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Chorus
10 HP. A longer delay than the flanger, 20 ms nominal, moving up to 10 ms either side of that, with two, three or four voices.
| Control | Range | Default |
|---|---|---|
| Rate | 0.02 to 5 Hz | 0.6 Hz |
| Depth | excursion, up to 10 ms | 50% |
| Mix | dry to wet | 50% |
| Voices | 2, 3 or 4 | 3 |
| Port | Direction |
|---|---|
| Rate, Depth, Mix | CV in, one per knob, each with an attenuverter |
| IN L, IN R | audio in. R is normalled to L |
| OUT L, OUT R | audio out |
Bypass routes IN L to OUT L and IN R to OUT R.
The voices are spread evenly around the LFO cycle, so at three they sit a third of a cycle apart.
Two voices give the classic wide chorus, and it is the setting I use most. Four thickens towards an ensemble but loses movement, because with four taps spread around the cycle there is always one near the centre and the overall modulation partly averages out. That is worth knowing before you assume four is the upgrade.
Voices is a switch rather than a knob because there is nothing meaningful between three and four. A knob would imply otherwise.
A chorus with feedback becomes a flanger with a long delay. Since this set already contains a flanger, adding feedback here would have produced two modules that overlap in the middle of their ranges and neither of which is quite the thing you wanted.
Leaving it out also means the module cannot self-oscillate or build, so it stays clean at every setting. That is a real limitation if you were hoping for the thicker, slightly unstable chorus sound that some hardware units get from a small amount of regeneration. This module will not do that, and it is a deliberate trade rather than an oversight.
At maximum depth and rate the pitch modulation becomes obvious enough to read as detuning rather than chorus. On material with a clear pitch centre, such as a held synth note, this is more noticeable than on a pad.
The delay is long enough that a percussive input will smear slightly at high mix. Pull the mix back rather than the depth if that bothers you.
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