Ghost Pedal Manual
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Cora MedinaGhost Pedal Manual
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Cora MedinaMULTI - DIMENSIONAL EFFECTS CHAIN PROCESSOR
FIRMWARE 3
CONTENT
WARRANTY 3
VISIT US 3
INTRO 4
CONNECTING THE POWER 4
TECHNICAL SPECIFICATIONS 4
INTERFACE – FRONT PANEL 5
INTERFACE – REAR SIDE 5
EFFECT TECHNIQUES QUICKSTART 10
VISUALIZING THE REALTIME VALUES 12
DISTORTED REALITY 13
FILTERS 14
SPATIAL EFFECTS 14
DELAY 14
REVERBS 15
MODULATION ASSIGNMENT 16
EXPRESSION PEDAL ASSIGNMENT 18
TAP FOOTSWITCH ASSIGNMENT 18
RANDOM GALORE (FIRMWARE V3) 19
BYPASS FOOTSWITCH MODES 20
RESET 21
PRESETS LOAD / SAVE 21
PRESETS DUMP / UPLOAD 22
SETTINGS AUTOSAVE 24
MIDI IMPLEMENTATION CHART 24
FIRMWARE UPDATE 26
CREDITS 28
COMPLIANCE 29
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WARRANTY
-year warranty is guaranteed from the product's purchase date in case of any
1
manufacturing errors or other functional deficiencies during runtime.
The warranty does not apply in case of:
🠚 damage caused by misuse
🠚 mechanical damage arising from careless treatment(dropping, vigorous shaking,
mishandling, etc.)
🠚 damage caused by liquids or powders penetratingthe device
🠚 heat damage caused by overexposure to sunlightor heating
🠚 electric damage caused by improper connecting
he warranty covers replacement or repair, as decided by us. Please contact us via
T
email for a return authorization before sending anything. Shipping costs of sending
a module back for servicing is paid by the customer.
VISIT US
https://endorphin.es
https://youtube.com/user/TheEndorphines
https://facebook.com/TheEndorphines
https://twitter.com/endorphin_es
https://www.instagram.com/endorphin.es/
https://www.modulargrid.net/e/modules/browser/vendor:167
For technical requests:[email protected]
For dealer / marketing inquiries:[email protected]
ENDORPHIN.ES is a registered trademark.
It is doing business as FURTH BARCELONA, S. L. (EU VAT ID: ES B66836487).
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INTRO
rom earth shaking subharmonics and distorted drones, to angelic shimmer reverbs
F
and anything in-between, GHOST is a pedal for the adventurous sound designers
and the most demanding guitar and synth players. Immerse yourself and go beyond
the boundaries of what is possible with a conventional guitar or synth pedal.
HOST PEDAL brings you new possibilities of tone shaping with its state of the art
G
flexible audio routing chain, allowing you to jump between dimensions with a single
press of a button. An intuitive UI coupled with hands-on control and preset storage
allows you to stay in the now and focus on your performance.
CONNECTING THE POWER
se a quality 9V ‘Boss’-standard center negative power adapter, typically 500mA.
U
However the unit may be powered from any 9 to 18V center-positive or
center-negative DC plugs (full protection). Power supply not included.
TECHNICAL SPECIFICATIONS
🠚Audio input impedance: 100 kΩ (line) / 1 MΩ (instrument)
🠚Audio output impedance: 100 Ω
🠚Audio input range: up to +12 dBV, instrument amplification+11dB
🠚Audio connectors: 1/4 or 6.35mm TS unbalanced,MIDI connectors: DIN-5,
power connector: 2.1mm tip / 5.5mm barrel DC jack
🠚Bypass options: true-stereo on electromechanicalrelays, buffered, trails
🠚Audio I/O: 24 bit, 96 kHz with 32 bit floatingpoint internal processing
🠚Current draw: 250 mA minimum, 9V (adapter not included)
🠚Pedal dimensions: 186 mm x 118 mm x 60 mm (7.3″x 4.6″ x 2.4
″)
🠚Box dimensions: 190 mm x 125 x 65 mm (7.5″ x 4.9″x 2.6″)
🠚Weight: pedal only: 640 gram / 1.4 lbs; incl. box& packaging: 800 gram / 1.76 lbs
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INTERFACE – FRONT PANEL
INTERFACE – REAR SIDE
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1. IN LEFT (MONO),IN RIGHT JACKS:line level or high
impedance stereo audio inputs,INPUT LEFT– isnormalled, i.e. pre-routed→
toINPUT RIGHTwhen no audio cable is plugged intoIN R jack. Accept
standard unbalanced TS instrument 1/4″cables, guitar or line levels (up to
12dBV or +/-2V) with soft clipping introduced with higher audio amplitudes.
2. LINE / INSTRUMENT AMPLIFICATION SWITCH:select
udio input amplification: line level (to the left, no amplification) or guitar level
a
(to the right, +11 db or approx. 3.5x gain amplification) to have enough guitar
signal.
3. OUT LEFT (MONO),OUT RIGHT JACKS:final stereo audio
outputs, accept standard unbalanced TS instrument 1/4″ cables.
4. EXPRESSION PEDAL JACK:assignable expression pedalinput.
ccepts standard RTS expression pedal, +5V supplied from the ring.
A
Expression pedal morphing macro settings are saved for each of the nine
presets separately. For more details on how to assign the expression pedal
jack checkEXPRESSION PEDAL ASSIGNMENTsection below.
5. MIDI IN / MIDI OUT CONNECTORS:are standardDIN-5MIDI
input and output connectors.MIDI INaccepts a listofCCvalues (see MIDI
implementation chart at the end of the manual) on the configured receiving
MIDI channel and MIDI clock.MIDI OUTcan act as aMIDI THRU or generate
CCmessages and MIDI clock on knob’s movement.
6. DC IN JACK:2.1mm/5.5mm connector for the power adapter– typical
oss® standard, 500mA, +9V, center negative. Thisjack has internal reverse
B
protection and voltage rectification therefore accepts any DC adapter of 9 to
15 volts of any polarity – center positive or center negative.
7. VOLUME/CRUSH*KNOB with LED:controls the final output
v olume (this amount is shown with the brightness of theblueLED brightness:
fully lit shows 100% volume (by default) and fully off - silence). Secondary
/CRUSH*function (pressing or holdingSHIFTwhileturning the knob)
enables theBITCRUSHER, or in other words: lowerstheSAMPLE RATE
amount out of theFILTERchain: full 96 kHz at CCWand crushing to a certain
moment until the audio falls down to noise. The amount ofbitcrushingis
shown with the brightness of theredLED. When turningthis feature, it
radically brings aliasing to the audio signal – use on your own discretion to
creatively add lo-fi flavor. Bitcrusher always stands after the distortion (16)
with cabinet simulator (17*) stages in every routing.
