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Subdecay Octave Theory – Octave 八度 8bit 合成器模拟 单块效果器

八度调制器/倍频音程换档踏板。 shepard音吉他合成器。 LFO和包络倍频程移位。 全模拟滤波器设计。 灵感来源于老式合成器和8位计算时代。

  • 型号: Octave Theory
  • 价格: 1600
  • 产地: 美国

Octave Theory – Octave Modulator / Synthesizer.

八度调制/合成器模拟 单块效果器


  • 八度调制器/倍频音程换档踏板。

  • shepard音吉他合成器。

  • LFO和包络倍频程移位。

  • 全模拟滤波器设计。

  • 灵感来源于老式合成器和8位计算时代。


图片关键词

演示视频:


The first ever guitar synth with octave modulation

那么八度调制到底是什么?八度音阶理论在八度音阶之间无缝交叉。配上一个很棒的过滤器,这创造了许多可能性。像8位芯片音,古典吉他合成器,超低音和世界上第一个谢泼德音吉他合成器。

With great power…

一系列操控覆盖了20世纪80年代早期的许多合成器。这给了你创造各种声音的能力。当然,在某些情况下,合成器不会发出声音,会进入无法控制的振荡,或发出奇怪的噪音。有时候奇怪的声音不是你所期望的那种奇怪的声音。


虽然许多吉他手喜欢调整和磨练他们的音色,但我们大多数人都没有那么大的耐心来摆弄一个矩阵的互动设置。八度音阶理论达到了完美的平衡,让你有能力创造自己的声音,而无需无休止的旋钮调整或单调的菜单驱动界面。


The Filter 滤波器 :

谐振滤波器灵感来源于Korg MS20。像MS20一样,共振旋钮可以将倍频程理论推向振荡。大多数吉他合成器踏板不会涉及,他们认为你不能处理这么多的原始力量。许多滤波器振荡声音可能会变得尖锐或傲慢。如果你保持较低的滤波器频率,你可以给你的合成音一些咆哮。

AMP vs. Filter priority and envelopes. 前级与滤波包络

图片关键词ADSR包络是一种主要的合成器。当缺少完整的外部ADSR控制时,产生内部ADR(音头/衰减/释放)包络来控制振荡器输出电平。(AMP–synthspeak用于调节振荡器输出电平。)

AMP Priority (white marker): 在使用白色标记的模式下,衰变旋钮可以让您完全控制放大器的衰变。在这些模式中,滤波器也在固定深度上跟随ADR包络。这可以让你的音符迅速而优雅地衰减。向上转动旋钮可以延长衰减时间。

Filter Priority (green marker):在绿色标记模式下,滤波器跟随由输入强度生成的包络。(与封套过滤器的工作方式相同)深度旋钮控制输入包络对过滤器的影响程度。当处于滤波器优先级时,内部ADR包络是固定的,衰减时间是无限的。

Octave Modulation 8度调制:

用四种方法调整你的八度音阶。LFO调制、包络调制、谢泼德音或手动模式。

LFO-低频震荡: 在这里你会发现芯片的声音,特别是方波和双方波模式。在三角形、正方形和双正方形模式下,滤波器遵循内部ADR和频率旋钮。在随机模式下,滤波器跟随LFO。倍频程模式旋钮控制LFO速度。

Envelope 包络: 播放动态调节八度交叉衰减。八度模式旋钮控制信封的整体影响。

Shepard Tone:  当你在吉他琴颈上弹奏更高的音符时,八度音阶的交叉衰减会下降。当set=模式播放一个八度音高将产生相同的音符。无论你是在玩一个开放的低E还是在第十二个烦躁的高E弦,可达到相同的音高。在 ↓ 模式下,输出音高将越来越低。在所有shepard音调模式中,oct.mod旋钮手动控制从几个八度到几个八度。

Manual mode 菜单选项: 这与我们最初的吉他合成器踏板Octasynth最相似,但添加了最需要的功能。oct.mod旋钮取代了Octasynth的混合控制,它只允许一个或两个八度音阶下降,而是将你从三个八度音阶下降到两个八度音阶上升。

图片关键词

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原文介绍:

Octave Theory – Octave Modulator / Synthesizer.


  • World’s first octave modulator / octave shift pedal.

  • World’s first shepard tone guitar synthesizer.

  • LFO and envelope octave shifting.

  • All analog filter design.

  • Inspired by old school synthesizers and the 8 bit computing era.

The first ever guitar synth with octave modulation

So what the heck is octave modulation? The octave theory seamlessly crossfades between octaves. Paired with an awesome filter this creates a multitude of possibilities. like 8 bit chiptune sounds, classic guitar synth, super sub bass tones and the world’s first ever shepard tone guitar synthesizer.

With great power…

An array of knobs covered many early 1980s synthesizers. This gave you the power to create a wide range of sounds. Of course, on some settings the synthesizer wouldn’t make a sound, would go into uncontrollable oscillation, or make weird noises. Sometimes the weird noises weren’t the weird noises you expected.

While many guitarists enjoy tweaking and honing their tone most of us don’t have that level of patience for fiddling with a matrix of interactive settings. The Octave Theory strikes the perfect balance giving you the power to create your own sound without endless knob tweaking or (gasp!) a tedious menu driven interface.

The Filter:

Resonant filter inspired by the Korg MS20. Like the MS20 the resonance knob can push the Octave Theory into oscillation. Most guitar synth pedals won’t let you go there. They think you can’t handle so much raw power. To be fair many of those filter oscillation sounds can get shrill or overbearing. If you keep the filter frequency low you can give your synth tones some growl. Use this power responsibly. 

AMP vs. Filter priority and envelopes.

图片关键词ADSR envelopes are a mainstay of synthesizers. While lacking full external ADSR control an internal ADR (Attack/Decay/Release) envelope is generated to control the oscillator output level. (AMP – synthspeak for modulating the oscillator output level.)

AMP Priority (white marker): In modes with the white marker the decay knob gives you full control of the AMP decay. In these modes the filter also follows the ADR envelope at a fixed depth. This allows you to make notes decay quickly and gracefully. Turning the knob up allows for longer decay times.

Filter Priority (green marker): In green marker modes the filter follows an envelope generated by the strength of the input. (The same way envelope filters work) The depth knob controls how much influence the the input envelope has over the filter. When in filter priority the internal ADR envelope is fixed with infinite decay time.

Octave Modulation:

Modulate your octaves in four ways. LFO modulation, envelope modulation, shepard tone, or manual mode.

LFO: This is where you’ll find the chiptune sounds, especially with the square and double square wave modes.
In the triangle, square and double square modes the filter follows the internal ADR and the freq knob. In random Mode the filter follows the LFO. The octave mod knob controls the LFO speed.

Envelope: Playing dynamics modulate the octave cross fade.  The octave mod knob controls the envelope’s overall influence. 

Shepard Tone:  As you work your way up the guitar neck playing higher notes, the octave cross fade descends. When set = modes playing one octave higher will produce the same note. You can play up the neck forever and arrive at the same pitch whether you are playing an open low E or the high E string on the twelfth fret. In  modes the output pitch will get lower and lower as you play higher up the neck. In all shepard tone modes the oct. mod knob manually controls the octaves from several octaves down to several octaves up.

Manual mode: This is most similar to our original guitar synth pedal, the Octasynth, but with the most requested feature added. Instead of the Octasynth’s blend control which only allowed for one or two octaves down, the oct. mod knob takes you from three octaves down to two octaves up.

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