Long used as a studio trick, bitcrushing (or sample rate reduction, although the two are different) is a relatively new effect that takes snapshots of your input signal and " approximates" with less and less precision as the effect intensifies. While virtually unknown a decade ago, this effect is now built into many modern synthesizers and external processing devices. In short, it gives your guitar or any other instrument a sound reminiscent of old-school video games. We've improved this effect by adding a simple feature: the modest Mix control. With it, you can use our Bitcrusher kit to destroy your signal as much as you want with a simple turn of the knob. You can use the Bitcrusher as a processor for your other effects, adding it lightly to achieve unique and surprising textures, or in large quantities for complete destruction. In the era of guitar effects, “bitcrushing” and “downsampling” are among the most recent. bitcrushing“ and ”downsampling" are among the most recent. Despite their funky and rare use, even ring modulators were available in the 1960s. However, bitcrushing and sample rate reduction are distinct byproducts of digital technology, more specifically related to quantization errors with respect to different axes. Regardless, the two terms have been confused for years, but neither name appeared naturally in the early iterations of these effects. The DigiTech Space Station called its sample rate reduction program “Pixelator.” Another early example, the Alesis Bitrman, calls it “Decimator.” Although bitcrushing involves reducing the bit depth of the signal, it is the sample rate reducer that evokes the sounds most associated with 1980s video games, and this term has become so intertwined with the concept of bitcrushing that many gear enthusiasts use the two terms interchangeably without any issue. It's like in Texas, where “Coke” in a restaurant can refer to any type of soda. I don't agree with either one, but the public has won. So what does it actually look like? Well, sample rate reduction takes " samples" of the input signal at a high frequency, then lowers the frequency at which those samples are taken into the audible range so that we can hear them. Each of these snapshots (Riemann sums for mathematicians) widens as the sampling rate decreases, forming a “step approximation” of the input signal. The lower the sampling frequency, the more “pixelated” the waveform appears, which is probably why DigiTech chose the name of the program in the space station. Anyway, it reminds me of Atari games. Our Bitcrusher kit is taken from the engine of one of our old-school pedals, the Heliotrope, which was itself an adaptation of an old DIY project, aptly named “analog bit crusher.” If there's one effect that requires mix control, it's this one. And surprisingly, many pedals that do this don't offer it. We do, and it makes for an absolutely awesome effect. Connect other pedals to it to get an extraordinary sound that you won't find anywhere else. Features: Degrade: This knob controls the sampling frequency. When turned all the way down, the sampling frequency is not in the audio range, so no effect is audible. By turning the control up slightly, you introduce some digital aliasing. Depending on the position of the knob, the “snapshots” are small enough to cause “note errors.” So don't try to tune your guitar with this feature enabled. At its maximum, the signal is completely destroyed, as if it were being blown to smithereens in Asteroids. NOTE: The original configuration of the DIY schematic and our Heliotrope produces a slight “hissing noise” in the background. For this kit, numerous measures have been taken to attenuate this noise, which is significantly less loud than on the original models. Nevertheless, it is still present, although more discreet. When the knob is fully turned down, only the dry signal is audible. When it is fully raised, only the effect is audible. Any intermediate position corresponds to an equal mix. The mid position corresponds to a 50/50 mix. When using other pedals before this unit, such as a fuzz pedal, that pedal becomes the dry signal in the wet-dry configuration. So, by setting this knob to the midpoint, you get half fuzz, half undersampled fuzz. Power Supply The Knight School Bit Crush only accepts a center-negative DC power supply capable of providing 9 volts. DIY Kit Information The printed circuit board has labels indicating the location of each component. The image below will be very useful in identifying the different components. You will also find a video below that shows you how to proceed.
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