8. DELAY KNOB with LED:controls theDRY/WET MIX OF THE
ELAYeffect (that amount is shown with the brightnessof theblueLED
D
brightness). Secondary/TONE*function (pressing orholdingSHIFTwhile
turning the knob) adjusts the tilt EQ after the WET output of the delay chain
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(the amount is shown with brightness of theredLED), which is useful to
enhance the delays or for dub-delays.
9. TIME/DIV KNOB with LED:controls the delay time, fromshort
udio rate repeats CCW and longer taps CW as a primary parameter (the
a
amount is shown with the brightness of theblueLED).Secondary/MIDI
CLOCK*function (pressing or holdingSHIFTwhile turningthe knob from
noon CW) enables the delay to be synchronized to an external MIDI clock
received at theMIDI INconnector (5). While the externalclock is enabled,
TIME/DIV knob acts as a divider / multiplier forthe clock with the dividers
written around the knob on the panel and LED flashesredaccording to the
external clock speed.
10. REPEATS/TAPS*KNOB with LED:controls theREPEATSor
EEDBACKlevel of the delay (this amount is shownwith the brightness of
F
theblueLED). Turn it fully CW for self-oscillation.Secondary/TAPS*function
(pressing or holdingSHIFTwhile turning the knobin 3 sectors from CCW to
11 o’clock, 11 to 14 o’clock and 14 to full CW shown with brightness of the
redLED) changes the stereo behavior of the taps producedby the delay (see
DELAY section below).
11. REVERB KNOB with LED:controls theREVERB DRY/WETMIX
level (that amount is shown with the brightness of theblueLED). Secondary
/TONE*function (pressing or holdingSHIFTwhile turningthat knob) adjusts
the tilt EQ before the reverb tank (the amount is shown with the brightness of
theredLED) which is useful to get rid of the boomylow-end
12. DECAY/PREDELAY* KNOB with LED:primary function controls
t he decay of theREVERB’s TAIL(that amount is shownwith the brightness of
theblueLED). Secondary function in combination withtheSHIFTbutton
controls theAMOUNT OF PRE-DELAY- time of the beginningof the first
reflections of the reverb (the amount is shown with the brightness of thered
LED). Amount of pre-delay may be perceived as the apparentsize of our
‘space’.
13. REVERB TYPE //FILTER* BUTTON:primary function selectsthe
r everb algorithm between: hall with shimmer, reverse and spring reverbs.
Secondary function in combination with theSHIFTbuttonswitches the filter
algorithms: bipolar SVF LP/HP, BANDPASS or COMB filter. Selected reverb
and filter types shown with the columns of LEDs.
14. TAP/ASSIGN* FOOTSWITCH with LED:multi-function foot
s witch, can be assigned to various controls viaSHIFT+TAPcombination. By
default assigned to the TAP tempo of the DELAY andwhiteTAP LED blinks
according to the delay clock. For more details on modes see theTAP
FOOTSWITCH ASSIGNMENTsection below.
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15. ROUTING BUTTON:routing chain switching. Each press cycles
t hrough six different orders of audio effects (seeDISTORTED REALITY
paragraph below).
16. DISTORTION KNOB with LED:control over the distortionamount
(shown with the brightness of theblueLED). Secondaryfunction in
combination with theSHIFTbutton controls the amountof treble content
after the distortion output. Acts as a 6db/octTILTEQfor low and high
frequencies: clean in the middle (default value), CCW settings being darker
and higher CW settings being brighter (this amount is shown with the
brightness of theredLED).
17. MIX/CABINET* KNOB:primary function controls theGLOBAL
RY/WET MIXbetween the clean input at full CCW andthe final processed
D
audio chain output before theVOLUME KNOB(7) at fullCW (this amount is
shown with the brightness of theblueLED). Secondaryfunction in
combination with theSHIFTbutton controls the amountofSPEAKER
CABINET (or COMBO-) SIMULATORapplied from clean audiopath at CCW
to full at CW (amount is shown with the brightness of theredLED). Cabinet
simulator has a set of filters to quickly sculpt a distorted tone signal from your
guitar without the need for extra amps or pedals. Cabinet simulator always
stands after the distortion stage (16) before the bitcrusher stage (7*) in every
routing.
18. FILTER/RESONANCE* KNOB:primary function controlstheFILTER
UTOFF FREQUENCY(the amount is shown with the brightnessof theblue
C
LED). Secondary function in combination with theSHIFTbutton controls the
RESONANCEof the filter (the amount is shown withthe brightness of thered
LED). When the BAND-PASS filter is selected (13), this knob defines the
width of the band. InCOMB FILTERmode the resonanceknob is bipolar and
defines the feedback, adding negative (to CCW) and positive (CW) combs
and at maximum side CW/CCW values enables the resonator.
19. SHIFT /* BUTTON with LED:adjusts secondary parameterswhile
eld down and when using other controls (shift functions are labeled with
h
asterisk/…*on the panel). When the shift is enabled,itswhiteLED is on and
you may see all the LEDs near the knobs switch from blue to red, showing
visually the amount of secondary parameters with their brightness and
allowing you to edit them (or assign modulation as well!).SHIFTbutton has
an additional latched action, so you may press it once to leave enabled and
adjust other parameters while operating with one hand only, however, some
rarely used settings like bypass types or tap assignments require theSHIFT
button to be held. After you press and holdSHIFT,tweak some parameters
and release the button - it turns that button action off.
20. BYPASS/PRESET LOADFOOTSWITCH:is essentially aBYPASS/
enable / activate effect / on footswitch. Each consequent press enables and
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isables the whole effects chain. When the effects chain is enabled, thepink
d
LEDnear that footswitch is ON. When the effect chainis bypassed, the LED
is off and also all the remaining LEDs except the preset selection LEDs are
dimmed. Additionally is used to confirm the load of the newly selected preset
withPRESET(24) footswitch.
21. SPEED/MIDI CLOCK* KNOB with LED:controls the frequency
t ime (speed) of internalLOW FREQUENCY OSCILLATORorLFOfrom0.04
Hz(25 seconds per cycle) at CCW to15 Hz(0.0666seconds per cycle) at CW
as a primary parameter. LED flashes inredLED accordingto internal LFO
clock. Secondary/MIDI CLOCK*function (pressing orholdingSHIFTwhile
turning this knob from noon CW) enables the LFO SYNCHRONIZATION to an
external MIDI clock received atMIDI INconnector(5). In the external clock
mode this knob acts as a divider / multiplier for the clock with the divisors
similar to values around theTIME/DIVknob (9) andLED flashesblue
according to the external MIDI clock speed.
