To make sure you get the most out of Vortex, be sure to read the manual.

Front Panel Overview

STORE Stores the current effect to whatever register is indicated by settings of A/B and REGISTER/PRESET. PEDAL/TAP If a footpedal is connected, assigns footpedal control to any parameter selected by Parameter knob (except ECHO 1 and ECHO 2 ). LED indicates pedal assignment. When no pedal is connected, or whenever Parameter knob is set to ECHO 1 or ECHO 2 , button enters timing information. Two pushes define a tempo for all effects. LED indicates 1st TAP received, waiting for 2nd TAP. CLEAR Clears register pairs (A and B) to allow effects to be skipped for a footswitch step sequence, or footswitchactivated chains to be created. Repeat to restore the register pair. A/B Activates rear panel A/B relay, and toggles selection of A and B banks of presets and registers. A and B LEDs indicate current selection.
FEEDBACK 1 FEEDBACK 2 RATE 1 DEPTH 1 RESONANCE 1 RATE 2 DEPTH 2 RESONANCE 2
REGISTER/PRESET Button selects preset or register mode. LED lights when register mode is selected, turns off in preset mode. Knob will select presets 1-16 or registers 1-16, depending on button setting.
Note using a footswitch to step through registers will cause a discrepancy between the REGISTER/ PRESET knob setting and the display (which will show the number of the register that is actually running.)

REGISTER/PRESET

DUO MAZE MOSAIC AEROSOL CENTRIFUGE ORBITS ATMOSPHERE REFLEXION 2 1

LVL OVL

PEDAL/TAP
ECHO 2 ECHO 1 ENVELOPE MORPH A/B ECHO FX LVL MOD FX LVL OUTPUT MIX

B VALUE

DEJA VU CHOIR SHIMMER SWEEP SHADOW CYCLOID BLEEN FRACTAL
INPUT Sets the level of the incoming signal. LEDs indicate acceptable signal level (LVL), and overload (OVL). PARAMETER Selects among 16 parameters for adjustment with the VALUE knob, or pedal assignment.
DISPLAY Numeric display of digits 1-64, and decimal point. Displayed digits indicate ID number of currently running effect. Digits accompanied by lit VALUE LED indicate parameter values. Decimal point lights to show an effect has been modified since it was stored. 2
VALUE Adjusts values of selected parameter. All parameter values are displayed with a range of 1-64 and are accompanied by the VALUE LED.

Setting Audio Levels

1. Turn Vortex INPUT all the way down (fully counter-clockwise). 2. Connect Vortex inputs to an audio source, and Vortex outputs to an amplifier or mixer. 3. Apply an input signal at a level that you typically use. 4. While sending audio to Vortex, gradually turn up the INPUT control until the LVL LED* lights green. Continue to advance INPUT until the OVL LED lights on only the loudest peaks. If the OVL LED is lit continuously, turn the INPUT control down. 5. Adjust amplifier or mixer levels for optimum signal-to-noise performance.

Mono In Stereo Out

Orbits A/B Centrifuge A/B Mosaic B Maze A Duo B Duo A Choir B

Maze B

Shadow A Bleen B

Shadow B

In-Line Processing
Note that MIX settings are stored with Vortex effects. The presets have been designed with specific MIX settings for each effect which should not need adjustment when the unit is used in-line.
Effects Send Effects Return Mono In (R)
Using Vortex on a Mixer Effects Return Bus
If Vortex is using a consoles returns, select each effect's MIX parameter, then use the VALUE knob to set it to its maximum value (64). Some Vortex effects are meant to be heard 100% wet, with no dry signal added. Adjust your console's wet/dry mix accordingly.

Guitar Amp

Mono Out

Effects Sends

Stereo Mixer

Effects Returns

AUDIO MORPHING

PROCESSOR

Stereo Instrument or Stereo Mixer (Effects Sends)

Out In

Ch 1 In (panned hard left) Ch 2 (panned hard right)

A/B Relay Switch

Vortex is equipped with an electrically isolated analog switch that allows remote control of guitar amplifier lead/rhythm channel selection. Simply connect a standard 1/4" guitar cable between the Vortex rear panel A/ B relay switch and the A/B switching input on your amp. Both the front panel A/B button, and the footswitch A/B control will activate this switch, allowing you to simultaneously switch effects and amplifier settings. For example, if your amp channel A corresponds to lead, and channel B to rhythm, you can load Vortex's A registers with effects you want to use on leads, and load the B registers with rhythm effects. Now, a single tap on the A/B footswitch will coordinate switching between lead effects on your A channel and rhythm effects on your B channel. Any amplifier with a channel switching feature and a footswitch connection can be connected to the rear panel A/B relay connector on Vortex. The switch functions as follows: Mono plug*
A B switch closed switch open

Stereo plug

sleeve tied to Tip sleeve tied to Ring
* To switch polarity, use a stereo plug into Vortex, with a mono plug going into the amp. Attach the two wires to the connector sleeve and ring so that A = open and B = closed.

