll through
a bank of 8 effects. Hold down the Left button until it flashes
indicating it is loading this bank into the DSP. Now that you are in
that bank, scroll through the eight effects by clicking the left button.
You will notice that everytime you switch a program the light on the
3 buttons indicate a pattern, the pattern is there for 5 seconds and
then goes off. This light pattern can help you remember a specific
effect you liked. If the pattern light turns off and you would like to
view it again just short click one of the other two inactive bank
buttons.

03
1
2
3
4
5
6
7
8

While scrolling, once you reach the YELLOW YELLOW YELLOW


pattern you know you are on effect No8, the last effect in that bank.
The bank light will also turn red. One more click and you are back to
effect No1 RED RED RED. Scrolling will continuously load the effects
in a loop 1..2..3…...7..8..1..2..3 etc.

These FX modules were designed on the concept of scrolling and


auditioning the effects live. We recommend scrolling while listening
and stop on the effect you like. The module will remember which
program you last used in a bank so when you switch between banks
you can switch between 3 of your favorite effects, one in each bank.

To switch to the next bank, just hold down the next bank button
down and a new bank will load up into the DSP.

The Effects Program section for each module has the LED patterns
for each effect. It might be useful for the first time using the module
to print or look up the table while scrolling to get familiar with the
type of effects.

04
Understanding the view modes:

The module has two different display modes: default and minimal.
The differences are listed below:

Default: Shows the program number in binary when changing


programs. Also, pressing an inactive bank button shows the current
preset number. Consult the charts in the effect programs for the LED
combinations for each program. Default also remembers the last
program set in each bank, so switching from the left bank to the
middle or right bank will load the last used program in that bank. For
example, switching from Left bank program 3 to Right bank then
back to Left will recall program 3 again.

Minimal: No display of the program number as shown in the effects


program section. The bank button will be yellow for programs 1-7
and turn red at program 8. Changing a bank will load program 1 each
time. For example, changing from Left bank program 3 to Right will
load program 1 in that bank, and switching back to Left will load
program 1 again.

If you would like to change the mode:


- To select the minimal mode hold down the center button on
power up.

- To select the default mode hold down the right button on


power up.

The selected mode is stored in memory and will be recalled on


future power ups. We encourage you to try both modes and find the
one that is better for you, this is a personal preference.

05
Manual Controls:

Left Button - Hold to access the Left bank of 8 programs


Middle Button - Hold to access the Middle bank of 8 programs
Right Button - Hold to access the Right bank of 8 programs

Middle Button

Left Button Right Button


TIME FILTER

FBACK/MOD

Time knob - controls the decay time of Reverbs, the Delay time or
the rate of Modulation LFOs

TIME
FILTER
TIME FB/MOD
FILTER

Time knob

FBACK/MOD

Filter knob - sets the cutoff frequency of the low/high or bandpass


filters in the program

TIME FILTER

TIME
FILTER FB/MOD
Filter knob

FBACK/MOD

06
Feedback/Mod knob - changes the amount of feedback in delay
programs or the depth/rate of LFOs in Reverb or Mod programs. Check
the program descriptions for details on what this controls.

TIME FILTER

FBACK/MOD

Feedback/Mod knob

Fidelity - Is a DSP manipulation technique developed originally for


the Z-DSP and brought to this line of effect modules as well. Inside
the module is an analog VCO thatTIMEclocks the DSP chip, the use of an
analog clock (not a digitallyFILTER
generatedFB/MOD
clock) not only contributes to
the overall organic sound quality of the module, but also lets you
take the effects into new sonic territories with variation of the clock
speed. The Fidelity knob in will alter the frequency of the VCO clock
with sound effects ranging from pitch shifting and down to total
degraded digital noise.

TIME FILTER

FBACK/MOD

Fidelity knob

TIME
FILTER FB/MOD

07
CV Controls:

There are 3 CV control jacks on the module: Feedback/Mod, Time and


Filter. The left and right jacks are dedicated for controlling DSP
parameters mapped to the Mod and Filter controls, the center jack CV can
be routed with the toggle switch to either TIME which is a DSP parameter
or to Fidelity clock control.