22. LFO SHAPE/MIDI CHANNEL*KNOB with LED:gradually
s elects the LFO shape from the list below (the amount shown with the
brightness of theredLED). Secondary/MIDI CH*function(pressing or
holdingSHIFTwhile turning this knob in 17 sectorsfrom CCW to CW)
changes the MIDI channel from OMNI, then 1st to 16th channels from which
the pedal will receive and send the MIDI data on. OMNI setting means the
pedal will accept CC messages from all MIDI channels.
23. MODULATION/EXPRESSION* BUTTON with LED:used to
ssign LFO (22) and expression pedal (4). While holding this button (it will
a
light up) tweak any of the knobs. The amount by which you tweak this knob
from center position to the sides while holding theMODULATIONbutton sets
the depth of the selected LFO (22), which will be applied to the assigned
parameter. Secondary combination ofSHIFT+MODULATIONwill set the
expression pedal (4) morphing (see 4.EXPRESSION PEDALASSIGNMENT
below for assigning procedure). Same asSHIFT(19),MODULATIONbutton
has an additional latched action, so you may press it once to leave enabled
and adjust other parameters while operating with one hand only. After you
press and holdMODULATION, add some parameters modulationsand
release the button - it turns that button action off.
24. PRESET/HOLD TO SAVE FOOTSWITCH:selects one of 9presets
(25). Once you select the preset, its LED starts to blink. To load that preset
you have to confirm it with the BYPASS footswitch (20). Loading the presets
will not alter current bypass effect state on or off.
o save the preset you have to hold thePRESETfootswitchfor longer than 3
T
seconds. One of the 9 slots will start to blink and you may choose the new
slot to save by pressing thePRESETfootswitch a fewtimes. To confirm the
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reset save in the selected slot press and holdPRESET(20) footswitch for
p
longer than 3 seconds.
🠚 whenSHIFTbutton is enabled, pressing thePRESET(20)footswitch will
select the presets in the reverse direction.
25. 9 PRESET LEDS:ninewhiteLEDs show the currentlyselected preset
slot and blink when you select the new one without activating it yet.
EFFECT TECHNIQUES QUICKSTART
he fastest way to check the effects palette in the GHOST Pedal is to go through
T
the factory presets by selecting them with the PRESET footswitch and confirming
the load with BYPASS footswitch.
ou can also create effects very fast and intuitively with the GHOST Pedal yourself.
Y
For instant sound design from scratch press and hold four buttons for 2 seconds to
obtain aninitpatch. Techniques below will explainhow to tweak popular sounds
each obtained from that clean init state.
CLASSIC GUITAR OVERDRIVE
o achieve a typical guitar distortion/overdrive effect, adjust theDISTORTIONknob
T
to around 80% and enable the cabinet simulator by pressing theSHIFTbutton and
turning theMIXknob to approximately 80-90%.
BIG SHIMMER REVERB
HOST Pedal has 2 types of shimmer reverbs that can be used to create lush
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ambient soundscapes.
elect theHALL/SHIMM.reverb algorithm and set theREVERBbeyond the 12:00
S
position. Once the 13:00 point is crossed you will start hearing a hall shimmer
reverb that gets more intense as you move the DRY/WET knob towards the fully CW
position, adjusting theDECAYto taste. By selectingthe 3rd TAP footswitch mode
by pressing SHIFT + TAP until the TAP LED blinks 3 times, the reverb can be frozen
to infinity for additional texture.
elect theREVERSEreverb and set theTAPfootswitchto mode 3. Once theTAP
S
footswitch is pressed a shimmer effect will be added to the Reverse reverb.
LO-FI TAPE A.K.A. ‘SHALLOW WATER’
ow-fidelity effects are generally associated with instability in pitch and have a
L
darker / corrupted frequency content that can be achieved by using filters, distortion
and sample rate reducers. GHOST Pedal allows you to achieve all of these
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haracters in a variety of forms, below you will find a list of techniques that can be
c
used to achieve a lo-fi sound:
🠚Pitch warble: select a fluctuating randomLFO SHAPEwith low or mediumLFO
PEED. Adjust theDELAYto around 40-50% with delaytime set to 9:00, set delay
S
REPEATSanywhere between 7:00 and 12:00. Map LFO todelayTIMEby pressing
theMODULATIONbutton and turn the delayTIMEknobfrom the 12:00 position to
approximately 12:30 (small modulation usually works best).
🠚Frequency spectrum effects: by addingDISTORTIONyou can warm up the sound
nd make it more tape-like when used with the pitch warble effect above, for this
a
purpose keep distortion effect before the delay in the signal chain. Additional low
pass filtering can make your sound darker, adjust theFILTERcutoff to taste. If you
desire to break the sound even more, try adding a bitcrusher effect by pressing the
SHIFTbutton and turning theVOLUME/crush*knob clockwise.
WAH-WAH
ah-wah effects are fun to explore if you want to make your guitar sound more like
W
a synthesizer. This can be achieved by selecting theenv.- envelope followerLFO
SHAPE. Map the LFO to theFILTERcutoff by pressingtheMODULATIONbutton
and turn theFILTERknob clockwise from the center12:00 position to approximately
14:00-15:00. Set the filter /RESONANCE*to taste bypressing theSHIFTbutton and
turning theFILTERknob. Play some short notes andadjust theFILTERknob to
desired position until you hear the filter modulation. If you want a low pass filter
wah-wah set it fully CCW and if you want a more high pass filter feel set it to
approximately 12:00. Use theLFO SPEEDknob so setthe sensitivity of the
envelope follower: from slow at fully CCW position to fast and snappy at fully CW
position. By mapping an expression pedal to theFILTERcutoff can give you more
control over the cutoff point.
ROBOT VOICE
ou can achieve a robotic vowel synthesis effect by adding bitcrusher effect to the
Y
wah-wah configuration above. Since the bitcrusher is part of the Distortion effect
make sure thatDISTORTIONcomes after theFILTERinthe selectedROUTING
configuration. Add bitcrusher by pressingSHIFTandturning theVOLUMEknob. Set
the filter resonance to at least 50% to create resonance peaks, which are essential
when dealing with vowel synthesis.
DUB ECHO
o achieve a dub-style echo effect, turn theDELAYto taste and apply a low pass
T
filter to the delayed signal by adjusting the Delay/TONE*control by pressingSHIFT
and turning theDELAYCCW from the center position.Tweak the mainFILTER
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utoff to add even more variation to the input signal or alternatively map a random
c
LFO SHAPEto theFILTERcutoff to free up your hands.
EXPERIMENTAL DELAY FREEZE
ne way to create strange delays on the GHOST Pedal is to enable the delay
O
LOOPERby setting theTAPfootswitch to mode 2 bypressingSHIFT + TAPuntil the
TAPLED blinks twice. Applystepped random LFO SHAPEto delayTIMEto taste
and play some notes into the pedal while pressing theTAPbutton. This will result in
a randomly modulated delay looper buffer that can create a strange and beautiful
bubble-like texture which usually works best with shorter notes.