Tapping in a Tempo

In Vortex, tempo is set simply by pressing TAP twice. Because every effect in the box is synchronized to the current tempo, all effects are always rhythmically compatible. You can tap with a footswitch, or with the front panel PEDAL/TAP button. (If you have a footpedal connected to Vortex, you must select one of the ECHO parameters in order for the button to function as TAP. See Pedal Control. ) The ECHO 1 and ECHO 2 controls allow you to easily set up extraordinary polyrhythms within any effect. These rhythmic divisions are automatically stored with the effect. Setting the tempo for Vortex couldn't be easier simply press TAP twice in rhythm to establish the tempo you want. The front panel LED will light on your first press of TAP to indicate a tap interval is being calculated. Your second TAP defines the tap interval and turns off the LED. Now, any effect you select will be synchronized to your tempo. To select a new tempo at any time, just TAP twice. Vortex will update the tempo throughout the box on receipt of the second TAP. (If a second TAP is not received within approximately 30 seconds, Vortex will remain at the current tempo and turn the LED off.) This simple method of setting tempo really frees you to experiment. Try running through the presets and simply tapping different intervals. Some effects will sound markedly different with the tempo altered. Try listening to an effect, then TAP in a whole note interval and listen again. TAP in 3 beats, then 4 beats, to get an idea of the changes that can be made to a single effect.

Echo Rhythms

Tap intervals in Vortex can be as long as 28 seconds, allowing long phrases of music, rather than single beats, to determine tempo. Whenever Vortex is turned on, the tap interval will return to the default value. (1=a quarter-note at 65 bpm) Echo rhythms are divisions of the tap interval you've selected for Vortex. The ECHO 1 and ECHO 2 controls allow you to set independent rhythms, which will always be related to the tap interval, for each of Vortex's two delay lines. For example, if you tap in a whole note interval (4 beats between taps), the parameter value 4 corresponds to quarter-note echoes, 8 corresponds to eighth-note echoes.64 to sixty-fourth-note echoes. The ability to set different rhythmic divisions for Vortex's two echoes allows you to set up some very interesting patterns. For example: 1. Load any effect with a dual echo configuration, such as preset 8. DUO B. 2. Tap in a whole note interval (4 beats between taps). 3. Turn the Parameter knob to ECHO 1, and set the VALUE knob to 16. This will give ECHO 1 a sixteenth-note rhythm. 4. Select ECHO 2, and set its VALUE to 8, giving ECHO 2 an eighth-note rhythm. Now, you can tap any interval, and the relationship between ECHO 1 and ECHO 2 rhythms will be maintained and still be synchronized with the tempo. (ECHO 1 will always have a rhythm which is twice as fast as that of ECHO 2.)

Setting Morph Rates

The MORPH A/B parameter allows you to specify independent morph rates for each effect. The combined morph rates set for A and B determine the total length of time a morph will take. The total duration of the morph can be varied from 10 seconds to.01 second. (1=slowest rate; 64=fastest rate) When you are morphing from A to B, the rate you have set for effect A determines how quickly you leave effect A. When you morph from B to A, it determines how quickly you arrive at effect A. The rate you set for effect B similarly controls departure and arrival rate to and from effect B. When these two values are equal, you will hear A and B effects in equal proportion at the midpoint of the morph. Setting unequal morph rate values allows you to slide this transition point toward the A or B effect essentially specifying what proportion of the total time will be spent on each effect. Along the transition path between one effect and another, some very unusual effects can be heard.

Pedal Control

Using an expression pedal with Vortex allows you a wide range of dynamic control over any parameter. Any one of fourteen parameters can be assigned to pedal control and pedal assignment can be stored as part of an effect. A and B effects can each have different pedal assignments. To make use of the many features available through pedal control, simply connect a pedal via the rear panel FOOTPEDAL connector. Each time an effect is loaded, Vortex checks this connection to verify pedal connection. When a pedal is connected, the PEDAL function of the PEDAL/TAP button is activated. Now, PEDAL/TAP functions as a TAP button only when ECHO 1 or ECHO 2 is selected. When the Parameter knob is turned to any other position, pressing this button assigns the selected parameter to pedal control.
Assign a Parameter to a Pedal
Assigning a parameter to the pedal is easy: 1. Plug a pedal into Vortex, and load a new effect (so that Vortex will recognize pedal connection.) 2. Turn the Parameter knob to select any of the fourteen assignable parameters for example, MIX. 3. Press PEDAL/TAP. The LED will light to indicate that the pedal has been assigned to that parameter.
When a pedal is plugged into Vortex..the PEDAL/TAP button assigns any one of fourteen parameters* to pedal control.

If the REGISTER/PRESET knob is set to a cleared register, the footswitch will skip to the first register in the next chain, then step through that chain.
Finding the Preset Used to Create an Effect
Vortex gives you the ability to radically change the sound of any preset. Your new sounds can then be stored in any one of 32 locations (registers 1-16, A or B). At some point, you may want to retrace your steps, and identify the preset used to create a particular stored sound.
To do this: 1. Using the REGISTER/PRESET knob and the A/B button, select the register for which you want to identify the source. 2. If you are not already in preset mode, press the REGISTER/PRESET button the LED should go off. Note that Vortex will load the preset which corresponds to the current knob position.
3. Press and hold down the REGISTER/ PRESET button. The display will blink. Now, Vortex will reload your register selection. 4. While still holding down the REGISTER/ PRESET button, move the VALUE knob. The number and version (A or B) of the preset used to create that register will be displayed briefly. This will not affect the audio you will still be hearing the selected register. The display will return to the selected register after a brief timeout, or on release of the REGISTER/PRESET button.

