Vermona Retroverb Lancet User Manual

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Introduction

Today's digital e!ects and plug-ins can create almost perfect room simula­tions. However, when it comes to characteristic and charismatic reverb,
analogue e!ect-processors are yet to beat. The reverberating sound of a
spring is so lively and unique that its sound is almost impossible to recreate
in the digital domain. In addition to this, Retroverb Lancet is not just a
spring reverberation system – it is an analogue multi-e!ects-processor. It
o!ers overdrive, filtering, VCA, envelope and LFO to manipulate the spring
sound and create di!erent sounds like Auto-Wah, Tremolo, Distortion,
Delay, Gater and of course Reverb. It is far from perfection but sonically
unmatched.

Enjoy your Retroverb Lancet!

The VERMONA team

Important Safety Information

1. Read these instructions.

2. Keep these instructions. Alway include these instructions when passing
the product on to third parties.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Only clean the product when it is not connected to the mains power
supply. Clean only with a dry cloth.

7. Do not block any ventilation openings. Install in accordance with the
manufacturer's instructions.

8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched, particularly
at plugs, convenience receptacles, and the point where they exit from
the apparatus.

11. Only use attachments/accessories specified by the manufacturer.

12. Use only with the cart, stand, tripod, bracket, or table specified by the
manufacturer, or sold with the apparatus. When a cart is used, use

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caution when moving the cart/apparatus combination to avoid injury
from tip-over.

13. Unplug this apparatus during lightning storms or when unused for
long periods of time.

14. Refer all servicing to qualified service personnel.Servicing is required
when the apparatus has been damaged in any way, such as power
supply cord or plug is damaged, liquid has been spilled or objects
have fallen into the apparatus, when the apparatus has been exposed
to rain or moisture, does not operate normally, or has been dropped.

15. To completely disconnect this apparatus from the AC mains,
disconnect the power supply cord plug from the AC receptacle.

16. WARNING: To reduce the risk of fire or electric shock, do not expose
this apparatus to rain or moisture.

17. Do not expose this equipment to dripping or splashing and ensure
that no objects filled with liquids, such as vases, are placed on the
equipment.

18. The mains plug of the power supply cord shall remain readily accessi­ble.

Installation

• Ensure that the room in which you use this product is wired in accordance

with the local electrical code and checked by a qualified inspector.

• Only use this product indoors.

• Do not install the product in hot, humid, or excessively dusty locations, in

direct sunlight or in locations where it is exposed to externally generated
vibrations.

• Do not place burning objects (e.g. candles) on top of or near the product.

• If condensation has formed on the product, e.g. because it was moved

from a cold environment to a warm one, allow the product to acclimatize
to room temperature before using it.

• Do not overload wall outlets and extension cables as this may result in

fire and electric shock.

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Table of Contents

1 Introduction 2..........................................................................................

2 Important Safety Information 2.................................................................

3 Table of Contents 4..................................................................................

4 Getting Started 5......................................................................................

4.1. Connections and Powering 5................................................................

5 Components and Controls 6.....................................................................

5.1. Input Section (IN) 6...............................................................................

5.2. Output Section (OUT) 7........................................................................

5.3. The Spring Reverb 9.............................................................................

5.4. Filter (VCF) 11......................................................................................

5.5. Amplifier (VCA) 15...............................................................................

5.6. Modulation 16......................................................................................

5.6.1. Modulation Generator (LFO) 16..........................................................

5.6.2. Envelope Generator (EG) 17...............................................................

5.6.3. Envelope Follower (EF) 18..................................................................

5.6.4. Pedal/CV-Input 18............................................................................

5.7. Further Control Elements 19.................................................................

5.8. Connectors 20......................................................................................

6 Technical Data 21....................................................................................

7 Declaration of Conformity 23...................................................................

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Getting Started

To ensure top quality we carefully checked Retroverb Lancet before packag­ing. Nevertheless, the unit could have been damaged during transportation.
Therefore, we ask you to take a serious look at the unit when unpacking it.
Do not hesitate to contact us, should there be anything unusual on Retro­verb Lancet itself or its packaging.