QUANTISED LOOPER
et theTAPfootswitch to enable the delay LOOPER- mode 2. Press theSHIFT
S
button and turn DelayTIMEknob clockwise (delay TIMELED will turn blue) to
enable MIDI clock sync of the delay time. Send a MIDI clock signal to the MIDI input
and play some audio while pressing theTAPbutton.The length of the looper can be
adjusted in subdivisions or multiplications of the tempo by turning the DelayTIME
knob. By applying a random LFO to DelayTIMEthe loopercan turn into an
interesting glitch and stutter effect.
VISUALIZING THE REALTIME VALUES
ou may notice each knob has an LED next to it which can become of different
Y
brightness ofblue,redor a mixture of both colors-fuchsia.
hen you change the preset or apply modulation you may see those LEDs will
W
change their brightness or will bebreathing. Thoseare realtime parameter’s change
visualization while the physical knobs remain motionless.
ince each knob may set various parameters: primary, secondary and modulation
S
depth, the current physical knob position may not always reflect its real parameter
value. That’s where the LEDs come to help.
rimary parameters are written in capitals:VOLUME,DELAY, TIME, REPEATS,
P
REVERB, DECAY, FILTER, DISTORTIONandMIXare shownwith the brightness
of theblueLED.
econdary parameters are labeled with an asterisk/…*next to the primary
S
parameter:/crush*, /midi clk*, /tone*, /taps*, /predelay*,/reso*, /midi ch*,
/cabinet*. They and are set in combination with theSHIFT /*button and are shown
with the brightness of theredLED.
ome parameters have abipolar naturewith an importantcenter position:LP/HP
S
FILTERand all/tone*controls of theDELAY,REVERBandDISTORTIONpass clear
unaffected sound when they are in the center position. The LED becomesfuchsia
when that certain parameter stands exactly in or crosses the center value.
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lso some parameters havediscrete values: i.e. not a continuous change but a
A
selection of a few parameters placed around the knob moving range:/midi clk*,
/taps*, /midi ch*, /midi clk*. You will see LED shortlyblinkingfuchsiawhen we
move to the next settings from the list.
DISTORTED REALITY
he power of theGHOSTPEDALlies in its stereo complexaudio effect chain with
T
96kHz, 32-bit internal audio processing, consisting of 8x oversampleddistortion
algorithm withcabinet simulatorandbitcrusher, amultimodefilter,delay,reverb
and a modulator -LFO. All the knobs positions andsettings can be saved and
recalled from 9 presets slots. The order of the three main processing blocks -
DELAY/REVERB,VCF,andDISTORTION- can be changedby pressing the
ROUTINGbutton (15), letting you instantly achievedifferent flavors of sound.
here are six all possible orders for theDELAY+REVERB(FX),
T
DISTORTION+CABINET SIM+BITCRUSHER(DISTOTION)andVCF(FILTER)
blocks:
1. DISTORTION🠚F
ILTER🠚FX 4. FILTER🠚F
X🠚D
ISTORTION
2. DISTORTION🠚F
X🠚F
ILTER 5. FX🠚DISTORTION🠚F
ILTER
3. FILTER🠚DISTORTION🠚FX 6. FX🠚FILTER🠚D
ISTORTION
The selected order is shown by thewhiteLED (15)near the selected option.
🠚HINT: experiment with the audio chain order tofit your needs and find new and
unexpected sounds with a push of a button.
e advise exploring the routing chains and picking your favorite based on each
W
situation.
LO-FI
ne of the ways to lower audio fidelity is to use the onboard bitcrusher effect. It
O
radically brings aliasing to the audio path the more we turn it up – use on your own
discretion creatively to add lofi flavor.
itcrusher can be accessed by holding theSHIFTbuttonand turning theVOLUME
B
KNOB(7). From full 96 kHz at CCW and crushing toa certain moment until the
audio falls apart to noisy clicks and buzzes. Default value is at CCW (clean signal).
The bitcrusher is placed after the distortion (16) with cabinet simulator (17*) stages.
Bitcrusher allows to obtain interesting vowel sounds in ROUTING (15) types when
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istortion is placed after the filter: modulating the filter cutoff with high resonance
d
and applying the bitcrusher effect after.
HINT:another trick to to add lo-fi flavor to youraudio is to slowly modulate the
🠚
time of theDELAY(9) withfluctuating random LFO(22). That will create a flutter
effect simulating a wobbly tape playback.
FILTERS
To switch the filter type you simply press theSHIFT+ REVERB/FILTER* button (13).
There are three filter types to choose with:
🠚BipolarLP-HPzero-delay feedback12db/octstate-variablefilter akaisolator:
pens from LP silence at CCW to clean unprocessed sound at noon and closes
o
smoothly in HP silence at CW
🠚BAND-PASS12db/octstate-variable bypass filter(BPF) with resonance control
setting the band-width
🠚COMBfilter with resonator at high resonance settings.Createsphaser-alike
effects especially when slightly modulated.
omb filter is capable of self-oscillation at full CW or CCWRESONANCEsettings.
C
/RESONANCE*knob (18*) behavior in Comb filter isspecial: it is bipolar, so from
noon (zero resonance) it either adds negative (CCW) or positive combs (CW).
SPATIAL EFFECTS
his chain of audio effects(a.k.a.FX)consists ofa delay which is then routed into
T
the reverb with mid/side widener.
DELAY
he delay can be synchronized externally viaMIDICLOCKapplied fromMIDI IN
T
CONNECTOR(5), or by using the onboardTAP TEMPO footswitch(14), with
maximum delay time of 2,5 seconds. Three configurations of delay taps are
available, toggled between by holding theSHIFT +REPEATS/TAPS*knob. Delay tap
configurations areRLRL, LRRL,andSTEREOmode – alsoknown as true stereo,
where taps will appear atOUT 1 or OUT 2only if somethingis present atIN 1orIN
2respectively. Delay can be looped by infinitelyrecirculating its audio buffer by
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s etting theTAP(14) footswitch to mode 2. Secondary/TAPS*function (pressing or
holdingSHIFTwhile turning the knob in 3 sectorsfrom CCW to 11 o’clock, 11 to 14
o’clock and 14 to full CW shown with brightness of theredLED) changes the stereo
behavior of the taps produced by the delay. Available delay tap configurations are:
🠚RLRL:left and right summed aka Ping Pong, taps2 and 4 hard-panned left, taps
and 3 hard panned right (LED inred,but fully off,is a default taps mode). In that
1
modeLEFT OUTPUT JACK(3) is a true mono output.
🠚LRRL:left and right summed, their taps 1 and 4hard-panned left, taps 2 and 3
hard panned right (LED inredsemi-on)
🠚STEREO:left and right inputs tap independentlyin their corresponding left and
right outputs. In this mode the total delay time is halved(LED inredfully on).
