infinitphase mkII user manual & sound reference guide
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Setting up
Connect the supp ied (or equiva ent) 16V AC adapter to the socket on the rear
of your infinitphase.
Please note – it is critically important that you only connect the appropriate C
adapter (not DC, C) to your infinitphase, otherwise damage could occur!
Connect your instrument to the input socket on the right of your infinitphase,
and the output on the eft to your amp ifier. Once power is connected you
shou d see one of the nine LEDs turn on - don't worry if the LEDs aren't
sequencing at the moment as we are on y concerned that the power supp y is
operating correct y. Note that one of the nine LEDs wi a ways be on, even in
bypass mode; when engaged the LED be ow the footswitch wi ight.
P ay your instrument, and togg e the footswitch if necessary to ensure that the
peda is processing the instrument signa – check to ensure that the effect
engaged LED is it.
C assic phase tone/home position
Ok! Probab y the best way to get acquainted with your infinitphase is to set
the contro s to produce a "traditiona " phasing sound, and then vary the
contro s one at a time whi e istening to the resu tant change in the audio.
We' refer to these settings as the "home position", so as we proceed you can
return your peda 's contro s to known va ues if you get confused or ose track
of the sound you are trying to achieve.
Figure 1 – infinitphase mkII ‘home position’ settings
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A greyed-out contro indicates that this setting is unimportant for the "home
position", i.e. you can set this contro to any va ue without changing the
resu tant sound. A of the PHASE DEPTH contro s and the RANGE contro
settings are unimportant in this regard for this particu ar sound; we’ ook at
those ater.
You shou d now be hearing an approximation of the "c assic" smooth phase
sweep! P ay your instrument for a whi e and isten to how the infinitphase
changes your tone.
LFO contro s
The four LFO ( ow frequency osci ator) contro s RATE, SYMMETRY, SHAPE
and DEPTH) modify the rate at which the phasing effect occurs, the "shape" of
the phasing effect and the depth of the phasing effect, respective y. Working
from the "home position" settings, experiment with the RATE contro . Note
that a minimum (comp ete y anti-c ockwise) setting wi reduce the phase rate
to a very s ow cyc e (about .1 Hz).
Next, reset the RATE contro to approx 12 o'c ock and the DEPTH contro to
minimum, then s ow y turn up the DEPTH contro as you p ay; note that the
frequency range over which phasing occurs is increased as the DEPTH contro
is turned up.
The SHAPE contro a ows you to se ect from a triang e LFO
(maximum c ockwise setting), a square LFO (maximum anti-
c ockwise setting) or anything in between on interim settings. Experiment
with turning the SHAPE contro s ow y down from the maximum c ockwise
setting, and isten to the range of sounds avai ab e from changing just this one
variab e. Note: if you have the RANGE contro setup at maximum, you shou d
notice that the 9 LEDs give you a visua indication of the LFO waveshape you
are hearing.
Return the contro s to the "home position" and ets ook at the SYMMETRY
contro . This contro a ows you to change the rise and fa time of the LFO. A
12 o'c ock setting wi give you an equa rise and fa time and hence a
symmetrica LFO waveform, whereas other settings wi resu t in
asymmetrica LFO waveforms. For examp e with a triang e wave-shape
se ected, a minimum setting of the SYMMETRY contro wi resu t in
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minimum rise time and maximum fa time, i.e. a fa ing sawtooth ; a
maximum Symmetry contro setting wi resu t in a maximum rise time and
minimum fa time, i.e. a rising sawtooth . With a square wave-
shape se ected, the SYMMETRY contro wi adjust the mark : space ratio, or
how much time is spent with the square wave at ‘high’ and ‘ ow’ va ues. P ay
around with the SHAPE and SYMMETRY LFO contro s for a whi e and dig
the range of sounds that are avai ab e to you!
Audio Contro s
I know you're keen to get to the sequence / step contro s on your infinitphase,
but I'm going to keep you hanging for a whi e onger whi e we take a quick
ook at the BLEND and RESONANCE contro s.
The BLEND contro is straight-forward; the fu c ockwise setting gives you
maximum c ean signa and minimum phased signa , the 12 o'c ock setting
gives you an equa amount of c ean and phased signa , and the fu y anti-
c ockwise setting gives you maximum phased signa and minimum c ean
signa . Setting the BLEND contro fu y anti-c ockwise a ows creation of
vibrato (pitch modu ation) sounds.
The RESONANCE contro is different from the resonance (or feedback)
contro on most other phasers in that it a ows you to return varying amounts
of the processed signa back to the effect input both in-phase and out-of-phase
with the origina signa . A 12 o'c ock setting of the RESONANCE corresponds
to the minimum amount of resonance, with fu y c ockwise giving you
maximum positive resonance (a "throaty" phase tone) and fu y anti-c ockwise
maximum negative resonance (a "ho ow" phase tone). At extreme settings the
resu tant sound might get a itt e harsh or ‘digita ’ in nature, so if the phase
effect is ever too intense on a particu ar sound you are working on be sure to
examine, and adjust if necessary, the position of the RESONANCE contro .
“infinitphase forep ay” - twidd e the BLEND and RESONANCE contro s to
e icit how s of musica de ight from your instrument and amp unti you just
can't stand the tension anymore, then move onto the next section.
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Step-phasing contro s
This is the part of the document where we' go through the other ha f of the
your infinitphases' capabi ities, become wiser, happier, better human beings ...
and attain phasing Nirvana. Or something ike that.
As we've been experimenting with different LFO waveshapes you wou d have
noticed that the sequence LEDs (the nine ights at the top of your infinitphase)
have been i uminated in different patterns. Corresponding with each LED
there is a PHASE DEPTH contro . By adjusting the CV MIX knob, we
determine whether the phasing effect is contro ed by the four LFO
parameters (SPEED, SYMMETRY, SHAPE and DEPTH, CV MIX set at
maximum) or by the nine PHASE DEPTH parameters (CV BLEND set at
minimum) or by both (intermediate CV B end setting).
Figure 2 – control voltage flow
Set the infinitphase contro s back to the "home position" settings (taking care
to make sure that SMOOTHNESS is at minimum). Then, set the PHASE
DEPTH contro s however you choose; as ong as some are at different
positions than others (a few at minimum, a few at maximum) then that wi be
good enough for starters. Now reach down and turn the CV MIX contro to
the fu y anti-c ockwise (minimum) setting, and p ay your instrument. You
shou d be hearing some abrupt phasing tones as the phase depth is switched
through the PHASE DEPTH contro settings. Locate the very right-most
PHASE DEPTH contro (you shou d be ab e to see the associated LED s owing
very dim y) – experiment with turning this contro , and note that it adjusts the
depth for all the other PHASE DEPTH contro s. This contro is usefu for
tuning over which frequency the nine PHASE DEPTH contro s operate. Note
that even if the RANGE contro is adjusted so that the LED underneath the
right-most PHASE DEPTH contro is never it, this contro wi still have an
overa effect on the position of the other PHASE DEPTH contro s.
