Firestorm wrote:renshen1957 wrote:Firestorm wrote:Any thoughts on wave shape? With the optical ones, you're at the mercy of the reaction/recovery characteristics of the LDR, but in the bias vary versions wave shape should clear effects.
Hi,
Triangle and sawtooth waves variety also effect tremolo which switches a caps in and out in the preamp.
Best regards,
Steve
Yes. Opinions on sound? You could conceivably get the LFO shape to be a smooth sine, but I doubt it's worth it. You can also set the network so the bias swings almost exclusively negative to zero or negative to positive. But what does it all sound like? Let's write a book.
Hi,
I attended my last year of High School and my first year of college concurrently. Instead of being practical (computers) I took nothing but music classes, including Electronic Musical Synthesis. The sound lab contained a Mini Moog and the largest (at that time) Moog IIIP (p for portable) synths. I experiment with LFO with a variety of wave forms, but that was multiple decades ago. It was far easier to use an envelope generator for the backward tape sound, but different wave forms to control variable low and high pass filters was quite interesting.
Guitar players by and large are rather conservative. They attempt to reproduce tones that their favorite artists produce. This make sense if your gig is a cover band or tribute band. It also makes sense if a particular genre (Country, Blues, Classic rock, Rockabilly, Jazz) is your main interest. However, quick and simple access to known and accepted tones or effects (tremolos) is more common place goal which many amps provide. There is less interest in a more flexible amp that has to be learned, and this would apply to Tremolos with non-standard wave forms.
I would love to do a book with videos or audio to demonstrate the differences, but current time commitment by my work precludes such an undertaking, which would be a lot of fun.
Best regards,
Steve aka renshen