UFFER CLEAR.When using long delay times it may bedesirable to clear the
B
delay buffer in order to quickly introduce new audio material into the delay line. To
do so, turn both theDELAY(8) andREPEATS(10) knobsto their full CCW positions
to delete the buffer content.
OOPER.WhenTAPfootswitch (14) is assigned for delay‘freeze’(seeTAP
L
FOOTSWITCH ASSIGNMENTbelow), it activates and deactivatesdelayLOOPER -
i.e. infinitely recirculating delay’s audio buffer. When the looper is enabled, incoming
into delaydryaudio signal is turned off enablingthe looped part to be played purely.
You may still blend a clean signal to it with aMIXknob (17).
🠚NOTE:Tap tempo via theTAPfootswitch (14) doesn’twork if an external MIDI
clock is applied.
REVERBS
There are three very different reverb algorithms:
🠚Lush stereoHALL REVERBthat adds shimmer afterthe Dry/Wet control is
t urned beyond 60%. Additional controls such asTONEandPREDELAY(12)can be
accessed by pressing the SHIFT button and turning either theREVERB Dry/Wet(11)
orReverb DECAY(12) knob respectively. This HALLREVERB can be frozen by
setting theTAP FOOTSWITCH(14) to mode 3.
🠚WhooshingREVERSE REVERB. By default thePREDELAYamount is set to
aximum and is reversed, meaning that if predelay is set to fully CCW then the pre
m
delay value is at its maximum. Predelay controls reverse time (length of the buffer
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t hat is being reversed), the bigger the predelay value the more of the reverse effect
you will hear. Shimmer effect can be added to the REVERSE REVERB by setting the
TAP FOOTSWITCH(14) to mode 3.
🠚VintageSPRING REVERBwith spring excite functionalitythat can be activated
by setting theTAPfootswitch (14) to mode 3.
MID/SIDEwidener stays after the reverb and increasesthe stereo field
s imultaneously with the amount of ReverbDECAYknob(12). This feature is best
audible on true stereo signals processed with the GHOST.
MODULATION ASSIGNMENT
ou can assign a movement to literally any knob or as many knobs you like in a
Y
desired amount directly or inverted. Applied modulation then sums up in its depth
with the manual knob value (a.k.a.offset) along withthe expression pedal min-max
settings.
he LFO can be synchronized to externalMIDI CLOCKapplied fromMIDI IN
T
CONNECTOR(5) by pressing or holdingSHIFTwhile turning SPEED/MIDI
CLOCK* knob from noon CW. When an external MIDIclock is enabled this knob
acts as a divider / multiplier for the clock with the divisors similar to values around
theTIME/DIVknob (9) and LED flashesblueaccordingto the external MIDI clock
speed.
🠚NOTE:MIDISTOPand furtherMIDIPLAYmessage willrestart the LFO cycle
when it is synchronized to the external MIDI clock.
heSPEEDor frequency of internalLFO / MODULATORcan be set from 0.0333
T
Hz (30 seconds per cycle) at CCW to 15 Hz (0.0666 seconds per cycle) at CW.
There are following LFO shapes available:
🠚 sine wave
🠚 falling sawtooth ramp (becomes rising sawtoothrap with applied inverted
modulation)
🠚 square wave
🠚 stepped random / sample & hold wave
🠚 is a smooth / fluctuatingrandom wave, inspiredby the Source of
ncertaintyTM generators in modular synthesizers.With this shape the selectedLFO
U
SPEEDknob (21) sets the probable rate of random change.
Page16of29
🠚env.meansENVELOPE FOLLOWER:instead of a cycling wave, a modulation
ontour shape is extracted from the incoming audio according to its dynamics.LFO
c
SPEEDknob (21) acts as a slew rate adjustment withlong at CCW or fast slew at
full CW.
🠚NOTE:envelope follower can open a totally newworld for dynamic modulation
ossibilities. Apply it gently to theFILTERwithadjusted/resonance*to get a
p
wah-waheffect. Apply it inverted toVOLUMEto simulateacompressorand that’s
just the tip of the iceberg.
O ASSIGN THE MODULATION: simply tweak the knobs whileholding the
T
MODULATION(23) button. Doing the same with SHIFT/* enabled will assign the
modulation to secondary parameters.
he amount by which you tweak a knob from center to side positions while holding
T
theMODULATIONbutton (23) sets the depth of the selected[LFO] SHAPE(22),
which will be applied to the assigned parameter.
ou can apply modulation so the LFO will move the knob from its current position
Y
directly (positive modulation) or inverted (negative modulation). When you hold or
latchMODULATION(23) button, all the parameter knobs(exceptSHAPEand
SPEED) temporary becomepolarizer (or so called ‘attenuverter’)knobs which set
the depth of modulation from center / zero position (no modulation) to CW for
positive or CCW for inverted modulation. Amount of positive modulation depth is
shown with theblueand negative modulation with theredbrightness of the LED
which stands next to the parameter we apply modulation and increases to
maximum when the knob reaches the sides. There is no modulation applied when
the LED is off whenMODULATIONbutton (23) is active.Parameter LED blinks
shortly infuchsiawhen the knob crosses the centerpoint - that’s convenient to
know when we want to set the modulation to zero depth.
fter you release theMODULATIONbutton, you willsee the modulation applied with
A
the LED brightness near the knob - it willbreatheaccording to the[LFO] SPEED
knob (21). You may assign those movements to any primary or certain secondary
parameters to the LFO with various depths. To have the LFO covering the full range
Page17of29
f the knob, adjust its modulation in maximum or minimum (full blue or red) and
o
then add a manual knob offset.
🠚NOTE:you can’t modulate discrete values with LFO(e.g. selecting MIDI
CHANNEL or enabling MIDI SYNC).
🠚HINT:MODULATION(23) button can also be pressedonce (latched) so you can
adjust the modulation depth playing with various parameters with one hand.
EXPRESSION PEDAL ASSIGNMENT
o set the expression pedal pressSHIFT + MODULATION/EXPR*:the
T
MODULATIONbutton starts flashing slowly. Put theexpression pedal in the lower
heelposition (or any initial /minposition) andset the position of the knobs to their
desired positions. Then press againSHIFT + MODULATION/EXPR*:MODULATION
button starts flashing fast. We put the expression pedal in the uppertoeposition (or
any other final /maxposition) and set the positionof the desired knobs. After, we
exit the expression assign mode by pressingSHIFT+ MODULATION/EXPR*third
timeandMODULATIONstops flashing: expression settingsare made and saved. If
in one of the positions we put the pedal not fully up or down, then all further side
valueshave no effect on the parameter. This makessense when we want to make
the expression pedal start working from, let’s say the middle of the move. Similar to
an expression pedal, all manipulations with theCC#01received atMIDI IN(5) are
interpreted identically to the expression pedal and vice versa: manipulation with the
pedal sendsCC#01on the pedalMIDI OUT(5).