Effect Descriptions

Vortex effects are not passive, they are responsive to your playing. Each can be controlled dynamically by the ENVELOPE control, allowing you to play the effects with your own personal style. Each effect is made up of several simultaneous modulation and delay modules. The sonic signature of each effect is determined by the number and type of these modules, as well as the audio and control connections between them. Although each effect is designed with a different combination of modules, Vortex provides a single set of 16 general parameters to control them all. All Vortex effects have the same general structure, as shown below. (The shaded area of the diagram is detailed in the indvidual effect descriptions that follow.)
Left Left Input EFFECT MIX Output Right Right
Vortex presets are designed to emphasize certain functions in each effect, but you will find that altering selected parameters allows you to create entirely different sounds from any single effect. The following diagrams and descriptions provide maps for your explorations, as well as descriptions of each preset pair and of the effect itself.

2 ATMOSPHERE B

Atmosphere B has two modulators, each with two independent taps (a and b), which allow you to create tunable resonance effects. The modulators are in the feedback path of a cross-mix configuration. When feedback is used, every echo repeat is re-modulated.
ENVELOPE increases the rates of both modulators, causing modulation to speed up during louder notes and passages. The modulators in this effect are unique in that each has a gliding tap and a stationary tap. RATE 1 and DEPTH 1 control the glide speed and range of the gliding tap (b) of MOD 1. RATE 2 and DEPTH 2 control the glide speed and range of the gliding tap (b) of MOD 2. RESONANCE 2 controls the tuning of the stationary tap (a) in both MOD 1 and MOD 2. RESONANCE 1 controls the mix of the a and b tap levels for both modulators. The character of the modulated sound can be significantly altered with RESONANCE 1 and RESONANCE 2. The cross-mix echo configuration is identical to that in Atmosphere A. Use the Preset to add a variety of atmospheric effects to your sound.
Mod Fx Lvl Rate 1* Depth 1 Res 1 ROTARY 1

3 ORBITS

Fbk 1 ECHO 1

Echo Fx Lvl

Orbits is designed around two rotary effects, one fed by the left input, one by the right. The output of both rotary effects is fed to echoes configured as a stereo pair. The left echo feeds the right output, and vice-versa, causing the echoes to revolve on opposing sides of the stereo field from the rotary effects.
ENVELOPE decreases both rotary speeds, so that louder signals cause the rotary effects to slow down. The left and right inputs are processed independently, allowing you to experiment with two input sources. You can, for example, send a voice into the left, and a guitar into the right, and each can have its own independent rotary effect. To accurately simulate a cabinet rotary speaker with high-frequency and low-frequency rotors, use a mixer with low and high EQ on its sends feeding Vortex left and right inputs.
ROTARY 2 ECHO 2 Rate 2* Depth 2 Res 2 Fbk 2 Echo Fx Lvl
Decreases both rotary speeds Delayed rotary output level Undelayed rotary output level Feedback gain around ECHO 1 Feedback gain around ECHO 2 Rotary 1 speed Rotary 1 depth Rotary 1 resonance Rotary 2 speed Rotary 2 depth Rotary 2 resonance

About the Orbits Presets

The A and B presets of Orbits are designed to simulate a pair of rotating speakers, with A set for fast, and B set for slow. Rate, depth and resonance settings are all altered to simulate this speed change. In the presets, the envelope control is turned off, but this can be turned on to control rotary speed dynamically. (If a pedal is assigned to MORPH A/B, you can use it to control rotation speed of the rotary speaker.) The morph rates are set to simulate the inertial drag when the rotors are sped up or slowed down.