The DSP CV controls have a built in slew circuit which limit the speed they
can be modulated. This is part of the design of the DSP chip. The Fidelity
CV is all analog and can be modulated at any speed and even into the
audio range.
TIME FILTER

In extreme cases where negative voltage CV is applied to Fidelity the DSP


chip might crash, this does not damage anything, just remove the negative
CV, switch a program and the DSP will be back in action.
FBACK/MOD

TIME
FB/MOD FILTER

08
Clipping light indicator:
The clipping light monitors the input and output signal level of the DSP
chip. If a signal level at the input or the output is too high that light will
flash. Some times due to feedback the output
TIME
signal
FILTER
can grow much larger
than the input signal, in that case reduce the amount of Feedback with the
Feedback knob.
FBACK/MOD

Clipping light indicator

TIME
Output gain: FILTER FB/MOD

The IN level knob on TIMEthe FX modules


FILTER
is exponential, which means
that from 0 to 50% of the knob rotation the gain setting increases in
small amounts letting you carefully set the output gain to Line Level
to avoid clipping external
FBACK/MOD
audio equipment. From 50 to 100% the
gain increases in larger amounts letting you set the outputs to
Eurorack levels. This arrangement makes the module output
versatile without a need for jumpers to set the volume level.

TIME
FB/MOD FILTER

Output gain

09
TIME FILTER

A word about your sound sources:


Every effect reacts differently to the source sound, this can result in some
effects sounding very dull orFBACK/MOD
strange if the incoming sound is not ideal for
their use.

Later sections of this user manual have detailed description of each effect
and the source material that will work with it best. Obviously, these are just
recommendations and in the spirit of the modular synthesizer going the
‘wrong’ way can often lead you to sounds you have never heard before.
Experiment!
TIME
FB/MOD FILTER

Sound sources

FAQ:
Question: Are the delays on the FX modules syncable to external clock?

Answer: No, the variable clock rate of the DSP chip prevents clock sync
programs from syncing precisely.

Question: Is my last selected program saved after I turn off my modular?

Answer: Yes it is.

Question: What is the difference between Time and Fidelity CV?

Answer: The Fidelity control changes the speed of the digital processing
sample rate. This can have a similar effect to changing the Time control of
delays but the important difference is that Fidelity also changes the entire
processing including filter cutoffs, LFO speeds, etc. Lowering Fidelity will
increase the delay time of a delay but also lower the cutoff of a low pass
filter and slow down an LFO modulating the delay line. The Time control
will only change the delay time of that same delay.

10
Question: What are the differences between these modules and the
Z-DSP?

Answer: The Z-DSP has stereo input, VC analog feedback, CV control


over more features and a potentially unlimited number of programs
through the cards. Z-DSP is more of an effects experimentation
environment that you can even write your own effects for using NumberZ.

The Zfx line of modules are designed to add a limited well selected
number of useful effects in minimal HP.

Z-DSP Zfx
Stereo In Yes No

Clock source Digital or External Internal Analog

Mix CV Yes No

VC Analog Feedback Yes No

VC Program switching Yes No

Text Display Yes No

Card Expansion Yes No (24 fixed programs)

Program with NumberZ Yes No

Width 28HP 8HP

Specifications:
+12V - 130mA (black panel) 100mA (white panel)
-12V - 20mA
+5V - 0mA

Width - 8HP
Depth - 40 mm /1.5”

CV Range - 0 - 5V
Fidelity CV Range 0 - 5V or +/-2.5V

Input Max before clipping - 12V p-p


Output Max before clipping - 10V p-p

11
Z5000

Z5000 Z5000
Multi Effect Multi Effect
PITCH PITCH
REVERBS DELAYS MOD REVERBS DELAYS MOD

TIME FILTER TIME FILTER

FBACK/MOD FBACK/MOD

TIME TIME
FB/MOD FILTER FB/MOD FILTER

12
Z5000 TIME
FILTER FB/MOD

REVERB

Hall

Plate

80’s Verb

Gate

Room

Void

Delay > Hall

Shimmer

DELAY

Mono Digital Delay

Mono Tape Echo

Ping Pong Digital Delay

Ping Pong Tape Echo

Tape Multi-Head Blend

Diffuse Band Delays

Tape Chorus

Warp Pong

PITCH/MOD

Stereo Chorus

Stereo Flanger

Vintage Ensemble

Ahhhnsemble

Formant Delay

Dual Microshift Delay


Dual Interval Delays

Detuned Taps

13
REVERB PROGRAMS FOR Z5000

Z5000 has a set of reverb algorithms specifically designed for it and


the ZVERB module. All of the programs here were developed over
several years by Tiptop R&D and take inspiration from the history of
digital reverb devices from the earliest 1970s studio rack units to 90s
high end multi-effects and 80s budget boxes.

Hall

A version of the classic 70s ‘Hall’ style reverb. This has a dark,
dense yet somewhat ‘natural’ sound. The Time control is optimized
for longer times up to several minutes.

Time - Decay time of the reverb tail


Filter - Low Pass Filter
Mod - Rate of internal modulation

Plate

The sound is brighter than ‘Hall’ with a faster attack but is also
quite dense. With lower Modulation settings a more metallic sound
is possible. The Time control is optimized for medium-sized times
up to several seconds.