TAP FOOTSWITCH ASSIGNMENT
ach of the 9 presets has its own assignedTAPfootswitch(14) destination. By
E
default it is assigned to the TAP-tempo of the delay (9). The amount of the LED
blinks duringSHIFT + TAPcombo shows the assignedmode:
🠚 one blink (by default) means that the foot switchis assigned toTAP TEMPO
for setting delay time overridingTIME/DIV KNOB(9)setting when internal clock is
enabled and vice versa: when moved,TIME/DIV KNOBoverrides previously setTAP
TEMPOvalues. TheTAPLED blinks showing the delaytempo (with both internal or
external delay sync).
🠚NOTE:Tap tempo via the footswitch doesn’t workif an external MIDI clock is
enabled.
🠚 two blinks means that theTAPfootswitch isassigned to enable / disable
t he delay's looper (recirculating the delay buffer audio). This feature has a latched
action – meaning that the looper remains enabled after a single press and the LED
Page18of29
r emains on. On the next press of theTAPfootswitch the looper is off and the LED is
off. While the delay looper is ON, the delay clock still blinks on the same LED, but
inverted (turning OFF on each tick of a delay clock).
🠚 three blinks assigns theTAPfootswitch toinfluence selected active
r everb function (13): freezing hall reverb (latched action), adding shimmer to reverse
reverb (latched action) or exciting virtual spring reverb (momentary) making it
self-oscillate.
🠚 four blinks assign theTAPfootswitch tose;lect theROUTINGtype
as if you press theROUTING BUTTON(15) with a foot.
🠚NOTE:only one from four options can be assignedtoTAPfootswitch at a time
(either tap, either delay looper or selected reverb action). You may access all those
functions simultaneously via MIDI (see MIDI implementation chart at the end of the
manual).
RANDOM GALORE(FIRMWARE V3)
ometimes you wish to achieve some happy accident or totally crazy result or
S
simply get some inspiration. That’s easily done by two randomizers introduced with
the V3 firmware update:
RANDOM PRESET
ombination of singleSHIFT+REVERB+ROUTINGbuttonspress generates a
C
random parameter change - i.e. all the knobs with their secondary parameters,
reverb, filter and routing types. That doesn’t apply however to all the settings, incl.
MIDI settings,VOLUME,/CABINET*andMIXknobs. knobs/parameters.
🠚HINT 1:generated random preset isn’t stored inany of 9 preset locations until
y ou manually store it (seePRESETS LOAD / SAVE chapterbelow), or until you load
another preset. Note that on the next powerup GHOST always loads the most
recently selected preset. Random preset generation gives a big variety of the new
effects so be sure to save if you liked the result.
🠚HINT 2:if you don’t like the randomly generatedpreset, you can always make a
reset clean by pressing all four buttons (13) (15) (19) (23) simultaneously and hold
p
them for more than 3 seconds. (see RESET paragraph below). That will reset all the
knobs values to their default positions (typically without any effect).
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RANDOM MODULATION
ombination of singleMODULATION+REVERB+ROUTINGbuttons press
C
applies a random modulation to all the knobs and their secondary values.
🠚HINT 1:same as with the random preset, if youlike the result - save it, or you will
lose that happy accident forever.
🠚HINT 2:if you don’t like the random modulationapplied, you can always clean it
y pressingSHIFT+MODULATIONbuttonsfor 3 seconds.And also try combining
b
both: adding crazy modulations from a clean state or vice versa - getting a crazy
patch with a soft modulation applied or randomizing one of the types until you get a
nice timbre or movement.
Check the following video on the new random features explained and played:
https://youtu.be/JsRLDI28QKQ
BYPASS FOOTSWITCH MODES
here are three bypass options that can be selected by pressing and holdingSHIFT
T
+ BYPASSfor more than 4 seconds. The number ofSHIFTbutton blinks shows the
selectedBYPASStype:
🠚 one blink (by default):TRUE BYPASSmeans thatthe stereo relays are
hysically connecting audio input jacks to the effects or detaching them from the
p
effects rerouting to the output jacks directly without any buffers. You may hear
clicks in the pedal inside during relay bypass switching. When the pedal is
unpowered, its bypass is alwaystrueenabled – meaningit will pass the audio
signals from audioIN L/Rto audioOUT L/Raccordinglypreserving your tone.
🠚 two blinks:BUFFERED BYPASSmeans that therelays are always on and
e enable/disable effects chain in the DSP code setting the MIX control to CCW.
w
This type of bypass might be useful if you need a buffered audio input to preserve a
tone or volume amplitude.
🠚 three blinks:TRAILS BYPASSmeans a variationof buffered bypass,
owever it keeps the whole effect chain active while the original signal is bypassed.
h
This type of bypass is useful if you wish to for example have a controlled long
reverb tails or delay still recirculating while the original signal passes clean.
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RESET
In case you have tweaked everything so hard you have distorted signal main
outputs, a reset adjusts all advanced / secondary parameters to their default values,
so you may start tweaking from the beginning.
OFT RESET: press all four buttons (13) (15) (19)(23) simultaneously and hold them
S
for more than 3 seconds. Release them once all the LEDs are on and the pedal will
reset the current preset to its default values. Current preset is not saved – you have
to do that manually, otherwise the previously saved preset will be restored from that
slot on the next power up (seePRESETS LOAD / SAVEsection below)
ARD RESET: press all four buttons (13) (15) (19)(23) simultaneously and hold
H
them for more than 10 seconds. Module will erase all its presets to default empty
ones and all the MIDI settings to default as well.
fter the module’s reset:FILTER,DELAY’s,REVERB’sandDISTORTION’s/TONE*
A
controls are in the middle (no filtering applied);MIXandVOLUMEcontrols set to
100% (CW value) and cabinet simulator set to 0 (off).
LEANING THE MODULATIONS: press (19) and (23) buttonssimultaneously and
C
hold them for more than 3 seconds. All applied modulations for all the knobs
including secondary parameters will be cleaned.
PRESETS LOAD / SAVE
host pedal has 9 preset slots: which correspond to 3x3 LEDs array (25) above the
G
PRESETfootswitch (24). You may still play with thecurrent preset but only select
the new slot to load. Preset selection and saving is made with the idea to be
operated with one foot only.
TO LOAD A PRESET
🠚 shortly pressPRESETfootswitch (24) a few timesto move the blinking LED over
to one of nine slots you wish to load.
🠚 PressBYPASSfootswitch (20) and the new presetwill be loaded. All the
arameters which have continuous changes will slew to the new preset values to
p
avoid any clicks.
