Use a high number of echoes, with a short delay between them, and boost the Feedback, to create Reverb from the multiple echoes.
Then adjust the Start and End to set the length of time it takes to accelerate or decelerate between the divisions of the reverb trail, before it loops around again.
Click on the Histogram icon, to the right of the Witch Pig site link, for a visual representation of the granular reverb trails.
A powerful utility tool with huge creative potential.
Most likely to be used for converting drum MIDI created in one format to another,
but could also be used for creating new MIDI files in different configurations, better postioning virtual instrument's articulation keys, and adding custom non-linear harmonies.
An out of this world multi-FX step sequencer.
Drag above or below the baby aliens to shift through a galaxy of noise.
Click on the mummy alien to open up the eyeball controls. From there you can select your drive speed through space, set the FX mode,
and ultimately open up a whole new universe of intergalactic aural soundscapes.
Guillotine chops up segments of audio in sync with the BPM of the track. Up to 32 divisions can be made from one section, which can then be modulated, bitcrushed, distorted, or simply silenced.
In the Sever FX setting, the top right knob can be used in Relent mode as an expander, rather than as the default noise gate - this means that the chosen segments will be made quieter rather than totally silenced.
In the other FX settings, the top right knob will operate in Inflict mode, increasing the severity of the chosen treatment.
The default settings for Neutraliser should be about right for in front of a high gain style amp sim with overdrive.
But for a real amp coming into the DAW via a load box, you might want to turn the threshold (bottom left) up to around 8. You can also experiment with with the Expander (bottom right) to slow down the noise gate closing on sustained notes, and to let more background noise through for a more natural sound.
SPX Nevermore is my attempt at replicating the Symphonic preset from the 1990s Yamaha SPX 90 rack effects unit. As this was a budget 12 bit digital FX unit, and notoriously noisy, by default I have enabled the 'Noisy' and '12 Bit' switches.
I found that this low bit rate, and background noise, needed to be fed into the signal before the stereo flanger effect, in order to emulate something close to the distinctively lofi sound of the original.
The SPX Symphonic preset was most famously used on bass for Nirvana's 'NEVERmind' album, and by Zakk Wylde for the guitar on Ozzy's 'No MORE Tears'.