Time - Decay time of the reverb tail


Filter - Low Pass Filter
Mod - Rate and intensity of internal modulation

14
80s Verb

This one comes from the 80s ‘budget’ rack units and can get
very huge and highly modulated. Probably the best choice for your
contribution to ‘Selected Ambient Works III’.

Time - Decay time of the reverb tail


Filter - Low Pass Filter
Mod - Rate and intensity of internal modulation

Gate

A gated version of the Plate algorithm. Party like it’s 1985!

Time - Decay time of the reverb tail


Filter - Low Pass Filter
Mod - Rate and intensity of internal modulation

Room

Room with early reflections and minimal coloration at low Time


settings. Can become decently large with increased Time and the
Mod gets very wobbly at high settings just for fun.

Time - Decay time of the reverb tail


Filter - Low Pass Filter
Mod - Rate and intensity of internal modulation

15
Void

Backwards, inverse sounding effect that gets pretty huge at


longer Time settings.

Time - Decay time of the reverb tail


Filter - Low Pass Filter
Mod - Rate and intensity of internal modulation

Delay > Hall

A 500ms modulatable mono delay line feeds into the Hall


algorithm. The Feedback/Mod control adjusts the delay time and
the Time parameter increases both the delay line feedback and the
decay time of the Hall.

Time - Decay time of the reverb tail + delay feedback


Filter - Low Pass Filter
Mod - Delay time + delay feedback

Shimmer

An octave up pitch shifter in the reverb creates the classic


‘shimmer’ tone. The Feedback/Mod control adjusts how much of the
pitch shifted sound is present. Setting the pitch level higher with
smaller decay Time settings will increase the pitch level and have it
come in sooner. At longer decay Time settings very high pitch level
can overload the internal loop and clip the outputs!

Time - Decay time of the reverb tail


Filter - Low Pass Filter
Mod - Amount of octave up pitch shift in the reverb tank

16
Delay Programs for Z5000

The Z5000 Delay programs come from many years of development


of the Z-DSP cards. Most of the programs in this set began life on
the Z-DSP and are chosen to give a wide range of options from basic
mono digital and tape delays to complex multi-taps.

Mono Digital Delay

Basic mono digital delay line with a low pass filter in the
feedback loop. The delay time can be modulated without glitching
and produces an FM type effect. At max feedback the sound will
loop for a long time but also slightly degrade over time.

Time - delay time


Filter - cutoff of lowpass filter
Feedback - amount of feedback into the delay line

Mono Tape Echo

Mono Tape Echo program with a bandpass filter and tape


saturation in the feedback loop. Feedback is also overdriven to get
some of the runaway oscillations found in real tape machine echo
boxes.

Time - delay time


Filter - cutoff of bandpass filter
Feedback - amount of feedback into the delay line

17
Ping Pong Digital Delay

Dual delay lines move the delayed sound from left to right and
back. A lowpass filter in the feedback path tapers the high end of
the repeats.

Time - delay time


Filter - cutoff of lowpass filter
Feedback - amount of feedback into the delay line

Ping Pong Tape Echo

Tape Echo version of a stereo Ping Pong algorithm.

Time - delay time


Filter - cutoff of bandpass filter
Feedback - amount of feedback into the delay line

Tape Multi-Head Blend

Three tape ‘heads’ each with different delay times feed the
Filter blend control. At the center all three taps are mixed in the
output while only two are present at the extreme left and right
settings. All of the heads heard in the output are fed back.

Time - delay time


Filter - mix of heads 1, 2 and 3. Mid point has all 3
Feedback - amount of feedback into the delay line

18
Diffuse Band Delays

A delay line with six taps each run through a different band pass
filter. The taps are useful rhythmic ratios (1:1, 1:2, 3:4, etc). The
feedback loop has diffusion to wash out the repeats over time.

Time - Delay time


Filter - adjusts modulation and diffusion parameters
Feedback - amount of feedback into the delay line

Tape Chorus

A mono Tape Echo feeds a stereo Chorus. The Filter control


also changes the rate of the Chorus modulation: lower cutoff is a
slower LFO and the speed increases as the filter cutoffs do as well.

Time - delay time


Filter - cutoff of bandpass filter and rate of chorus
Feedback - amount of feedback into the delay line

Warp Pong

A stereo ping pong delay using the Tape Echo algorithm but
with a warping to the speed of the tape. The Filter control also
influences the warping speed a little bit.

Time - delay time


Filter - cutoff of bandpass filter
Feedback - amount of feedback into the delay line

19
Pitch/Mod Programs for Z5000

This collection of Pitch and Modulation programs are adapted from


years of work on the Z-DSP cards like Chorus, Time Fabric and
Spirals with a few new algorithms too.

