In this user guide we will talk about the knob position as a clock position. 7’ is fully CCW, 5’ is fully CW, 12’ is the middle position.
As said before we have two distortion channels (DISTO 1 and DISTO 2) running in parallel, wich are mixed together and then mixed with dry signal (MIX).
Let’s go further in the signal chain.

FUZZ
At first, your dry signal goes into a classic transistor fuzz. FUZZ switch turns it on or bypasses it. FUZZ knob changes the fuzz texture from soft saturation (7’) to hard squared fuzz (5’). The gate starts to engage around 12’. You’ll be able to hear the noise floor disappearing.

Then your dry/fuzz signal will feed both distortion channels

PRE FILTER
This band pass filter will shape your clean (or fuzz) sound before feeding the distortion module. Start with PEAK and MOD at 7’. Tweak the FREQ mini-knob to hear wich frequency is pushed.
This choice of frequency is important and depends on your instrument and of the range (low, medium, high) you wish to play.
Increasing the PEAK mini-knob will make distortion harder on selected frequency.
If using octave mode, increasing PEAK will cause glitches, keep it flat if you want a clean tracking.

DISTO
SUSTAIN is the gain level, increase it to have more distortion and more sustain.
LEVEL is the volume of the distortion, use it to balance in between DISTO 1 and DISTO 2.
DISTO rotary switch lets you choose between six different distortions:
SOFT and HARD are the same tube-like clipping circuit, with HARD having more gain.
SQUARE is hard-clipped-gated distortion.
-1 OCT and -2 OCT are squared octave and double octave down.
+1 OCT is a octave up pulse.
On octave modes, it is very important to tweak the pre-filter FREQ mini-knob to fit your needs.
RING (only available on DISTO 2) is a special setting where the two distortions are inter-modulating, select this setting on DISTO 2, and try different positions on DISTO 1.

POST FILTER
Your distortion is then fed into a low-pass filter. Start with FREQ at 5’, MOD at 7’ and PEAK at 7’. Now your filter is fully open. When decreasing the FREQ mini-knob and you’ll hear the high disappear, softening the sound.
Increase PEAK for more synthy-sounds.

MOD
Pre-filters and post-filters can have their frequency modulated,
MOD mini-knobs set the modulation depth for each filter.
MOD rotary switch selects which modulation is applied to filters: envelope down, envelope up, LFO, expression pedal.
In addition, it shifts the frequency range of each FREQ knob up or down.
envelope down = higher frequencies.
envelope up = lower frequencies.
LFO or expression pedal = mid frequencies.

ENVELOPE
SENS sets the sensitivity of the envelope follower.
Settings will vary according to your playing dynamics, your instrument (guitar/bass) or pickups (single coil/humbucker).
This envelope generator is followed by a slew limiter that will slow/smooth the envelope:
ATTACK slows down the attacks.
DECAY increase the decay.
Start with ATTACK and DECAY at 7’.
When increasing ATTACK, you may need to increase SENS.

LFO
This is a simple triangle LFO with two frequency ranges: SLOW and FAST.
LFO frequency is set by the SPEED mini-knob.
The corresponding LED will blink according to the speed.
When the switch is on FAST position, LFO will be acting on other modulations
(envelope down, envelope up,expression pedal).
EG: if MOD selector is on envelope up and LFO switch is on FAST, the
resulting modulation will be an envelope modulated by a LFO (can be
better heard with slower envelopes).

LFO CTRL
With this rotary switch, the LFO rate can be controlled by: none, envelope down, envelope up, expression pedal. The SPEED knob will set the slowest rate (don’t set it at 5’, you won’t notice any speed modulation).

EXP PEDAL
You can control the filters frequencies or LFO rate with external hardware.
If using a classic/passive expression pedal, use a TRS stereo jack, If you use CV signal (0-5V), then use a TRS stereo jack with RING detached. (it would temporarily work with a mono jack, but for some reason it’s better to use the cable described above)