You should find the following items in the box:

• 1 Retroverb Lancet unit

• 1 AC adapter (12V / at least 830mA)

• this manual

Connections and Powering

If you came here without any problems, you can finally start up your Retro­verb Lancet:

1. Connect the provided power supply unit to the 12VAC jack on Retro­verb Lancet

ATTENTION Only use the included power supply! You may already

own a suitable-looking power supply that o!ers the
same connector. However, Retroverb Lancet requires

an AC adapter, not DC! Using an unsuitable power

supply may cause damage to the unit.

2. Connect the INPUT jack of Retroverb Lancet to an appropriate audio
source such as a drum-computer, a groove-box, a synthesizer, a gui­tar or CD-player.

3. Connect the OUTPUT jack of Retroverb Lancet to an appropriate audio
input of a mixing console, an audio-interface or an amplifier.

4. Start Retroverb Lancet by switching on OVERKILL on the unit’s rear.
The corresponding green LED will be lit.

5. Congratulations, Retroverb Lancet has been started.

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Components and Controls

Retroverb Lancet is an analogue e!ects processor. Beside its main sound
shaping element - the spring reverb - it o!ers powerful functions such as
multimode-filtering, overdrive, VCA, LFO and an envelope generator. This
section will take a closer look to the di!erent sections of Retroverb Lancet
and their correspondent control elements.

Input Section (IN)

This section controls the input sensitivity and a possible analogue overdrive
of the circuit. The amount of possible distortion in Retroverb Lancet ranges
from light saturation to hefty distortion.

The available control elements are:

Picture 1: Input Section

GAIN

Use this control to set the input sensitivity. A corresponding LED will
indicate overloads. Set the control in a way that the LED only lights up
during signal peaks. Retroverb Lancet has a large GAIN range that allows
line- as well as instrument-level-signals to be connected and ade­quately preamplified. Do not worry if the clip-LED already lights up in
the gain control's first half when using line-level-signals. Using higher
GAIN settings will allow you to distort the input, which will result in a
noticeable increase of volume.

Retroverb Lancet's input was designed to handle high-impedance sig­nals of instrument pickups, too. There is no need to use a DI-box here.
Instead, you may connect your guitar, bass or clavinet directly.

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ATTENTION Using too little preamplification will decrease the signal

to noise ratio. In addition, trigger sensitivity (see "Enve­lope Generator (EG)", page 17) as well as the envelope­follower directly depend on the input level setting. Che­cking for best possible levels is essential for best
results from your Retroverb Lancet.

DRIVE

This control adjusts the amount of distortion applied to the input signal.
Note that DRIVE will take e!ect on the processed as well as on the dry
signal. With MIX turned fully counterclockwise, the signal can still be
distorted if needed. The distortion can be disabled by switching BYPASS
on. In contrary to distortion achieved with the GAIN control, DRIVE will
not significantly raise the level when increasing the amount of drive.

Output Section (OUT)

The output section o!ers the following control elements:

Picture 2: Output Section

MIX

This control adjusts the ratio between direct and processed signal. MIX
changes its function depending on the selected routing of the spring
within the signal chain (see "The Spring Reverb", page 9).

With SPRING set to OFF or PRE, MIX blends between the input section
including overdrive (left) and the signal processed with reverb, filter and
VCA (right).

With SPRING switched to POST, MIX blends between the reverberated
signal (left) and the signal processed by filter and VCA (right).

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VOLUME

This control sets the output level of Retroverb Lancet.

BYPASS

Set this switch to the lower position (the red LED lights up) to disable all
sections of Retroverb Lancet. The unit o!ers a true bypass meaning that
the complete signal path including the input preamplification stage is
disabled. The input signal is passed directly to the output after the input
stage. With the switch set to the upper position, all sections are active.

BYPASS-Input

This TRS-jack allows connecting a single- or double footswitch to
remote-control the bypass function. Using a double footswitch allows
you to either switch the unit to bypass or to disable the spring reverb
section only.