Stereo Chorus

A pair of Chorus create a stereo effect. Each has a different


speed and phase LFO for spacious stereo from a mono source. The
high pass filter is useful to pass bass tones unmodified and only
process the harmonics.

Time - the rate of the LFOs


Filter - high pass filter
Feedback/Mod - depth of the LFO sweeps

Stereo Flanger

Dual flangers with separate LFOs and a feedback control to


inject the output to the input for classic jet plane sounds.

Time - the rate of the LFOs


Filter - amount of feedback. Counter clockwise for negative,
clockwise for positive
Feedback/Mod - depth of the LFO sweeps

20
Vintage Ensemble

An emulation of one of the most famous string synth effects.


Use 100% wet for best results. The mix of vibrato can be controlled
and about 30% is close to the original circuit. The Time control adds
in Octave Up and Down pitches to thicken up the sound. Works best
with basic waveforms. Stereo output.

Time - Amount of octave up and down mixed in


Filter - high pass filter
Feedback/Mod - amount of vibrato

Ahhhnsemble

Three formant filters create the ‘Ahh’ vocal sound with control
over the center frequency to sweep from male to female formant
tones. This is also fed through an ensemble effect. Try with raw saw
waves and 100% wet.

Time - the rate of the LFOs


Filter - tuning of the formant filter
Feedback/Mod - depth of the LFO sweeps

Formant Delay

Mono delay lines runs into a Formant filter with 4 vowel sounds.
The Filter control selects one of the vowels and the three filters are
slightly spread in stereo. The delay feedback is before the filter so
setting high levels of feedback will allow modulation of the vowel
type as the sound decays.

Time - delay time


Filter - selects one of 4 vowel sounds
Feedback/Mod - amount of feedback

21
Dual Microshift Delay

Two pitch shifters set to the detune range follow a mono delay
line. The pitch shifters are in the feedback path so the detuning can
create up/downwards slides.

Time - delay time


Filter - detuning amount for the pitch shifters
Feedback/Mod - amount of feedback into the delay line

Dual Interval Delays

A multi-tap dual delay with two pitch shifters which are tuned to
various intervals. The shifters are in the delay line feedback loop to
create various pitch arpeggio and glissando type effects.

Interval pairs: -12/+12, -12/-7, -12/-5, -5/+3, -5/+4, +7/+4, +7/+12,


+12/+12

Time - delay time


Filter - intervals for the pitch shifters
Feedback/Mod - amount of feedback into the delay line

Detuned Taps

A multitap delay line with a pair of detuned pitch shifters and


diffusion. Higher amounts of detuning create up/down glides.
Higher feedback amounts add a reverberant wash to the repeats.

Time - delay time


Filter - detuning amount for the pitch shifters
Feedback/Mod - amount of feedback into the delay line

22
ECHOZ

PITCH PITCH
TAPE DIGITAL MOD TAPE DIGITAL MOD

23
ECHOZ
TAPE ECHO

Mono Tape Echo

Ping Pong Tape Echo

3 Head Mixed Echo

3 Head Switch Echo

Chorus Echo

Diffuse Chorus Echo

Wobbly Tape Echo

Warp Pong

DIGITAL DELAY

Mono Digital Delay

Ping Pong Digital Delay

Short BBD

Formant Delay

Dual Ratio Tapped Delay

Bandpass Tap Select

Diffuse Delay

Multi-tap Diff. Band Delays

PITCH

Mono Pitch Shift Delay

Mono Interval Shift Delay

Chord Delay

Interval Feedback Loop

Dual Microshift Delay

Shimmer Taps
Diffuse Pitch Band Taps

Detuned Taps

24
EFFECTS PROGRAMS FOR ECHOZ

Tape Echo Programs:


Tape Echo programs use saturation and limiting to emulate the
sound of classic tape based echo units. The additional gain in this
mode will amplify system noise especially at high feedback levels.
This noise is integral to the tape sound.

Tape Echo has a dual low pass and high pass filter configuration that
moves between low pass at full counter-clockwise through
bandpass to full high pass at full clockwise position.

Mono Tape Echo

This is a single head style tape echo with mono output similar to
the earliest tape units. The maximum delay time is tuned for shorter
rhythmic, slapback and associated effects.

Time - delay time


Filter - cutoff of bandpass filter
Feedback - amount of feedback into the delay line

Ping Pong Tape Echo

A pair of delays where the input feeds the left channel and the
output of the left delay feeds the input of the right delay. The
feedback is taken from the output of the right side. Both delays have
the same delay time for easy rhythmic effects.

Time - delay time


Filter - cutoff of bandpass filter
Feedback - amount of feedback into the delay line

25
3 Head Mixed Echo

A three head Echo in the style of some famous 70s units. The
three heads are continuously blended between using the Filter
control. The output is stereo.

