Noise Engineering Imitor Versio Demos

From the blog: https://www.noiseengineering.us/blog/...

Playlist:

1. Blog: Imitor Versio's LFO

This is the main tone-shaping parameter on Imitor Versio: it adds filtering and modulation to the delay lines, massively changing their flavor. The filter is a slightly resonant and extremely wide bandpass filter. Traditional delays, like ones based on tape or BBDs, don’t perfectly repeat the input signal: they tend to filter and shape the sound before repeating it, and this control lets you add in some of that not-perfect-and-totally-awesome flavor.

LFO is bipolar, so you get a pretty clean delay line with LFO centered. To the left, mild and random modulation is added to the delay lines. To the right, the modulation is a triangle LFO. And since it’s a resonant filter, at the extremes, it can oscillate on its own just a little bit and create some really interesting effects (referred to affectionately here at NE as the bees and whales. We do like our animals.).

2. Blog: Imitor Versio's Time and Spread

Time and Spread are the main timing controls for Imitor Versio and are highly dependent on each other. Spread controls the total amount of time the 12 taps take from a sound being input to the last tap playing. Time is similar to a predelay: it offsets the time between a sound being input and the first tap playing. It also squishes the taps into the remaining amount of time, so a longer predelay means faster tap firing since they occupy a smaller amount of the total time.

These controls can also be clocked, and act as clock dividers/multipliers when dealing with a tapped-in tempo or a clock input.

3. Blog: Imitor Versio's feedback control, Regen

Regen is the feedback control on Imitor Versio. This is, arguably, the most important control on IV: it controls how long the delay tail is, and past 3:00 on the knob, it ducks the delay based on the input signal, so you can do some sidechain compression effects in the module itself. And, similar to Desmodus Versio, it can create infinite feedback with delay tails that go on forever.

4. Blog: Imitor Versio's switches

The bottom switch on Imitor Versio controls the volume of the 12 taps: equal in the center, a decrescendo to the left, and a crescendo to the right. You can use the crescendo setting, for instance, to create “reverse” delays, with dynamics that are the opposite of a traditional delay. Or, you can use the decrescendo to create something like that bouncing ball effect we mentioned in the Skew section. = is probably my favorite when I’m making delays with high Regen settings, because of how massive the delay tail gets -- what can I say, I like giant walls of sound.

The top switch on Imitor Versio will be familiar to Desmodus fans, mostly because, well, it’s the same switch as is featured on the Desmodus. This switch changes how the feedback loop on IV is processed: in LIM mode, a clean limiter is applied, which doesn’t change much in terms of tone of the delay. DST mode, however, adds a distortion to the feedback loop, giving you some pretty gnarly tones with high Regen settings. And finally, SHM adds a +1 octave pitch shift to the loop, so you can get some nice pitch-shifted delays going. Who says delays can’t be pretty, too??