To use the double footswitch function, the footswitch needs to be
equipped with a TRS-jack. The spring bypass uses the ring contact,
while the total bypass uses the tip contact. Connecting a TS-jack allows
switching the global bypass function only.

tip

ring

Effect Stop

True Bypass

Picture 3: Connecting a Bypass Switch

NOTE Since this function is a switch, it does not matter whe-

ther you use a footswitch configured as being normally
closed or normally open. However, if the footswitch has
a corresponding LED, normally open configured swit­ches will work as expected while normally closed confi­gurations will display the status reversed.

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The Spring Reverb

The spring reverberation system creates an artificial reverb sound using
electro-mechanical techniques. Its sound is metallic and di!ers significantly
from today's modern, digital solutions. It may sound artificial but owns a lot
of character. Spring reverb is a preferred choice of guitarists and organ
keyboarders until today but is also often found in electronic and dub
productions.

TONE

TONE controls the sound character of the reverberation
e!ect. The control is designed in a way that the bass and
treble content is adjusted thru a single potentiometer.
Turning TONE counterclockwise from center will enhance
the low frequencies with higher frequencies being atten­uated. Turning clockwise from center will work vice
versa.

TONE is e"cient when using low frequency intense
source signals. The high energetic bass content can sti­mulate the spring heavily leading to smeared results of
the e!ect. Here, attenuation of the low frequency content
thru TONE will lead to a more focused sound image.

Picture 4: Spring Section

SPRING

Using the SPRING switch, the spring can be placed at two di!erent posi­tions of the signal path.

With the switch set to POST, the spring is placed after the filter and the
VCA. Here, the signal is processed by the filter and the VCA before it
reaches the reverberation stage. This signal will then reach the output
stage in parallel to the filter/VCA section. The MIX control allows bal­ancing the signal between the filter/VCA signal and the reverb output.

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Picture 5: Spring POST Mode

With the switch set to PRE, the spring is placed before the filter and the
VCA. Here, the source signal will be processed by the reverb section first
before it reaches the filter/VCA stages. This mode allows shaping of the
reverb tail. In contrary to common spring reverb units, this configuration
has control over the decay time through the VCA envelope.

Picture 6: Spring PRE Mode

CRASH

It was and still is popular amongst guitarists to kick their amp and rattle
the built in spring reverb this way. Because the spring is installed inside
a shielding metal tray, the kick causes the spring to hit the tray's walls.
This results in a distinctive crash sound.

With Retroverb Lancet, there's no need to kick your gear. Simply press
the CRASH button with the same result. But, use CRASH with care. The
e!ect is exceptionally loud and can may lead to overloads of your A/D­converters.

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NOTE Slight knocking on Retroverb Lancet's enclosure or

vibrations nearby may also stimulate the spring, but
unlike the intense CRASH function. If this is undesira­ble, place Retroverb Lancet on a stable base.

CRASH-Input

This jack allows connecting a gate signal with 5 volts (minimum) and
positive slope. These signals are widely available from analogue
sequencers, modular synthesizer systems as well as from LFOs using
square waveforms. Use this input to trigger the CRASH function at exact
rhythmical positions.

Filter (VCF)

Retroverb Lancet's multimode filter allows shaping the reverberated signal.
However, the unit may also be used as a fully functional filter box without
the reverb e!ect. The filter can be configured as low pass, high pass and
band pass. Each type will suppress certain frequencies that will result in
specific sound coloring. Let us start with a short explanation of the avail­able filter types:

Low pass

The low pass will only let the low frequencies of the input signal pass. CUT­OFF sets the frequency where the attenuation starts. The lower CUTOFF is
set, the more high frequencies will be suppressed, resulting in a sound
more mu#ed.

A slowly opening low pass filter is a characteristic element of countless
House- and Dance-tracks. Its rising e!ect will accentuate intros, breaks and
build-ups.