Time - delay time


Filter - cutoff of bandpass filter and mix of three heads
Feedback - amount of feedback into the delay line

3 Head Switch Echo

The Filter control also switches between combinations of the 3


heads (1+2, 1+3, 2+3, 1+2+3). Note that there may be slight jumps in
the sound when switching. Stereo output.

Time - delay time


Filter - cutoff of bandpass filter and switching between heads
Feedback - amount of feedback into the delay line

Chorus Echo

Like the Mono Echo in program 1, but with a stereo Chorus after
the delay. The speed of the Chorus increases as the Filter control
moves to high pass.

Time - delay time


Filter - cutoff of bandpass filter and chorus rate
Feedback - amount of feedback into the delay line

26
Diffuse Chorus Echo

Adds Diffusion to the input and echo repeats creating more of a


detuned wash to the sound. The diffusion is modulated by internal
LFOs for detuning/chorusing and the output is in stereo.

Time - delay time


Filter - cutoff of bandpass filter
Feedback - amount of feedback into the delay line

Wobbly Tape Echo

An internal LFO modulates the delay time slightly to give some


wobble chorus/vibrato to the sound. The modulation rate is tied to
the Filter control and speeds up as the filter cutoff increases. Both
the Feedback amount and Delay time influence the depth of the
wobble: High feedback increases the wobble effect as does shorter
delay times. Mono output.

Time - delay time


Filter - cutoff of bandpass filter
Feedback - amount of feedback into the delay line

Warp Pong

Stereo Ping Pong delays with internal LFOs modulating the


delay time. Each side has a different modulation rate that increases
as the Filter control is raised. Feedback and delay Time also change
the depth of the modulation. Stereo output.

Time - delay time


Filter - cutoff of bandpass filter
Feedback - amount of feedback into the delay line

27
Digital Delay Programs:

Digital Delay programs use a single mono, dual or multi-tap stereo


algorithms. The delay line reads are interpolated to minimize
distortion from modulation and also provides pitch bending effects.

Mono Digital Delay

A simple mono delay line with a low pass filter in the feedback
path to roll off the high end of repeats. This program has the
longest single delay time of any ECHOZ programs.

Time - delay time


Filter - cutoff of low pass filter
Feedback - amount of feedback into the delay line

Ping Pong Digital Delay

Two delay lines, Left and Right. Input enters the Left delay line
and is output to the Left output and also the input of the Right delay
line. The output of the Right delay line is fed back into the Left input.
The effect is the echo bouncing from Left to Right and back again.

Time - delay time


Filter - cutoff of low pass filter
Feedback - amount of feedback into the delay line

28
Short BBD
A very short mono delay that emulates early analog ‘bucket
brigade delays’ (BBD). This program is designed for short flange,
chorus, slapback and Karplus-Strong effects. The latter is achieved
by turning up the feedback to a high level and using the delay time to
set the pitch of the string pluck. Use short percussive sounds (or
triggers) to excite the delay line and try it with Vocals too.
Time - delay time
Filter - cutoff of low pass filter
Feedback - amount of feedback into the delay line

Formant Delay
Mono delay lines runs into a Formant filter with 4 vowel sounds.
The Filter control selects one of the vowels. The delay feedback is
before the filter so setting high levels of feedback will allow
modulation of the vowel type as the sound decays. Stereo out.
Time - delay time
Filter - selects one of 4 vowel sounds
Feedback/Mod - amount of feedback

Dual Ratio Tapped Delay


A dual tap delay line with 1.0x, 0.75x, 0.5x, 0.375x and 0.25x
delay time taps. The filter control selects from the following 8
combinations:
1.0 0.75
1.0 0.5
1.0 0.375
1.0 0.25
0.75 0.375
0.75 0.5
0.5 0.375
0.375 0.25
Time - delay time
Filter - selects the combination of heads
Feedback/Mod - amount of feedback

29
Bandpass Tap Select

A multi-tap delay line with 1.0x, 0.75x, 0.5x, 0.375x delay time
taps. Each tap has a bandpass filter. The Filter control selects which
of the taps is used for feedback.

Time - delay time


Filter - selects one of the taps for the feedback loop
Feedback/Mod - amount of feedback

Diffuse Delay

A single mono delay line with stereo diffusion creates a


reverberant wash as the repeats decay.

Time - delay time


Filter - cutoff of low pass filter
Feedback - amount of feedback into the delay line

Multi-tap Diffuse Band Delays

Multi-tap bandpassed delay with diffusion in the feedback path.


Low feedback settings produce a rhythmic effect and increasing
feedback turns into a more reverb like sound. The Filter control
increases the modulation of diffusion so higher levels reduce the
ringing of the delay feedback but can also introduce vibrato to
pitched sounds.

