The Lovers
mono/stereo → mono/stereo
Select a grid button or a stompswitch
Custom-made chorus and vibrato, with reverb and dynamic depth — inspired by the Walrus Audio Julianna
An analog-style chorus and vibrato, modelled on the Walrus Audio Julianna. Blend goes from dry, through chorus, to vibrato. A reverb sits behind it, and playing harder opens the depth.
By Plume
The cells draw a heart, and each part of it holds one thing.
The middle, in red, is the effect itself: and , and , with and either side. Turn Blend up and the effect comes in, chorus halfway, vibrato at the top.
The two purple branches are what the Julianna does not have. Reverb on the left, and on the right how hard you play moves the effect.
Across the top, in red, the tone of the modulated voice.
Three pairs of indicators run down the centre: the envelope at the top, the rate pulse either side of the rate knobs, and the reverb below.
The outer columns are the two menus, shut until you press the launcher at the bottom of each.
Tap the tempo with . It reads on release, not on the way down. Hold it and the rate ramps up to , or down if Rate² is the slower of the two, coming back when you let go.
The toggles the reverb. Hold it and the LFO follows MIDI clock instead of the knob.
Tap tempo and MIDI clock both replace rather than adding to it, and touching the knob hands control back to it. The heart shows which of the three is running.
The bottom corners are launchers: in yellow sets what one tap is worth, in aqua picks the shape of the movement. Press one and its options appear in the column above it, pick one and they hide again. Pressing the launcher again just shuts the menu, and the choice stays.
Both use the same three colours in the same order: mango , green , blue . A launcher takes the colour of whatever is running, so you can read it without opening it.
The two aqua cells either side of the rate knobs are the LFO itself. They are the quickest way to check a tempo without playing.
Both cells always show the same colour, and it only changes when the setting does.
sets what the two voices are, not how far they move. At the bottom it is a flanger. In the middle it is a chorus. At the top the copy is late enough to hear as a second attack, which is a doubling.
A flanger: at 0, at half, centred, around
0.4, and at zero, sine shape. Blend has to
stay centred. The sweep is only heard where dry and wet meet, and the reverb
fills in the notches.
is the one thing the Julianna does not have. At centre it does nothing. Turned one way, digging in opens the depth and letting the note decay closes it again. Turned the other way it works upside down, so the effect swells in behind the note.
decides how hard you have to play before any of that starts, and how quickly it lets go. The green lamps light while it is working.
Mono to mono, mono to stereo, or stereo to stereo.
mixes dry against wet on the left channel only. The right always carries the modulated signal. At full vibrato both sides are wet. Anywhere else the two channels differ, and that difference is the width.
Both channels then pass through one reverb, so the split is exact with at zero.
Page 3 holds the three stompswitches, the tap/hold detector behind the left one, and one trigger per gesture: Short for a tap, Mid short and Mid long for the middle switch. Move a wire from a trigger and that press does something else.
The hold threshold is the delay on the ADSR beside each switch. Longer makes taps more forgiving, shorter makes holds fire sooner.