7 MAZE

Fbk 1 ECHO 1 Rate 1* Depth 1 PAN Mod Fx Lvl Mod Fx Lvl STEREO MOD Rate 2 Depth 2 Res 1 Res 2 ECHO 2 Fbk 2 Echo Fx Lvl Echo Fx Lvl
Maze A has a panner that sprays a mono mix of the input signals across the inputs of a stereo modulator and a stereo echo pair.
ENVELOPE decreases the panning speed, so that pan rate decreases with loud signals. RATE 1 and DEPTH 1 control pan speed and width. RATE 2 and DEPTH 2 control the modulation glide rate and depth. RESONANCE 1 controls the left and right resonance gain for the modulator. RESONANCE 2 controls left and right resonance tuning. The Preset combines pan, modulation, and stereo echo to create a dynamic spacious effect.
Decreases pan speed Delayed panner output level Panner level to modulator input Feedback gain around ECHO 1 Feedback gain around ECHO 2 Autopan speed Autopan width Resonance gain Glide rate Glide depth Resonance tuning
Rate 1 Depth 1 Fbk 1 ECHO 1 Fbk 2 Rate 2 Depth 2 ECHO 2 Fbk 1 Rate 1 Depth 1 DETUNE* Res 1 Res 2 Mod Fx Lvl Echo Fx Lvl Mod Fx Lvl Echo Fx Lvl
Maze B is configured as two parallel effects. One has stereo envelope detune, and the other has a unique echo configuration with feedback AM.
ENVELOPE controls the amount of detune, so that louder signals increase detuning. The output of the detuner is controlled by MOD FX LVL. If this control is turned down to 1, it completely shuts down the detune effect. Likewise, the output of the bounce echo is controlled by ECHO FX LVL. If this control is turned down to 1, it completely shuts down the echo effect. The echoes are arranged in series. ECHO 1 feeds the left ouput, while ECHO 2 feeds the right. This generates echoes that bounce between left and right. FEEDBACK 1 controls the amount of feedback for both echoes. FEEDBACK 2 controls the amount of crossfeedback for both echoes. RATE 1 and DEPTH 1 control amplitude modulation of the feedback for both echoes. RATE 2 and DEPTH 2 control the amplitude modulation of the cross-feedback for both echoes. Turning up DEPTH 1 and/or DEPTH 2 modulates feedback (or cross-feed) levels. At low rates, this produces a tremolo-like effect. At faster rates, this produces "ring modulator" effects. The Preset uses ENVELOPE to produce a slight flange on note attacks. The amount of feedback and cross-feed is slowly changed by RATE 1 and RATE 2.
Amount of detune (Loud signals=max detune, soft=none) Echo output level Stereo envelope detune output Fixed feedback gain for ECHO 1 and ECHO 2 Fixed cross-feed gain for ECHO 1 and ECHO 2 ECHO 1 and ECHO 2 feedback AM rate ECHO 1 and ECHO 2 feedback AM depth Resonance gain for left detune ECHO 1 and ECHO 2 cross-feed AM rate ECHO 1 and ECHO 2 cross-feed AM depth Resonance gain for right detune
Echo Fx Lvl* ECHO 1 Fbk 1 Fbk 2 Rate 1 Depth 1 VIBRATO 1 Res 1 Res 2 Rate 2 Depth 2 VIBRATO 2 ECHO 2

Increases vibrato rates Left input into echoes Right input into vibrato Feedback gain around ECHO 1 Feedback gain around ECHO 2 Vibrato 1 rate Vibrato 1 predelay Vibrato 1 and Vibrato 2 resonance Vibrato 2 rate Vibrato 2 predelay Vibrato cross-mix

9 DEJA VU

Echo Fx Lvl* Fbk 1 ECHO 1 Fbk 2 Mod Fx Lvl ECHO 2 PAN Rate 2 Depth 2

STEREO GLIDE

Deja Vu A is configured with a cascade looper with envelope control of the looper's output level. The output of the looper is fed into a panner which sprays the effect into a stereo glide. The stereo glide is also fed directly by the inputs.
ENVELOPE decreases ECHO FX LVL, pulling the echoes down out of the way of loud signals, and bringing them back up whenever softer signals are received. FEEDBACK 2 controls the mix of ECHO 1 feedback and ECHO 2 feedback. When this value is 1, this mix is all ECHO 1 feedback. At 64, the mix is all ECHO 2 feedback (producing the longest echoes.) Between these extremes, ECHO 1 is fed by a mixture of the two feedbacks. These intermediate settings produce echo rhythms that change over time. FEEDBACK 1 controls the mix of input signal and feedback mix fed into ECHO 1. When FEEDBACK 1=1, there is no feedback. At 64, only feedback is sent into the echoes. This creates an infinite loop. Setting DEPTH 2 to 1, in effect, turns off the panner. In the Preset, the panner and the stereo glide are turned off, leaving just a simple echo ducking effect. Turn up DEPTH 1 and DEPTH 2 to add modulation and panning.
Rate 1 Depth 1 Res 1 Res 2
Decreases ECHO FX LVL Delayed output into stereo glide Undelayed input to stereo glide Input/feedback mix (1=no feedback; 64=infinite repeat) Feedback/cross-feed mix Stereo glide rate Stereo glide depth Stereo resonance Autopan rate Autopan width (min=center, max=L to R) Stereo glide cross-resonance gain
Echo Fx Lvl Fbk 1* ECHO 1 Fbk 2 Mod Fx Lvl ECHO 2 PAN Rate 2 Depth 2
Deja Vu B is configured with a cascade looper with envelope control of the looper's input mix. The output of the looper is fed into a panner which sprays the effect into a stereo glide. The stereo glide is also fed directly by the inputs.
All of the controls in this effect are identical to those of the A version, except that here ENVELOPE decreases the input/feedback mix. Loud signals increase the amount of input signal in the mix; soft signals increase the amount of feedback. The Preset creates a unique overdub looper. Whatever you play will be repeated indefinitely. New material will replace older portions of the loop as it is played.