Time - delay time


Filter - rate of modulation of the diffusion
Feedback - amount of feedback into the delay line

30
Pitch Programs:

Pitch programs on ECHOZ have one or two pitch shifters along with
single or multi-tap delay lines. Interval programs have the pitch of the
shift quantized to musical values (third, fifth, octave, etc) while the
others have shifts that range from octave down to octave up or
‘microshifts’ with subtle detuning. Some of the programs have the
pitch shifting in the feedback loop to create up and down arpeggio or
glissando type effects.

Mono Pitch Shift Delay

A mono delay line into a single pitch shifter. The pitch shift is not
quantized to intervals and has a range of -1 octave to +1 octave (-1200
to +1200 cents). Pitch shifting is after the delay feedback so the pitch
is constant as the repeats decay.

Time - delay time


Filter - Pitch shift amount from -1200 to +1200 cents
Feedback - amount of feedback into the delay line
Yellow_Red_Red

Mono Interval Shift Delay

A mono delay line into a single pitch shifter. Pitch shifting is after
the delay feedback so the pitch is constant as the repeats decay. The
pitch shift is quantized to the 8 intervals listed below:

-12 -7 -5 -3 +3 +4 +7 +12

Time - delay time


Filter - selects interval
Feedback - amount of feedback into the delay line

31
Chord Delay

A mono delay line into a pair of pitch shifters panned left and
right. Pitch shifting is after the delay feedback so the pitch is constant
as the repeats decay. The pitch shift is quantized to the 8 intervals
listed below:

-12 +12
-12 -7
-12 -5
-5 +3
-5 +4
+4 +7
+7 +12
+12 +12 (detuned)

Time - delay time


Filter - selects interval
Feedback - amount of feedback into the delay line

Interval Feedback Loop

A mono delay line into a pair of pitch shifters panned left and
right. Pitch shifting is inside the delay feedback so the pitch moves
up or down as the repeats decay forming arpeggio patterns. The
pitch shift is quantized to the 8 intervals listed below:

-12 +12
-12 -7
-12 -5
-5 +3
-5 +4
+4 +7
+7 +12
+12 +12 (detuned)

Time - delay time


Filter - selects interval
Feedback - amount of feedback into the delay line

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Dual Microshift Delay

A mono delay line into a pair of micro pitch shifters. The pitch
shifting is fixed to a slight detune on one side and small shift up on the
other. The Filter control blends between the two with all the way
counter-clockwise being only downward to only upward shift on the
full clockwise. Both pitch shifters are in the feedback path so the
pitch will continue to rise or drop as the repeats decay.

Time - delay time


Filter - Mix of downward (CCW) to upward (CW) tuning
Feedback - amount of feedback into the delay line

Shimmer Taps

Multi-tap delay with a single octave up pitch shifter. Based on the


classic reverb ‘Shimmer’ effect the octave effect is in the feedback
loop of the delay. The Filter control sets the amount of pitch shift in
the feedback and combined with the Feedback control allows for a
variable mix of delay and pitch shift.

Time - delay time


Filter - Amount of pitch shift in the feedback loop
Feedback - amount of feedback into the delay line

Diffuse Pitch Band Taps

Multi-tap delay with a single variable pitch shifter. The taps have
both diffusion and bandpass filters. Pitch shifting is not in the
feedback path so the pitch remains constant as the repeats decay.
Time - delay time
Filter - Pitch shift amount from -1200 to +1200 cents
Feedback - amount of feedback into the delay line

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Detuned Taps

A multitap delay line with a pair of detuned pitch shifters and


diffusion. Higher amounts of detuning create up/down glides. Higher
feedback amounts add a reverberant wash to the repeats.

Time - delay time


Filter - detuning amount for the pitch shifters
Feedback/Mod - amount of feedback into the delay line

34
ZVERB

MOD MOD

MOD MOD

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ZVERB
70s

Hall

Plate

Bright Plate

Tape > Plate

Earliest ‘Verb

Space Station
Prehistoric Exhibit A
Epic Mod Hall

80s

80s BarrVerb

Ambience

Gated

Delay > Hall

Shimmer Octave Up/Down

Shimmer Pitch Adjust

Blooming

Pitch over Plate

90s

Room

Void

Downward Spiral

Random Hall

Pong Verb

ChordHall

Pitch > Chorus

Formant Verb

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EFFECTS PROGRAMS FOR ZVERB

ZVERB is based on the same audio DSP technology as the Z-DSP


multi-effects module and benefit from nearly a decade of
experience designing algorithms for it. Tiptop R&D developed all of
the programs on ZVERB in house over several years. These
algorithms are inspired by some of the most important digital reverb
devices since the late 1970s, from very high end studio devices to
low cost 1U rack units for home studios and touring musicians.

