The Boss RPS-10 is a single unit which combines digital pitch shifting and delay functions in its compact dimensions. The heart of this machine is a newly developed high-performance custom LSI which allows the Boss RPS-10 to have a flat frequency response of up to 15kHz as well as ultra-high-speed shifting with virtually no difference between the direct and effect sounds. Pitch shift is continuously variable between 1 to + 1 octaves.
Along with harmony effects, wide-ranging sounds can be created, from pitch-shifted chorus effects to octave effects. There is even a tuner output terminal for instant visual confirmation of the amount of pitch shift when connected to a Chromatic Tuner (TU-12 etc.). In addition, a keyboard control allows the amount of pitch shift to be controlled from a keyboard which is connected to the unit. Delay time is variable over the range of 25—800ms. Applicable to both modes is a INV position to produce a “reversed tape” sound.
Controls
- RANGE/MODE: To select between the pitch-shift and delay modes. In the delay mode, it allows you to set the delay time in any of 5 steps and choose the INV effect if desired. When the unit is in the pitch-shift mode, Position A will produce high speed pitch-shifting while Position B is for when you want to emphasise real sound quality The INV effect is also possible in this mode.
- PITCH: This will allow you to continuously vary the amount of pitch-shift when the Boss RPS-10 is in its pitch-shift mode. Set in the middle for just the direct sound, turn clockwise for shifting up to 1 octave and counterclockwise for shifting down to 1 octave lower than the input signal.
- FINE: To provide very fine adjustments to the delay time and the amount of pitch-shift.
- FEEDBACK: Controls the amount of feedback in both delay and pitch-shift modes.
- MIX: For adjusting the ratio of direct sound to the effect sound.
With the Boss RPS-10, pitch can be shifted over a range of ± 1 octave with the original tempo preserved. The key to effectively using the Boss RPS-10 lies in mixing the right proportion of direct sound to the effect sound, making sure the scale and image of the direct sound are not destroyed.
Above is the setting for creating pitch chorus effects with no modulation by shifting the pitch by 20—30 cents. Rich 12-string guitar-like sounds are really effective in arpeggio playing. On Joni Mitchell’s “Dog Eat Dog” LP, the guitarist Michael Landau often employs this sound. It’s a most useful setting with anything from electronic pianos to vocals.
Above shows a setting where the original sound is mixed with a note 1 octave lower. Use this setting with synthesised strings and bass for a rich, wider sound. Among the Boss RPS-10’s applications is a distinctive metallic sound, created by just slightly adding a 1 octave higher note to an electronic piano sound.