Echo Fx Lvl Mod Fx Lvl ECHO 1 Fbk 1 Fbk 2 ECHO 2 HAAS EFFECT MULTI CHORUS Rate 1, Rate 2 Mod Fx Lvl Depth 1*, Depth 2* Res 1, Res 2 Echo Fx Lvl
Choir B is predominantly an echo effect, with a cascade looper feeding a Haas Effect and a multichorus module.
ENVELOPE decreases chorus depths, so that the chorus effect increases as the signal gets softer. The controls are the same as those in Version A. In Version B, however, the input signal is summed to mono and sent into the cascade echo. The output of the cascade echo is sent equally to the left and right outputs, and into the Haas Effect which converts the mono signal into a wide image. From there, the signals are sent into the multichorus effect and recombined with the echo effect at the output. The Preset has MIX set to nearly dry (17), so that your orginal signal is heard unprocessed, then is surrounded by a rich choir of echoes.
Decreases chorus depths Unmodulated echo output level Echo level into Haas Effect and Multichorus Total gain of feedback/cross-feed mix Feedback/cross-feed mix Multichorus a voices speed Multichorus a voices depth Multichorus L to R cross-resonance Multichorus b voices speed Multichorus b voices depth Multichorus R to L cross-resonance

11 SHIMMER

Mod Fx Lvl Rate 1* Depth 1 X-RES MOD Rate 2 Depth 2 Res 1, Res 2 Mod Fx Lvl TREMOLO Fbk 1 ECHO 1 Fbk 2 ECHO 2 Echo Fx Lvl
Shimmer A utilizes a cross-resonance modulator feeding a stereo tremolo, which is, in turn, sent to both the outputs and the inputs of a stereo echo pair. The tremolo in this effect is mono compatible.
ENVELOPE increases the tremolo rate, so that the tremolo rate increases as signals get louder. Tremolo is a stereo effect, in that a stereo signal fed into the effect maintains its stereo image throughout. Tremolo is synchronized so that left and right channels move together. The tremolo effect is maintained even if the output of Vortex is mixed to mono. The Preset is set to provide dynamically controlled tremolo. Increase DEPTH 2 to add modulation effects. Increase ECHO FX LVL to add echoes.

Mod Fx Lvl Fbk 1 ECHO 1 MULTI VIBRATO Fbk 2 Rate 1, Rate 2 Depth 1*, Depth 2* Res 1, Res 2 ECHO 2 Echo Fx Lvl
Sweep B consists of a stereo multi-vibrato effect whose outputs go directly to left and right outputs, as well as to a stereo pair of echoes.
ENVELOPE decreases the vibrato depths, so that vibrato grows stronger as sounds fade. The vibrato effect has two sets of stereo vibrato voices. One set of voices (a) is controlled by RATE 1 and DEPTH 1. The other set (b) is controlled by RATE 2 and DEPTH 2. The a voices shift in pitch in opposition to each other, as do the b voices. This can be used to produce very rich vibrato and chorus effects. ECHO 1 is fed by the left vibrato voices. ECHO 2 is fed by the right vibrato voices. Mixing the echo effect with the vibrato enhances the effect. The Preset is a dynamically controlled vibrato. The effect is very deep, with resonance controls turned up to create a very lush sound.
Decreases vibrato depths Delayed vibrato output level Undelayed vibrato output level ECHO 1 feedback ECHO 2 feedback Multivibrato a voices speed Multivibrato a voices depth Left vibrato resonance Multivibrato b voices speed Multivibrato b voices depth Right vibrato resonance

13 SHADOW

HI CUT Fbk 1* Fbk 2 Echo Fx Lvl Fbk 1 Fbk 2 ECHO 2 ECHO 1
Shadow A is configured as two independent stereo effects. One is a cross-resonance modulator, the other consists of cross-mix echoes with high-cut filters in the feedback paths.
ENVELOPE decreases both feedback mix and echo outputs for both echoes. The cross-resonance modulator has independent glide rate and depth controls for the left and right sides. The echoes each have high-cut filters in their respective feedback paths. These filters cause the echoes to get progressively darker as they repeat. This is reminiscent of the sound of tape echo. The Preset is designed with a subtle stereo chorus in parallel with "analog tape" echoes. ENVELOPE is set to pull echoes way down in the mix while new notes are played. When your input signal stops, the echoes are heard. Try this with solos and melody lines.

HI CUT

X-RES MOD Rate 1, Rate 2 Depth 1, Depth 2 Res 1, Res 2
Decreases feedback mix and echo outputs Echo output level Modulation output level Total gain of feedback/cross-feed mix for both delays Feedback/cross-feed mix for both delays Mod left glide rate Mod left glide depth Mod cross-resonance (R to L) Mod right glide rate Mod right glide depth Mod cross-resonance (L to R)

Fbk 1 Mod Fx Lvl LO PASS Rate 1 Depth 1 Res 1* X-RES MOD Echo Fx Lvl ECHO 1 Fbk 2 ECHO 2
Shadow B uses a dynamic low-pass filter as a master tone control for its modulation and echo effects. The filter can be set for a uniform tone, or used to create constantly varying shades from light to dark.
ENVELOPE raises filter cutoff frequency, so that loud signals are bright, then darken as they fade. The low-pass filter, in addition to being dynamically controlled by ENVELOPE, is controlled by RATE 1, DEPTH 1, and RESONANCE 1. RESONANCE 1 sets the cutoff frequency of the filter. (Higher values correspond to higher cutoff frequencies.) RATE 1 and DEPTH 1 are modulation controls for the filter. This filter acts as a master tone control for the entire effect. The filter can be set to specific values (using RESONANCE 1) to cause the effect to be uniformly dark or bright. Alternatively, RATE 1 and DEPTH 1 can be set to produce degrees of brightness and darkness that constantly change throughout the effect. The Preset uses slow modulation of the filter to effectively fade echo and modulation effects in and out of your sound while simultaneously changing their tone from bright to dark.