🠚NOTE:loading the new preset with a singleBYPASSfootswitch (20) confirmation
will not alter current bypass effect state on or off.
nce you make any changes to the knobs on your GHOST Pedal (seeSETTINGS
O
AUTOSAVEsection below) you wish to recall later,you have to save them. If the
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hanges were not saved, you will have a previously saved preset recalled on the
c
next pedal startup.
TO SAVE THE PRESET
🠚 Hold thePRESETfootswitch for longer than 3 seconds:one of the 9 slots will
start to blink
🠚 You may choose the new slot to save by shortlypressing thePRESET(20)
footswitch a few times.
🠚 To confirm the preset save in the selected slotpress and holdPRESET
footswitch for longer than 3 seconds.
🠚 (1)NOTE:whenSHIFTbutton is enabled, pressingthePRESETfootswitch will
select the presets in the reverse direction.
🠚 (2)NOTE:there is a blinking LED timeout whenyou started to load or save a
reset and LED is blinking asking for load confirmation withBYPASSor save
p
confirmation withPRESETfootswitches - after approximately15 seconds it will
return to a normal state without any load or save.
PRESETS DUMP / UPLOAD
It is possible to transfer all 9 presets from and to the pedal on either Windows or
Mac computer by using MIDI SysEx dump. This can be done using free software
available for both Mac and Windows. You may only dump all 9 presets or upload
another bank of 9 presets (previously uploaded presets will be overwritten!).
SYSEX PRESETS DUMP SAVE ON MAC
🠚Download and installSYSEX LIBRARIANapp your Mac:
https://www.snoize.com/sysexlibrarian/
🠚Connect theMIDI IN/OUTports on the pedal to yourMac via a USB MIDI cable
r by using your midi interface so theMIDI INjackis connected toMIDI OUTon
o
the pedal andMIDI OUTjack is connected toMIDI INon the pedal.
🠚Open SysEx Librarian app and select your MIDI interfacefrom the drop-down
menu list to send a receive SysEx.
🠚PressRECORD MANYand the app will be waiting forthe SysEx message to
record.
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🠚To perform a preset dump, hold theSHIFT+ROUTINGbuttons for a few
s econds until you see the 9 preset LEDs are on for a moment. You should see the
MIDI data being received inside the SysEx Librarian app so you can save it as a
*.syx file afterwards.
SYSEX PRESET UPLOAD ON MAC
🠚To upload the presets to the pedal, press theFilemenu in the top menu select
dd to libraryin the drop down menu. Select the fileyou want to transfer from the
A
list and pressPlayin the top left side of the app.All 9 preset LEDs should light up
on the pedal to confirm the transfer.
🠚If you are experiencing issues during the presetupload, try adjusting theSend
MIDI Bufferinside the Options menu on to 100 msec.
SYSEX PRESETS DUMP SAVE ON WINDOWS
🠚Download and installBOME SENDSXsoftware on yourPC computer:
https://www.bome.com/products/sendsx
🠚Connect the MIDI IN/OUT ports on the pedal to yourMac via a USB MIDI cable
r by using your MIDI interface so the MIDI IN jack is connected to MIDI OUT on the
o
pedal and MIDI OUT jack is connected to MIDI IN on the pedal.
🠚Open Bome SendSX software and configure in thetop menu the MIDI IN and
MIDI OUT ports to send a receive SysEx to your connected MIDI interface device.
🠚To perform a preset dump, hold theSHIFT+ROUTINGbuttons for a few seconds
ntil you see the 9 preset LEDs light up. You should see the midi data being
u
received in the MIDI IN window inside the Bome SendSX software.
🠚Save the presets on your computer by pressing theFilemenu in the top left
corner of the Bome SendSX and selectSave Midi InAs…in the drop down menu.
SYSEX PRESET UPLOAD ON WINDOWS
🠚To upload the presets to the pedal, press theFilemenu in the top left corner of
the Bome SendSX and select Open in the drop down menu. Once you have
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s elected your preset bank file in .syx format, pressSend (F4)in the lower left side of
the program. All 9 preset LEDs should light up on the pedal to confirm the transfer.
🠚If you are experiencing issues during the presetupload, try adjusting the Send
MIDI Speed inside the Options menu on Bome Send SX to around 1.29KB/s.
SETTINGS AUTOSAVE
here are a few layers of data and settings GHOST pedal can save and recall on the
T
next power up cycle. Some of them you may change using the controls of the pedal
and some of them are accessible via MIDI CC# messages (seeMIDI
IMPLEMENTATION CHARTbelow).
INGLE PRESETcontains all knob values, routing, filterand reverb types,
S
modulation assignments and expression pedal settings. Those settings must be
manually saved via long holdPRESETfootswitch (24)in one of the nine slots (25)
and are individual per each preset (seePRESETS LOAD/ SAVEabove).
🠚IMPORTANT:presets are not autosaved! If a presetis not manually saved after
eing edited (seePRESETS LOAD / SAVEsection above),the previously saved
b
preset will be loaded on the next power up from the last selected 1-9 preset slot.
OFT RESET(seeRESETsection above) clears currentlyselected preset to default
S
values whileHARD RESETclears all 9 presets and globalsettings to default values.
If a soft reset is performed on a specific preset, then after powering the unit off and
on the preset will be reloaded (soft reset does not permanently delete preset data).
RESET DUMPcontains information about all 9 presetsabove and doesn’t include
P
any of the pedal’s settings below (so you can import presets of your friends and
they will not change your settings).
OMENTARY SETTINGScontain states like Bypass enable,last preset selected
M
etc. Those are saved every 2 seconds once we change them. That means if you
selected the third preset on the pedal, enabled bypass and in 2 seconds turned the
pedal off, it will remain bypassed on the third preset recalled on the next power up.
LOBAL SETTINGScontain settings about MIDI Thru enable,knobs CC values
G
sent to MIDI OUT, MIDI OUT enable, MIDI Clock out enable, Program change
Receive (RX) or Transfer (TX) enable, receiving MIDI channel, Bypass type, internal
or external MIDI sync over LFO and Delay clock. These settings are global for all 9
presets and are also auto-saved after a slightly longer time period than momentary
settings.
