Snazzy FX WOW AND FLUTTER - Manual (Page 4)

So let’s start with a simple patch. Start by plugging in a guitar, or whatever sound source you like (drum
machine, DAW, Mp3 player, etc) Just make sure you do not plug in with a TRS cable. The Wow& Flutter
only accepts a MONO ¼” cable.
Set control #1 (gain) to about halfway. Start by setting #2 (Volume) to around 50%. (you can always turn
this up or down) Set #3 (Dry/WET) to halfway. At this point there are three controls that are going to be
very, very important. Start by turning #8 (warp) all the way up. Turn #7 (decay) to around 25%. This is
important as you WILL NEVER get any rubber sounds if you have warp at zero and Decay at zero.
Now set #5 (delay) to about halfway. Begin playing. If you don’t hear any change in your signal, start
turning #4 (threshold) until the WOW reacts to your guitar or input source.
If you did everything properly, the WOW should start messing with your signal in reaction to the peaks
and valleys present. Begin adjusting #6 (feedback) and #9 (attack) to dial in the sound.
Grabbing #5 (delay) and turning it to either direction will dramatically change the WOW’s response time
and range of effects.
If you are using this box in a recording/production environment, it is likely that you will be inputting line
level into the box. In this case, pull back the Gain and the Volume. If you are NOT a fan of overdrive, you
can also reduce the level of the signal feeding into the WOW. Since this box can handle a wide variety of
sound sources, you will need to get used to how it reacts to different sounds, different tempos, different
genres, etc. Snazzy FX has tried to create boxes that react very differently depending on how you use
them, and the WOW is no different in this regard.
One simple experiment is to setup a loop or a drumbeat. Send it through the WOW and begin turning the
knobs. You will quickly find the sweet-spots for your material. Once you do, you can fine tune the effect
by gradually changing the Attack, Decay, and Threshold settings. To dial in even farther, you can pull back
the Warp control just a hair which often will allow you to “tune” the crazy sounds of the WOW.
The gain control and the Threshold control are interdependent, which means that as the signal coming in
gets louder, the Threshold control will react very differently. A basic rule of thumb is that for very loud
signals, you want to turn #4, counter-clockwise and vise-versa.
The wow can act as a very basic gritty delay if you simply turn the WARP and Threshold controls all the
way to ZERO. This will disengage the malfunctioning tape machine effects. (attack and decay will cease to
have any effect) and only GAIN, DELAY, and FEEDBACK will have any effect.)
One area of effects which are more subtle but just as useful on the WOW are the short delay time
settings. Non-periodic pseudo-chorusing effects are easily accessible by simply setting the delay time to
2-10%, putting the dry/wet control toward a 50/50 mix, and setting the feedback to 100%.
Much of this effect will depend on how the attack and decay controls are set. Your mileage may vary
depending on your instrument and your playing style, but once such an effect is dialed in it can be used
in a number of ways. One of the advantages of the WOW is how responsive it is to your playing.