WAY MORE THAN DYNAMIC AUDIO BENDING !
First invented with guitar in mind, the ELASTIC Bender can be used on any source signal, such as guitar, bass, drums, vocals or anything you can think of!
When you think of what the dynamic wah and auto wah have bring to the wah pedal in term of a new way of expression, you can think of the ELASTIC Bender as a kind of dynamic Whammy.
While the incoming audio peaks are detected by the circuitry, they will trigger an audio pitch envelope that will dynamically bend the note(s) from lower to the actual pitch or from higher to the actual pitch. You can act on the depth and the speed of the pitch envelope.
This is a very expressive effect, very funky sounding with short envelope time.
But there are way more inside than just auto-bend!
The ELASTIC is based on dual BBD (bucket brigade delay) chips which delay times are modulated by the peak triggered envelope.
You can then make some unusual (because of the up OR down only delay time modulation) lush chorus or wild flange and ring modulation effects when using the MODE B (10ms).
The MODE D (300ms) can reach pseudo reverb and slap back effects or land into early vintage pitch shifter territory.
The feedback ability will provide some nasty sounding effects and the ELASTIC Bender can even self-oscillate!
The input and output circuitries are analog modeled so the ELASTIC Bender will nicely overdrive if pushed too far...
Oh and yeah it looks like a BOSS pedal, mainly because I think this effect would suit nicely into their range and I am a Vintage BOSS pedal addict myself, I own 15 of these babies! :D
There are 3 sources to trigger the envelope, audio peaks, built in LFO and trigger from incoming MIDI notes for great tempo synced rhythmic sequences.
There is also true stereo processing with the ability to slightly change the envelope time between left and right for a nice mono to stereo image or stereo separation.
You can mix the direct dry incoming signal with the wet one, adjust the peak trigger sensitivity to suit your incoming signal and even change the envelope curve by tweaking the VCA response.
Last but not least the ELASTIC Bender can output its envelope as any MIDI CC# message! So you can for example control a real Whammy 5 pedal in a new way but also modulate any hardware or software units that accept MIDI CC#!
You could then have a peak triggered delay time, reverb amount or a custom compressor just by just acting on the volume....endless possibilities.
The Fat and screaming sound!
ANALOG MODELED INPUT & OUTPUT TRANSISTOR OVERDRIVE
If pushed to far the circuitry will nicely overdrive, this is noticeable also when you have a high amount of feedback or when the pedal reach self-oscillation.
The bend can start lower and reach the actual pitch or start higher and reach the actual pitch.
The envelope time will follow the SPEED setting and you can go from very short to very long audio bends. The incoming dry signal can be mixed with the effected one to produce chorus, flange, ring modulation or early pitch shifter effects.
THREE TRIGGER SOURCES
The pitch envelope can be triggered either by the detected audio peaks or by an internal LFO.
The internal LFO can also be re-triggered by an incoming peak if needed or can be free running. There is a third source available in the form of incoming MIDI notes. This is a nice way to have a precise control over the bend triggers or to make tempo synced rhythmic patterns.
The pitch envelope shape can also be adjusted between a log and an exponential curve, middle point being a linear response.
The ELASTIC Bender circuitry provides the ability to feedback which can provide source for flanging or wild pitch shifted effects. If the feedback is set to max the pedal will start to self-oscillate, which means that even if there is no more audio coming into the pedal you can still produce an analog sound and modulate it somehow. This will end as soon as you dial back the feedback amount.
TRIGGER PEAK SENSITIVITY
Depending on the audio input you will need to adjust the sensitivity to match the behavior you want, for example: only trigger when hit hard.
Basically you will add sensitivity for low level signals and reduce it for high levels.
TRUE STEREO PROCESSING & MONO 2 STEREO
You can use the ELASTIC Bender as an insert on mono or stereo channels both channels will be processed independently.
If you use a mono signal such as a guitar on a stereo channel, you can use the ELASTIC Bender as an insert or as a send effect. The stereo separation feature will change the time relation between both delay lines and produce a stereo output from your mono signal.
MIDI OUTPUT OF THE ENVELOPE
You can use the ELASTIC Bender as a MIDI CC# envelope generator and control for example a WHAMMY 5 hardware pedal in a new way. The MIDI channel and MIDI CC number can be adjusted so you can control almost anything hardware or software that accept incoming MIDI CC messages. There are Endless possibilities.
GUI & AUTOMATION
The GUI features all the ELASTIC BENDER controls, most of the parameters can be MIDI learned and controlled by an external MIDI Hardware or automation which gives you far more control and expression.
LOAD & SAVE FULL PATCH & BANKS in FXB/FXP Many included.
(Additional technical info is into the manual.)
Analogue delays are very interesting from a technical point of view. They are somehow in-between analogue and digital. On one hand the signal is split into frames and the Shannon Theorem applies, on the other hand the information is stored in real values and not in a binary manner.
The principal of analogue delay is that a signal is transformed into charge packets which are transferred by a time fix sequence from one storage unit to the next. The components used for analogue delay are thus called bucket-brigade device (BBD).
Simplified spoken a BBD is just a chain of semiconductor switches and capacitors. Every odd switch is connected to the clock signal and every even switch is connected to the inverted clock signal. The number of capacitors is called number of stages and defines the delay time (also depending on the clock speed). Most common were 512 and 1024 stages.
If we want to change the playback speed, we need a delay block and a saw tooth LFO. The steeper the LFO rises/falls the higher is the change in Pitch. Pitch is therefore dependent on LFO-frequency and the difference between highest and lowest delay time. Both values have to be tuned to get best results.
To hide the zero crossing of the saw tooth usually two parallel systems with different phases would be used. A balance controlled by another LFO (with phase between the two LFOs above) would then blend out the signal path that would create a click.
All these modulations and the nature of a BBD chip will introduce a small loss in high frequency content; the good news is that it is nice to the human ear.
The ELASTIC Bender EL-2 MODE B use only a few stages (10ms) and is suitable for real time playing while the MODE D use more stages (300ms) which make it more useful when the wet signal is blended with the dry source.
There is no similar effect that I can think of as a VST effect, the auto bend is only featured in some ZOOM multi effects unit (first seen on a 9030 Pro FX Unit) and is known as the "bendchorus" it only feature a short bend ability though and there are no other controls besides the speed and depth.
As a musician I have found that an auto dynamic bend effect is very close to the expressivity of a dynamic wah pedal and that this effect should be more known and more used, a special trick of mine is to use it either as a solo send FX for Stereo Flanging craziness or to use it in dynamic pitch mode with a Wah pedal before.
Maybe I will make a hardware boutique pedal at some point... :)
For now there is a quick overview that should get you started!ELASTIC BENDER MANUAL V1.
Get ELASTIC BENDER for Windows
Windows XP/Vista/7, or newer
32bit Host or 64bit using your DAW Bridge or JBridge Software, VST2.4
Elastic Bender will be ported to Native x64 and OSX in the future.