Page24of29
MIDI IMPLEMENTATION CHART
CC# PARAMETER RANGE
01 EXPRESSION PEDAL …127, expression pedal connected generates CC#01 on
0
the MIDI OUT as well as expression is received from
CC#01 from the MIDI IN
07 VOLUME 0…127 0=silence, 100 = 100%, 127=drive
08 MIX 0…127 0=dry, 127=wet
10 DISTORTION 0…127
11 DISTORTION TONE -63…0…63 (0…127, default 63!)
12 DELAY DRY/WET 0…127
13 ELAY REPEATS
D 0…127
(FEEDBACK)
14 DELAY TONE -63…0…63 (0…127, default 63)
15 DELAY TIME 0…127
16 ELAY TAPS
D 0…42 = RLRL, 43…84=LRRL, 85…127=stereo
DISTRIBUTION
17 DELAY LOOPER (LATCHED) 0…63=off, 64…127=on
18 NABLE DELAY EXT. MIDI
E 0…63=off, 64…127=on
CLOCK SYNC (DEFAULT
OFF)
19 REVERB DRY/WET 0…127
20 REVERB DECAY (TAIL) 0…127
21 REVERB PRE-DELAY 0…127
22 REVERB TONE -63…0…63 (0…127, default 63)
23 ALL REVERB FREEZE
H 0…63=off, 64…127=on
(LATCHED), REVERSE
SHIMMER ON (LATCHED)
OR SPRING REVERB
EXCITE (NON-LATCHED)
26 ROUTING TYPE …21 = routing #1, 22…42=routing #2, 42…63=routing
0
#3, 64…85=routing #4, 86…107=routing #5,
108…127=routing #6
27 FILTER TYPE 0…42 = LP/HP, 43…84=BP, 85…127=COMB
28 LFO SPEED 0…127
Page25of29
CC# PARAMETER RANGE
29 LFO SHAPE …21 = sin, 22…42=sq, 42…63=saw.a, 64…85=saw.d,
0
86…107=rand, 108…127=env
30 NABLE LFO EXT. MIDI
E 0…63=off, 64…127=on
CLOCK SYNC (DEFAULT
OFF)
64 AP TEMPO
T 0…63=off, 64…127=on same CC as sustain pedal
(NON-LATCHED)
65 BYPASS (NON-LATCHED) 0…63=off, 64…127=on
66* RECEIVING MIDI CHANNEL …16 (17 values in total: 16 per 16 channels + min. CCW
0
value for OMNI, default = OMNI). Output / transferring MIDI
channel is always the same as selected receiving MIDI
channel. If OMNI is selected as receiving, knobs CC values
are always sent via MIDI channel 1
67* IDI THRU ENABLE
M 0…63=off, 64…127=on
(DEFAULT ON)
68* IDI OUT CC ENABLE
M 0…63=off, 64…127=on
(DEFAULT ON)
69* IDI OUT CLOCK ENABLE
M 0…63=off, 64…127=on
(DEFAULT OFF)
24* ROGRAM CHANGE RX
P 0…63=off, 64…127=on
ENABLE (DEFAULT OFF)
25* ROGRAM CHANGE TX
P 0…63=off, 64…127=on
ENABLE (DEFAULT OFF)
70 SAMPLE RATE REDUCER 0=off (clean sound), 127=max crushing value
71 FILTER RESONANCE 0…127
74 FILTER FREQUENCY 0…127
Prg PROGRAM CHANGE 0=preset#1; 1=prest#2; … 8=preset#9
Clock MIDI CLOCK Received (CC18, 30 above), Sent (67, 68)
* - marked as Global settings (see Settings paragraph above) which return to default on soft
reset
If some parameter receives a mapped midi value via CC message fromMIDI IN(5),
then it is immediately intercepted instead of the current position of the knob (or a
secondary value too). However, this CC value still adds up to the LFO modulation
and expression pedal morph (or CC#01). And vice versa: when the CC value has
stopped being sent and we move the knob, the knob's value intercepts the previous
CC value.
Page26of29
FIRMWARE UPDATE
irmware updates are essential for any digital devices. They bring new features or
F
bug fixes. Feel free to write any bugs, features ideas or improvements to
[email protected]. Have any issues? Write us to[email protected]
o update the firmware on your GHOST Pedal, first download the latest firmware file
T
once available on ENDORPHIN.ES website:
https://www.endorphin.es/modules/p/ghost-pedal
he update procedure is made via audio: either computer or phone will work, we
T
advise you to disable all notifications (flight mode) so that the update is not
interrupted.
1. PowerOFFyour pedal.
2. U
nplug all the cables from the pedal except a simple mono cable connecting
the audio output from your computer headphones output to the audioINPUT
LEFT JACKof the pedal and select the switch to theLINElevel
3. Set the output volume of your computer to 100% or slightly lower.
oldPRESET FOOTSWITCHwhile powering your pedalON- you will see
4. H
thePRESET 5LED on.
5. O
pen theGHOST_PEDAL_UPDATE_XXX.WAVfile with anyaudio player.
Press play and patiently wait 1.5+ minutes while the firmware is updating. A
row of 9 LEDs will slowly fill up showing the upload status. During the update
two rows ofROUTINGLEDs act as a VU meter for incomingaudio. Try to
adjust the volume of the playback file so it will not clip but also will have
enough strength to light up almost all theROUTINGLEDs.
6. T
he pedal will reboot automatically after the new firmware has been installed
and will act normally with TAP footswitch blinking. That’s a good sign that the
update was successful.
7. T
o ensure the hidden parameters are all properly set after the update, it is
also recommended to perform a reset by simultaneously pressing and
holding all 4 buttons for 3 seconds (seeRESETsectionabove).
8. Enjoy the new features.
🠚 IMPORTANT:to prevent any errors during the audioplayback of the
firmware, please use an audio editor without any effects applied (EQ, room
correction etc.)
Page27of29
CREDITS
ENDORPHIN.ESx ANDREW HUANG – GHOST PEDAL
COLLECTION SPRING/SUMMER 2024
Pedal idea, concept and manual by Andreas Zhukovsky and Andrew Huang
Hardware design, code direction by Andreas Zhukovsky
Core engine programming by BSVi
Beta testing byDaniele Giannattasio
ENDORPHIN.ES are made in Barcelona province of Spain
Follow, like, post and tag us at Instagram:@endorphin.es
Page28of29
COMPLIANCE
FCC
his device complies with Part 15 of the FCC Rules. Operation is subject to the following two
T
conditions: (1) this device may not cause harmful interference, and (2) this device must accept any
interference received, including interference that may cause undesired operation.
hanges / modifications not approved by ENDORPHIN.ES doing business as Furth Barcelona, S.L.
C
could void the user’s authority to operate the equipment.
his equipment has been tested and found to comply with the limits for a Class A digital device,
T
pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference when the equipment is operated in a commercial environment. This
equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instruction manual, may cause harmful interference to radio communications.
CE
This device meets the requirements of the following standards:
EMC: 2014/30/EU
EN55032: 2015 ; EN 55103-2: 2009 (EN55024) ; EN61000-3-2;
EN 61000-3-3
Low Voltage: 2014/35/EU
EN 60065: 2002+A1: 2006+A11: 2008+A2 :2010+A12: 2011
RoHS2: 2011/65/EU
WEEE: 2012/19/EU
Page29of29