Rate 2 Depth 2 Res 2

Raises filter cutoff frequency Lo-pass filter and X-res mod input to echoes Input to Lo-pass filter and X-res mod Feedback gain around ECHO 1 Feedback gain around ECHO 2 Lo-pass filter mod rate Lo-pass filter mod depth Lo-pass filter cutoff frequency Mod glide rate Mod glide depth Mod cross-resonance

14 CYCLOID

ECHO 1 Fbk 1 STEREO FILTER Fbk 1 Fbk 2 ECHO 2 Fbk 2 Echo Fx Lvl
Cycloid A utilizes a dynamic stereo low-pass filter that produces different spatial effects by cyclic changes in the tone of left and right signals.
ENVELOPE raises the filter cutoff frequency, so that loud sounds are initially bright, then grow darker as they fade. The filter cutoff frequency is also controlled by DEPTH 1 and by both resonance controls. The interaction of these parameters with the ENVELOPE control produces many interesting dynamic effects. The filter is modulated by a sine2 wave form (left and right are modulated 90 out of phase with respect to each other) to produce "filter panning," where the sound moves from left to right based on tone rather than level. RATE 1 and DEPTH 1 control the speed and amount of filter modulation. The rate of this modulation can itself be modulated by RATE 2 and DEPTH 2 (FM). Placing the echoes behind the filter gives control over the tone color of the signal going into the echoes. (Each echo repeat has the same degree of darkness.) The Preset creates a swirling, left-right motion by modulating the filter with RATE 1 and DEPTH 1. The speed of this motion is subtly varied by RATE 2 and DEPTH 2. ENVELOPE control is used to decrease the motion on louder signals. Left and right eighth-note, triplet, and sixteenth-note echoes increase the apparent "width" of the sound.

Rate 1, Rate 2 Depth 1, Depth 2 Res 1*, Res 2*
Raises filter cutoff frequency Delayed filter output level Undelayed filter output level Total gain of feedback mix for both delays Feedback/cross-feed mix Filter glide rate Filter glide depth Left filter cutoff frequency Rate of RATE 1 FM Depth of RATE 1 FM Right filter cutoff frequency
Mod Fx Lvl ECHO 1 Fbk 1 Fbk 2 Echo Fx Lvl Fbk 1 Fbk 2 ECHO 2 STEREO FILTER
Cycloid B varies the configuration used in Cycloid A by placing the cross-mix echoes in front of the stereo filter. This allows the filter to change the tone of echoes as they repeat.
ENVELOPE increases RATE 1 (filter modulation), so that you can set the filter to behave in a specific way when there is input, and another way when the signal is absent and there are only repeating echoes. All other controls are as described in Cycloid A. The Preset uses dynamic control of the filter modulation rate to cause filter panning to increase with loud signals. When no input signal is present, echoes still flow through the filter, but at a slower panning rate. Settings of ECHO 1and 2, and FEEDBACK 1 and 2, control these bouncing echoes. Use FEEDBACK 1 to increase or decrease the total amount of feedback.
Rate 1*, Rate 2 Depth 1, Depth 2 Res 1, Res 2
Increases filter modulation Delayed filter output level Undelayed filter output level Total gain of feedback mix for both delays Feedback/cross-feed mix Filter glide rate Filter glide depth Left filter cutoff frequency Rate of RATE 1 FM Depth of RATE 1 FM Right filter cutoff frequency

15 BLEEN

Bleen A has a stereo resonator feeding a stereo amplitude modulator, which is, in turn, sent to both the outputs and the inputs of a cascaded echo. The output of the cascaded echoes is sent to an auto-panner before it too is sent to the outputs.
ENVELOPE increases the amplitude modulation speed and decreases the resonator tuning so that, as signals get louder, the speed of the amplitude modulation increases and the tuning value decreases. This effect has a tunable resonator which allows you to emphasize diffferent frequencies based on the value of RESONANCE 2. The amount of resonance is controlled by RESONANCE 1. At higher values, this will produce a pronounced ringing at the tuned frequency. As ENVELOPE can control this tuned frequency, many unusual dynamic effects can be created by playing with the envelope and resonance controls. DEPTH 1 controls the amount of signal sent to the amplitude modulator. For any effect to be heard, this must be set to a value greater than 1. Amplitude is modulated 90 out of phase. High values of RATE 1 can produce "ring modulator" effects. This Preset is an example of a dramatic special effect driven by the dynamics of the input signal. This works particularly well with sources that produce short percussive sounds.