70s Programs:

The 1970s saw the introduction of programmable digital technology


to the audio industry. The first half of the decade featured primitive
delays followed by the first pitch shifters, but by the late 70s enough
processing power and memory was available to do algorithmic
reverb (and other effects). This bank features interpretations (not
emulations or clones) of the first generation of digital reverb.

Hall

A version of the classic 70s ‘Hall’ style reverb. This has a dark,
dense yet clear sound. The Time control is optimized for longer
times up to several minutes.

Time - Decay size of the space


Filter - Low Pass Filter
Mod - no function

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Plate

The sound is brighter than ‘Hall’ with a faster attack but is also
quite dense. With lower Modulation settings a more metallic sound
is possible. The Time control is optimized for medium-sized times
up to several seconds.

Time - Decay size of the space


Filter - Low Pass Filter
Mod - Rate and intensity of internal modulation

Bright Plate

Like the previous Plate program but with a high pass filter and
tuned for a shorter and brighter sound overall.

Time - Decay size of the space


Filter - High Pass Filter
Mod - Rate and intensity of internal modulation

Tape > Plate

A mono tape echo is placed before the Plate algorithm. The


echo has saturation and limiting plus a bandpass filter which can
give some crunchy sounds to feed into the plate. The Mod delay
time and Time reverb decay also control the tape echo feedback -
increasing those controls feeds more back into the echo.

Time - Decay time of the space + echo feedback


Filter - Bandpass Filter
Mod - Tape Echo head delay time + echo feedback

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Earliest ‘Verb

Based very loosely on the first commercial reverb box. The Mod
control changes the ‘Size’ of the reverb which is not the same as
changing the Decay Time control. This has a smaller overall size
than the Hall.

Time - Decay time of the space


Filter - Low Pass Filter
Mod - Size of the space

Space Station

What? This isn’t a ‘reverb at all! True, this algorithm is a


multi-tap delay based on a very early digital processor called the
Ursa Major Space Station. The Mod control changes the taps used
in the output and feedback. Filter adjusts an independent mono
‘Echo’ delay that also factors into the feedback. Try it on percussive
tracks and loops, crank the feedback and sync the taps and echo for
some robotic rhythm effects.

Time - Feedback
Filter - time of Echo channel delay
Mod - Tap selection

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Prehistoric Exhibit A

As the name suggests, this predates any commercial products


by many years, but the algorithm was a starting point for all research
into artificial digital reverberation. The space is small and can be
quite ringy with low Mod settings, but crank up Mod and it becomes
quite chorused.

Time - Decay size of the space


Filter - Low Pass Filter
Mod - Rate of internal modulation

Epic Mod Hall

This is the largest of all algorithms in ZVERB and at maximum


Time settings it becomes practically infinite. Based on the Hall
program but with much higher and adjustable modulation amounts.

Time - Decay size of the space


Filter - Low Pass Filter
Mod - Modulation

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80s Programs:

Digital technology hit every part of life in the 1980s and the audio
field was no exception from samplers and recorders to a quickly
expanding range of effects processors. For the first time ‘budget’
products put reverb and other effects in the hands of home and
touring musicians. The 80s bank of ZVERB features some of the
important and iconic algorithms of the decade.

80s BarrVerb

Based on the design of 80s lower cost multi-effects units. This


has a simpler structure than the ‘Hall’ or ‘Plate’ algorithms but it still
creates a very spacious and rich sound. The sound of the internal
delays are more prominent than the 70s algorithms. The Mod
parameter controls the overall delay length and creates a longer but
more obvious echo effect as it increases. The modulation is high
and the Time control is tilted to very long and large spaces up to
about a minute in time.

Time - Decay size of the space


Filter - Low Pass Filter
Mod - Length of internal delay loop

Ambience

A small space that can go from phone booth to living room to


long hallway or city alley in size. The Mod parameter sets the basic
size of the space and the Time adds more depth to the decay.

Time - Decay size of the space


Filter - Low Pass Filter
Mod - Pre-delay and Early Reflections scaling

41
Gated

A Gated Reverb based on a Plate algorithm popular on


percussion in the 80s (the button says 80s for a reason!). The Gate
follows the input signal and has a quick, clean attack and release.
The Fidelity control does slow down the envelope as well as the
onset of the reverb.

Time - Decay size of the space


Filter - Low Pass Filter
Mod - Rate and intensity of internal modulation

Delay > Hall

A multi-effect mono delay line into a modulated Hall reverb.


The delay line can be modulated with CV for additional echo effects
before hitting the reverb. The feedback of the delay line increases
with both delay time and reverb decay time controls.