High pass

The high pass filter is the exact opposite of the low pass filter. It will only
let high frequencies of the input signal pass. CUTOFF sets the frequency
where the attenuation starts. The higher CUTOFF is set, the more low fre­quencies will be suppressed and the sound will lose bass. The high pass fil­ter is well suited for mash-up-mixing. It allows removing/attenuating bass
drums and basslines from a track that is to be mixed with a second track.
Ideally, the second track is run through a separate low pass filter at the
same time.

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Band pass

The band pass filter is a combination of a low pass- and high pass filter. It
will only let a certain frequency band of the input signal pass. CUTOFF sets
the center frequency for that frequency band. By moving CUTOFF, you set
the pass band for the mid frequencies. The band pass o!ers a slope less
steep than that of the other filter types. Its e"ciency is a little less
distinctive.

The filter section o!ers the following control elements:

Picture 7: Filter Section

MODE

MODE selects the filter type.

LP = Low pass Low pass filter with a slope of 24dB per octave

BP = Band pass Band pass filter with a slope of 12dB per octave

HP = High pass High pass filter with a slope of 24dB per octave

BALLS

BALLS will emphasize low and higher frequencies in a predefined ratio.
The resulting signal will cut through the mix with increased punch and
bass amount. The high frequency enhancement will be best accentuated
with higher RESONANCE settings.

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ATTENTION The amplification using BALLS will not necessarily be

perceived as increased level. However, the lower fre­quencies are emphasized. This can lead to clipping of
sensitive inputs in audio-interfaces. Make sure, you
match Retroverb Lancet's output level or the input sen­sitivity (Gain) or your audio-interface to avoid distorti­on.

CUTOFF

This control manually sets the filter’s cuto!-frequency. This is the fre­quency from which the audio signal is manipulated (filtered) with the fil­ter's slope. In low pass mode (MODE LP) the filter is fully opened with
CUTOFF turned fully clockwise, closed when turned fully counterclock­wise. In high pass mode (MODE HP), the principle of operation works
oppositely. When using the filter in band pass mode (MODE BP), there is
no fully opened filter. Here, specific frequencies are always suppressed.

CUTOFF has a larger control knob intentionally. It is one of the most
important functions of Retroverb Lancet and turning this knob should be
fun!

RESONANCE

Resonance is a feedback circuit within the filter that emphasizes the
CUTOFF frequency. Lower values will slightly color the sound, higher
values more significantly. With higher values, the filter will also start to
self-oscillate, generating a sine wave at the CUTOFF frequency.

NOTE Resonance in Retroverb Lancet will easily reach self-

oscillation and produce a constant sine-wave-like tone.
It is recommended, not to set the VCA to ON but pre­ferably use it through the envelope-generator (EG) or
the envelope-follower (EF).

Self-oscillation of the filter will reach a high volume within the last third
of the control. Typically, you would avoid these levels by not turning up
the control that far. The prominent resonance frequency will also be
audible at lower settings. However, the maximum level-settings are
useful when mixing the original with a little portion of the filtered signal

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through the MIX control. Here, the distinctive self-oscillation will also be
heard at tiny mix amounts.

INT

The INT control sets the intensity of the CUTOFF frequency being con­trolled by a modulation source. The MOD SRC switch (Modulation
Source) selects this source. The INT control works bipolar. Turning
clockwise from the center position results in upwards CUTOFF modula­tion while turning left from center results in downwards modulation. In
its center position, CUTOFF modulation is deactivated.

MOD SRC

The MOD SRC switch selects the modulation source for the CUTOFF fre­quency. There are three possible sources:

EG Envelope Generator - see section 5.2.

CV external signal connected to the pedal/CV-input

EF Envelope Follower, a control signal deriving from the level at the

audio input

NOTE Combing an envelope-follower with rhythmic audio-

signals such as drum loops is quite useful. Another
useful application is using a guitar with the Retroverb
Lancet set to band pass filtering with audible reso­nance. An envelope-follower will create a sound that
resembles of the typical Autowah-e!ect.

LFO INT

This control sets the LFO's modulation intensity towards the CUTOFF­frequency. The filter's frequency will be modulated periodically accord­ing to the selected LFO's waveform and its speed.