Basic Operation

LVL OVL

PEDAL/TAP

ECHO 2 ECHO 1 ENVELOPE MORPH A/B ECHO FX LVL MOD FX LVL OUTPUT MIX
FEEDBACK 1 FEEDBACK 2 RATE 1 DEPTH 1 RESONANCE 1 RATE 2 DEPTH 2 RESONANCE 2

REGISTER/PRESET

DUO MAZE MOSAIC AEROSOL CENTRIFUGE ORBITS ATMOSPHERE REFLEXION 2 1

B VALUE

DEJA VU CHOIR SHIMMER SWEEP SHADOW CYCLOID BLEEN FRACTAL

AUDIO MORPHING PROCESSOR

Presets and Registers
Vortex is loaded with 32 permanent presets, arranged in two banks, and numbered 1A-16A and 1B16B. Vortex also has 32 memory locations, called registers, where you can store your own effects. Each preset and register has an A and a B version. In the presets, A and B versions are matched into specific effect pairs. You can set up your own pairing system in the registers.
Vortex has 32 presets and 32 registers for storing your customized effects. Pressing the REGISTER/PRESET button.
The front panel A/B button determines which version of an effect will be loaded. When this button is pressed with an effect running, it will initiate a dynamic transition, or morph from one effect to the other.
The setting of A/B determines whether the A or B versions of presets and registers will be loaded.
LED indicates register selection.
.determines whether presets (REFLEXION. FRACTAL), or registers (1. 16) will be selected by the knob.

A B VALUE

LEDs indicate A/B selection.

Editing Effects

Each Vortex effect consists of multiple modulation and delay functions, and each has its own distinctive sonic signature. All 32 effects share a common set of 16 parameters which allow you to access dimensional, rhythmic, and dynamic aspects of each effect.

Select a parameter.

Storing Effects
To adjust a parameter, select it with the PARAMETER knob, then turn the VALUE knob. The first turn of VALUE will display the current parameter setting and light the VALUE LED. Subsequent adjustments will increment or decrement parameter values along their entire range (1-64).
Use the VALUE knob to adjust the selected parameter.
Vortex presets cannot be erased or overwritten by parameter changes; the original version will always be restored when loaded. If you make changes to a preset and want to save the changes as a custom effect, or if you want to match certain effects as A/B pairs, you must store your new versions into registers. You can store any effect you want into any register space. To store the currently running effect: 1. Press STORE. 2. If you were in preset mode, the register LED will go on, indicating that Vortex has automatically switched to register mode selecting whatever register is indicated by the position of the REG-
ISTER/PRESET knob and the A/B button. 3. Releasing STORE will store the currently running effect into the register indicated on the display, overwriting the effect previously stored there. The display will flash briefly to indicate the store operation was successful. 4. Store operations are executed on release of the STORE button. If you want to store to a different register, or to a different register bank, than the one displayed, turn the REGISTER/ PRESET knob to the register number you want, and check the setting of the A/B button before releasing STORE.
Parameter values (1-64) will be displayed when VALUE is turned. The VALUE LED lights whenever parameter values are displayed. The decimal point indicates changes have been made since the last store operation.

TAP and Echo Rhythms

Vortex allows you to set the tempo for all effects, simply by pressing TAP twice. You can tap with a footswitch, or with the front panel TAP button.* To set tempo in Vortex, just press TAP twice in rhythm to establish the tempo you want. The front panel LED will light on your first press of TAP to indicate a tap interval is being calculated. Your second TAP defines the tap interval and turns off the LED. Now, any effect you select will be synchronized to your tempo. To select a new tempo at any time, just TAP twice. Vortex will update the tempo throughout the box on receipt of the second TAP.
Copyright 1994, Lexicon Inc.
Tap Interval (Number of Beats between TAPs)
Vortex has two independent delay lines which are configured in a variety of ways to create rhythmic effects. The ECHO 1 and ECHO 2 controls allow you to set independent rhythms, which will always be related to the tap interval, for each of Vortex's two delay lines. For example, if you tap in a whole note interval (4 beats between taps), the parameter value 4 corresponds to quarter-note echoes, the parameter value 8 corresponds to eighth-note echoes.64 to sixtyfourth-note echoes.
* If you have a footpedal connected to Vortex, you must select one of the ECHO parameters in order for the button to function as TAP footswitch TAP function is always active.

Rhythmic Divisions

The ability to set different rhythmic divisions for Vortex's two echoes allows you to set up some very interesting patterns. For example: 1. Load preset 8. DUO B. 2. Tap in a whole note interval (4 beats between taps). 3. Turn the Parameter knob to ECHO 1, and set the VALUE knob to 16. This will give ECHO 1 a sixteenth-note rhythm. 4. Select ECHO 2, and set its VALUE to 8, giving ECHO 2 an eighth-note rhythm. Now, you can tap any interval, and ECHO 1 will always have a rhythm which is twice as fast as that of ECHO 2.

All Rights Reserved.

5:4 7:4
Tap intervals can be as long as 28 seconds, allowing long phrases of music, rather than single beats, to determine tempo. Whenever Vortex is turned on, the tap interval will return to the default value. (1=a quarter-note at 65 bpm)
A/B RELAY SPECIFICATION < 100V, < 100mA

FOOTSWITCHES

FOOTPEDAL
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO 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.

