Ripped

Ripped is a distortion effect capable of ripping tones with advanced control over the frequency content. Audio is split into up to 16 bands, bandpassed, ran through fuzz distortion, and then recombined with an envelope follower to reconstruct the original dynamics.

Fuzz – to achieve this distortion, the signal is run through a pulse divider. The nature of this distortion is that low volumes do not sound clean, but rather broken.

## Emphasis section

Emphasis – This controls the resonance of the bandpass filters. For a ‘cleanish’ sound, keep drive to zero and set emphasis at around 9/10 on the knob. Higher emphasis values isolate the individual frequency bands further.

Base – This controls sets the frequency of the lowest bandpass channel.

Spread – This sets the frequencies of the other bandpass channels that sit above the Base frequency.

Curve – this controls focuses the distribution of frequency bands lower or higher

## Drive section

Input level – This sets the input level of the signal. Higher values will result in a fuller sound. Lower volumes result in fewer detected pulses in the pulse divider, and result in a more broken sound.

Drive – This control sets the decay of the envelope follower. Longer decay times result in a longer return to the original signal’s volume, and amount to more passthrough of the fuzz tone.

Blend – This controls a blend between the emphasis signal and the distorted signal. At zero, the drive section is completely bypassed. At maximum, no dry emphasis section is heard.

Smooth – This controls the attack of the envelope follower, and can help to smoothen the distortion. It significantly reduces the overall volume of the distorted signal.

## Tone section

Density – This controls the total number of bands. At the lowest, there is one – at the maximum, there are 16. These bands will always fit into the range indicated from the Spread control.

Octave – This blends the original pulse divider signal with a second, set to 2 pulse divisions. Especially with higher density, this can effectively result in dropped octave, with higher fidelity achieved due to the multiple bands and higher emphasis values.

Cut – This controls filtering between the original and processed signal – At the center, the full distorted signal is passed through. Move to the left, the distorted signal is low passed. To the right, the distorted signal is high passed. This can result in distorted low end and clean high end, or distorted high end and a tight, clean low end. Phase issues do occur – if you can solve them, please help!

Volume – this sets the volume of the processed signal. It can be used to match the volume of the unprocessed signal when using the cut knob.

## Mod Section

Modulation can be applied to the base frequency and spread value with a standard LFO and a Stereo LFO. The right most knobs in this section control the modulation amount and targets. The LFO modules are exposed here to control as usual. The leftmost controls in this section control the amount of ‘spread’ per bandpass channel (where each channel is a voice and the control signal is the voice number). You can apply voice number modulation to the LFO speed, Stereo LFO speed, and Phasing of the Stereo LFO.

## Output

Amp – controls the volume of the processed signal.

Compressor – It is recommended to use a Limiter, and the rack has one enabled by default (with the default compressor settings acting as a limiter).

Dry/Wet – a final control for parallel distortion and compression.

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  • Category: Effect
  • Revision: 1.0
  • License: Creative Commons Attribution 4.0
  • Modified: 3 months ago
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