Time - Decay size of the space. Delay feedback


Filter - Low Pass Filter
Mod - Delay time and feedback

Shimmer Octave Up/Down

Dual pitch shifters tuned one octave down (-12 semitones) and
one octave up (+12 semitones) are inside the Hall delay algorithm.
The Mod control adjusts how much of octave up or down is present
in the sound.

Time - Decay size of the space


Filter - Low Pass Filter
Mod - Mix of octave up and down pitch shifters

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Shimmer Pitch Adjust

A single pitch shifter with a range from one octave down (-12
semitones) to one octave up (+12 semitones) is inside a modulated
Hall algorithm. The Mod control sets the pitch and the Filter control
adjusts how much of the pitch shift is added to the reverb decay.

Time - Decay size of the space


Filter - Amount of pitch shift added to reverb
Mod - Pitch of shifter

Blooming

Another one inspired by a very popular 80s budget box. This is


really just a set of delays set up to sound ‘reverse’. At low Mod and
Time settings it recreates the classic inside out sound while
increasing those controls brings in a more wobbly wash. It likes to
be fed sounds with slightly percussive attacks and solid pitch (ahem,
guitar).

Time - Decay size of the space


Filter - Low Pass Filter
Mod - Rate and intensity of internal modulation

Pitch over Plate

A pair of pitch shifters on the output of the Plate program add


some weight or air to the reverb tone. The shifters are not in the
reverb tank so the pitch is stable and quantized to four intervals: -12,
-7, +7 and +12. This one works quite well with percussive sounds as
well as pitched ones.

Time - Decay size of the space


Filter - Amount of pitch shift added to reverb
Mod - Pitch of shifter

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90s Programs:

Processing power increased and the size of electronics decreased


in the 90s giving both much more advanced high end devices and
more affordable low cost units. This bank focuses on some of the
higher end algorithms of the era which have interesting
combinations of delay, pitch, modulation and reverb.

Room

A ‘Room’ type algorithm that uses a multiple delay line structure


popularized in the 90s. At short Times with low modulation this can
have a sharp ringing sound like a tiled room and increasing the Time
and Modulation will result in denser and more chorused spaces.

Time - Decay size of the space


Filter - Low Pass Filter
Mod - Rate and intensity of internal modulation

Void

Very different design from the other algorithms, this idea


originated in high end rack units from the 90s and continues to be
very popular in the 21st century. At lower Time settings it almost has
a reverse sounding response, while increasing the Time and
Modulation creates a very unnatural but lush sound.

Time - Decay size of the space


Filter - Low Pass Filter
Mod - Rate and intensity of internal modulation

44
Downward Spiral

Based on the previous ‘Void’ algorithm but with a pair of slightly


detuned pitch shifters inside the reverb. The Mod control sets how
much detuning and thus how quickly the pitch of the decay spirals
down. Also, apparently the title of a popular record of the decade -
who knew?

Time - Decay size of the space


Filter - Low Pass Filter
Mod - Rate the pitch spirals down

Random Hall

Based on the Hall algorithm but with lots of randomization


inside the reverb. At low Mod settings this makes a nice way to
break up the decay of percussive sounds, while higher settings and
longer decays will start to wobble pitched instruments quite
noticeably.

Time - Decay size of the space.


Filter - Low Pass Filter
Mod - Amount of Randomization of internal parameters

Pong Verb

A set of multi-tap delays fed through diffusion. The taps


‘ping-pong’ left to right. At low Decay settings and longer Mod delay
times the effect is like a stutter. Longer Decay times start to create a
reverberant wash that can sometimes sound almost backwards.

Time - Decay time of the space


Filter - Low Pass Filter
Mod - Delay time of each tap

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ChordHall

A pair of pitch shifters with 4 sets of intervals run into a


modulated Hall algorithm. The pitch effect is not in the decay of the
reverb so the pitch remains stable. Good for making tritone chords
from mono oscillators.

Time - Decay size of the space


Filter - Low pass filter
Mod - Intervals of pitch shifters:
-12 -5
-5 +3
+4 +7
+7 +12

Pitch > Chorus

A mono delay into single pitch shifter into stereo chorus with
diffusion makes for an unconventional reverb effect inspired by a
high end 90s rack unit. The delay, pitch shift and chorus are all in
the complex feedback path so the pitch will glide up or down as the
decay increases. Pitch is unquantized from one octave down (-1200
cents) to one octave up (+1200 cents). Works best with pitched
sounds with slow attacks like pads.

Time - Decay time of the space


Filter - Pitch shift from -1200 to +1200 cents
Mod - Delay time of each tap

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Formant Verb

A set of bandpass filters create an ‘Ahhhh’ sound that feeds a


Hall type reverb. The Tune control moves the center frequency of
the filters from male to female ranges.

Time - Decay time of the space


Filter - Center frequency of formant filters
Mod - No function

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