OUTPUTS

INPUTS

VORTEX

9V~, 1A, 50-60Hz
USE LEXICON MSA AC ADAPTER
LEXICON, INC. WALTHAM MA 02154 MADE IN U.S.A. P/N 021-09504

:TIP :RING :SLEEVE

A B COM

BYPASS STEP

TAP A/B

STEREO PLUG ONLY

L (HI-Z PHONES)

R (MONO)

SERIAL #

Audio Morphing

Vortex gives you the ability to continuously transform one effect into another. This feature, which we call Audio Morphing,allows you to transform closely related, or wildly dissimilar effects and to set the time period over which the transformation occurs. Morphs are performed between register pairs. To set up a morph, store an effect into any A register, then store another effect into the corresponding B register. Morphing is accomplished automatically when you press the A/B switch. The MORPH A/B parameter allows you to set the time it takes for one effect to transform into another when A/B is pressed. The combined morph rates set for A and B determine the total length of time a morph will take. The total duration of the morph can be varied from 10 seconds to.01 second. (1=slowest rate; 64=fastest rate) Morph rates, like other parameters, are stored as part of the effect. When you morph between two versions of the same effect, all of the parameter values move smoothly from one version to the other.When you morph between two different effects, the entire structure of the effect transforms to the other effect. Everything changes rates, levels, audio routing, routing of the LFOs and envelope, etc. Try listening to some of the preset effect pairs to get an idea of what morphing can do with different effect combinations.
Preset 3 ORBITS A and B in this preset are variations on a single effect, B having slow orbital paths, and A having faster orbits. This is a good example of using morphing to produce subtle changes in the overall sound of an effect. Preset 15 BLEEN A and B are completely different from one another. A is based on envelope detune, while B is based on "ring modulated" echo feedback. The sound is completely transformed as the effect morphs from A to B.

Pedal Control

Any one of 14 parameters can be assigned to pedal control and pedal assignment can be stored as part of an effect. A and B effects can each have different pedal assignments. To make use of the many features available through pedal control, simply connect a pedal via the rear panel FOOTPEDAL connector. Each time an effect is loaded, Vortex checks this connection. When a pedal is connected, the PEDAL function of the PEDAL/TAP button is activated. Now, PEDAL/TAP functions as a TAP button only when ECHO 1 or ECHO 2 is selected. (Footswitch TAP function is unaffected.) When the Parameter knob is turned to any other position, pressing this button assigns the selected parameter to pedal control. 1. Plug a pedal into Vortex, and load a new effect (so that Vortex will recognize pedal connection.) 2. Turn the Parameter knob to select any assignable parameter for example, MIX. 3. Press PEDAL/TAP. The LED will light to indicate that the pedal has been assigned to that parameter. 4. When the pedal is moved beyond the displayed value of MIX, the pedal will acquire control over the parameter's full range. Once a parameter is assigned to a pedal, pedal control of the parameter is always active, even if you move the Parameter knob to select another parameter for editing. While an assigned parameter is selected, value changes made with the pedal will be displayed. When pedal motion stops, the display will return to display of the register or preset number. When the Parameter knob is turned to another position, the Pedal LED will turn off, and the value of the new parameter will be displayed. The new parameter can be edited with VALUE; the pedal will continue to control its assigned parameter. To remove a pedal assignment, select the assigned parameter and press PEDAL/TAP, or select another parameter for assignment and press PEDAL/TAP. When a pedal is deassigned, the parameter returns to its original value (as set prior to pedal assignment.)

When a pedal is plugged into Vortex, the PEDAL/TAP button assigns any one of 14 parameters* to pedal control. The LED will light when you assign a parameter and whenever an assigned parameter is selected with the knob, until the assignment is changed or removed.

PEDAL /TAP

The PEDAL/TAP button performs TAP functions when ECHO 1 or ECHO 2 is selected.

PEDAL/ TAP

If you unplug the pedal, load a new effect to make sure that Vortex recognizes the disconnection.
Morphing with a Pedal When you assign the MORPH A/B parameter, the pedal immediately acquires control over the morph, and the morph jumps to the current pedal position. (Toe up=1=effect B; toe down=64=effect A.)
A/B still selects the A or B effect, and the A and B LEDs indicate which effect is available for editing. Edits can be made via the front panel to either A or B effect parameters, but the pedal determines which effect is being heard.
When you deassign the pedal, Vortex will immediately switch to whichever effect, A or B, is indicated by the front panel LEDs.
If either the A or B effect has been stored with the pedal assigned to MORPH A/B, (and a pedal is connected) pedal control is immediate when the effect is loaded.

Other Features

Vortex offers many other features you'll want to explore: All Vortex effects are dynamically sensitive. Vortex has a CLEAR function which allows registers to be skipped in any effect sequence you create.You can also set up chains which use cleared registers as loop points. One footswitch is provided with Vortex for control of either TAP and A/B functions, or register STEP and BYPASS. A second footswitch can be connected to control the remaining footswitch functions. Vortex is supplied with an electrically isolated analog switch that allows remote control of a guitar amplifier lead/rhythm channel selection. Simply connect a standard 1/4" guitar cable between the Vortex rear panel A/B relay switch and the A/B switching input on your amp. Both the front panel A/B button, and the footswitch A/B control will activate this switch, allowing you to simultaneously switch effects and amplifier settings.
Contact Lexicon, or your local dealer for more information on this, or any Lexicon product.
3 Oak Part, Bedford, MA 01730 Tel: (781) 280-0300 Fax: (781) 280-0490