VCF

This switch will enable or disable the complete filter section, leaving the
setting of the in- and output section, the spring, the VCA and the mod­ulations untouched.

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Amplifier (VCA)

A voltage-controlled-amplifier (VCA) controls Retroverb Lancet’s output. It
o!ers the following control elements:

Picture 8: VCA Section

LFO INT

This control sets the LFO's modulation intensity towards the output
volume. The result is a tremolo-e!ect.

MOD SRC

This switch sets the modulation source for the VCA. There are three
positions:

CV external signal connected to the pedal/CV-input

EF Envelope Follower, a control signal deriving from the level at the

input

EG Envelope Generator - see "Envelope Generator (EG)", page 17

MOD

This switch enables or disables the modulation via the selected modula­tion source. If it is set to OFF the VCA is opened permanently.

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Modulation

Modulation Generator (LFO)

The LFO (Low Frequency Oscillator) is an oscillator specialized on slow fre­quencies that are used to create cyclic repeating modulations. Its frequency
is variable, ranging from 0.05Hz to 300Hz, being divided in two switchable
ranges. The LFO allows modulating the VCF and/or VCA, each with individ­ually adjustable intensity. The available control elements are:

Picture 9: LFO Section

RANGE

The range switch selects the LFO's frequency range:

LO/TR low frequencies (0.05Hz-25Hz) with retrigger. Incoming trig-

ger-signals will restart the waveform (depending on the TRIG
SRC setting in the EG section). Using suited trigger settings
allow synchronizing the LFO to an external tempo. It may also
act as a simple envelope using rhythmical trigger signals with
a suited waveform selected.

LO lower frequency range (0.05Hz-25 Hz), free oscillating LFO.

HI higher frequency range (1Hz-300Hz), free oscillating LFO.

SPEED

This control sets the LFO speed (frequency). The available range
depends on the RANGE-setting.

WAVE

This switch selects the LFO waveform. Choices are ascending saw tooth,
descending saw tooth, rectangle, sine, Sample & Hold (random).

A distinctive feature is the waveform EG. It derives from the envelope
modulator. Use ATTACK and DECAY to shape the waveform freely. With
ATTACK set to zero and DECAY at a higher value, you will receive a

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descending saw tooth. A triangle results from identically raised ATTACK
and DECAY values. Since the envelope controls use logarithmic scaling,
the resulting EG waveforms will di!er slightly from the linear preset LFO
waveforms.

Envelope Generator (EG)

Retroverb Lancet’s envelope generator (EG) generates a variety of envelope
shapes depending on the trigger source used. It will work as an Attack/
Decay envelope when using triggers from the audio input or the TRIGGER
IN. It will work in three phases (Attack, Sustain, Release) when using gate
input signals at TRIGGER IN. The sustain period cannot be adjusted in
Retroverb Lancet. It is dependent on the duration of the incoming gate sig­nal. The release phase will follow once the gate signal has been ended. To
select between audio- or gate-trigger, use the TRG SRC switch. The follow­ing parameters are available for contour shaping:

ATTACK

adjusts the rising time from 0ms to 10s (maximum level).

DECAY/RELEASE

adjusts the decay time for the sound between 0ms to 15s.

SENSE

SENSE controls the sensitivity for the trigger source. SENSE will be inac­tive with GATE being selected as trigger source.

TRIG SRC

TRIG SRC sets the trigger source:

INPUT the audio input

GATE a 5 volts gate voltage applied to the TRIGGER IN input.

AUDIO audio signal fed into TRIGGER IN.

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Envelope Follower (EF)

The envelope-follower converts the amplitude characteristic of the audio
input signal into a control voltage. Most audio signals do not show clear
levels and -jumps as pure control voltages. This results in the envelope­follower being less e!ective compared to a regular envelope. In most cases,
it is therefore necessary to increase the VCF modulation intensity to achieve
a comparable e!ect depth.

Pedal/CV-Input

This input allows connecting a suited pedal or an analogue control voltage
to control the CUTOFF frequency. MOD SRC has to be switched to CV when
using this input.

PEDAL

The PEDAL input allows connecting expression pedals with a TS­connector. In addition, volume pedals with in- and output can be
connected using Y-cables. Use an expression pedal with a resistance of
100 kΩ to ensure smooth control scaling.

tip

ring

volume pedal input

volume pedal output

Picture 10: Connecting a Volume Pedal

CV

Analogue control voltages ranging from 0-5 volts can be connected to
the PEDAL/CV input. This allows Retroverb Lancet to be controlled from
external CV-sources such as step-sequencers, key-CV of analogue syn­thesizers, LFOs with special functions as well as Theremin antennas.

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Further Control Elements

OVERKILL

Connects Retroverb Lancet to the AC-power-supply-unit. A green LED
shows an active powered unit.

ATTENTION The OVERKILL switch is no power switch. It simply

removes the connection to the power supply. Please do
always disconnect the PSU from the socket when not
using the unit for a longer period!

REV. LEVEL

This controller allows to adjust the reverb level. Turning it counterclock­wise will decrease the reverb signal while turning clockwise amplifies the
signal.

The reverb level is already set to a useful value and readjusting won't be
necessary in most cases.

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Connectors

Find a short description of the connectors on Retroverb Lancet’s rear panel:

12 VAC

Connect the supplied AC power supply here.

INPUT

Input jack for the audio signal.

PEDAL/CV

Allows connecting a CV-source or a pedal to control the CUTOFF­frequency.

CRASH

Allows connecting a gate signal to trigger the CRASH function.

TRIGGER IN

Allows connecting audio or gate signals to trigger the envelope­generator.

BYPASS

Allows connecting a single or double BYPASS footswitch pedal.

OUTPUT

Carries the output signal of Retroverb Lancet to be connected to a mix­ing console, an audio-interface or an amplifier.

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Technical Data

Input

max. Input Level -32dBu

Impedance 1MΩ

Output

max. Input Level 20dBu

Impedance 600Ω

Audio Trigger

max. Input Level -32dBu

Impedance 1MΩ

GATE

min. trigger voltage +4V

CV Input

voltage +/-10V

Signal-to-Noise Ratio

Direct >80dB

E!ect (VCF open, no reverb) >75dB

Spring Reverb

Number of Springs 3

Reverb time 2,75s - 4s

Controller Tone

Switch Spring (OFF, Pre, Post)

Momentary Switch Crash

Filter

Modes 24dB Lowpass, 24dB Highpass,

12db Bandpass

Modulation Sources envelope generator, envelope

follower, CV

Controllers Balls, Cuto!, Resonance, INT

(Modulation Intensity), LFO Intensity

Switches Mode, Modulation Source, VCF On/

O!

VCA

Controller LFO Intensity

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Switches Modulations Source

(Envelope Generator,

Envelope Follower)

Modulation ON/OFF

LFO

Frequency Range 0,05..300Hz

Waveforms saw up, saw down, square, sine,

sample&hold, EG

Controller Speed

Switch Range: Lo/Trigger, Lo, Hi

Envelope Generator

Attack 1ms..10s

Decay/Release 1ms..15s

Controllers Attack, Decay/Release, Trigger

Sense

Switches Trigger Source (Input, GATE,

Audiotrigger)

Input-/Output section

Controllers Gain, Drive, Mix, Volume

Switch Bypass

Product Properties

Connectors Input, Pedal/CV, Crash, Trigger In,

Bypass, Output, 12VAC

Weight 0,75kg

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Declaration of Conformity

We declare under our sole responsibility that this product is in conformity
with the following standards or standardization documents in attention of
operation conditions and installation arrangements acc. to operating
manual:

EN61000-3-2, EN 61000-3-3, EN 55013, EN 55020, EN 60065 according
to the provisions of the regulations 2004/108/EG and 2006/95/EG.

HDB electronic GmbH

Badesteig 20

08265 Erlbach

GERMANY

Phone: [phone]

Fax: [phone]

Email: [e-mail]

Web: http://www.vermona.com

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