Combining several types of modulation can result in very interesting sounds, and the Pladask Elektrisk Feber is a pedal that facilitates that kind of experimentation by applying amplitude- and phase-based modulation to your signal at both high and low frequencies, producing effects like tremolo, phaser, ring modulation and also a combination of them all.
With a total of 10 controls (8 knobs + 2 toggle switches), this is not an easy pedal to explain in a few words, so you’ll be better off checking out the builder’s (lengthy) description of the knobs’ functions here and watching the video below by Ponderer Sound, which does a good job at running through all the controls.
The bottom line though is that this is a creative pedal that produces a variety of textural sounds bound to be discovered almost intuitively by experimenting with the controls – at least during the initial learning phase.
From the sound of it, it can deliver classic ring mod, tremolo, and phaser effects but also step filters and other intriguing and unique textures that can evolve and swell thanks to the momentary footswitch function.
We added the Pladask Elektrisk Feber to our article about the best ring mod pedals.
Pladask Elektrisk Feber, Builder’s Notes
An exploration of the intersection of single sideband modulation, ring modulation, phasing and tremolo.
FEBER combines a ring modulator pair, a Hilbert transform approximation, feedback and a random value sample/hold generator into a feature rich tool for exploring amplitude- and phase-based modulation at both high and low frequencies.
FEBER explores the intersection of single sideband modulation, ring modulation, phasing and tremolo. The bell-like, inharmonic timbre associated with ring modulation is due to linear frequency shifting. When ring modulation is applied to a signal it’s frequency content is shifted linearly into an upper and lower sideband.
While ring modulation makes an upper and lower sideband, singe sideband modulation/linear pitch shifting yields either the upper or lower. Our human perception favors logarithmic pitch intervals for melodic harmony. Combine 400 and 800 Hz and you have a perfect octave interval. Introduce a 100 Hz linear frequency shift and the octave interval is turned into a 500 – 900 Hz inharmony. Fun, destructive stuff. FEBER also has a mellow side offering various flavors of phasing/filtering effect.
FEBER combines a ring modulator pair, a Hilbert transform approximation, feedback and a random value sample/hold generator into a feature rich tool for exploring amplitude- and phase-based modulation at both high and low frequencies. The pedal utilizes the Spin FV1 signal processor.
HI/SUB: Sets the frequency range of the ring modulation. HI gives 20 to 1600 Hz. The unlabeled
middle position gives 0.3 to 30 Hz. SUB gives 0 to 5 Hz. At 0 Hz the modulation waveform is
frozen in it’s track.
FREQ: Sets the ring modulation frequency when the sample/hold function is inactive.
BAND: Sets the sideband balance for single sideband modulation (SSB). At noon the pedal
produces standard ring modulation (both sidebands). Turning the knob ccw or cw isolates either the
lower or upper sideband. FEBER uses a Hilbert transform approximation to achieve these effects.
For low frequency modulation sideband isolation can be used to produce different flavors of
phasing movement. Experiment together with the FEED parameter.
FEEB: Sets the amount of feedback across the modulator and the low pass filter. Self-oscillation is
possible at high feedback settings so be careful. For high frequency modulation feedback alters the
voice of the effect, producing a more loaded, wet sounding timbre. For low frequency modulation
feedback will pronounce phasing effects. Experiment together with the BAND parameter.
MIX: Sets the dry/wet balance from 100% dry to 100% processed audio. For low frequency
modulation mixing dry and processed audio will create phasing effects reminiscent of a harmonic
tremolo. This is due to the Hilbert transform necessary for the sideband separation function.
VOL: Sets the master volume for the pedal. Unity gain is at 12 o’clock. Max gain is +16dB.
TONE: Sets the cutoff frequency of a second order low pass filter from 500 to 15k Hz. The filter
affects only the processed audio.
Left footswitch: This footswitch activates/bypass the sample/hold function. Holding the switch
longer than 500 ms will only momentarily activate/bypass the function.
RATE: Sets the rate of the sample/hold function from 0 to 20 Hz. This function skips between
random ring modulator frequency settings. If RATE is set to minimum (0Hz) the associated
footswitch will skip to a new, stable random frequency setting every time the sample/hold function
DEPTH: Sets the depth of the sample/hold function. At min the ring modulator frequency is
completely dictated by the FREQ knob. At max the ring modulator frequency is completely random
given that the sample/hold function is active.
INT/STEP: Chose between stepped or interpolated sample/hold. STEP instantaneously jumps
between the sample/hold values while INT will continuously glide from one value to the next.
Right Footswitch: This is your bypass switch. Holding the switch longer than 500 ms will only
momentarily change its status.
CTRL socket: Connect an expression pedal or a control voltage source (0 to 3.3V) to control the
FREQ parameter. The function is protected against voltages 12V beyond the intended operating
range (-12 to 15.3V). Connecting to the CTRL socket renders the FREQ knob inactive. For stable
operation the socket should be connected before powering the pedal.
The parameters MIX, FEED, BAND and TONE may feel related when exploring phasing effects.
MIX combines the dry, shift-free signal with the wet signal that has been passed through both the
Hilbert transform and the low pass filter, FEED regenerates the transform, the ring modulators and
the low pass filter, BAND alters the product of the transform itself and TONE obviously alters the
low pass filter. Thus all four parameters in their own way modifies parameters related to signal
There are two internal miniature switches. Z/100 reduces the input impedance to 10kOhm. -9dB
adds a -9dB input pad (damping). These may be useful when running line level signals through the
pedal. Note that this will change the unity position of the volume knob. There are two internal
trimpots. The one labeled FEEDBACK adjusts the maximum amount of available feedback. The
unlabeled trimpot is associated with the expression input and should not be adjusted (nothing
interesting will happen if you do).
• Input Impedance 1M?
• Output Impedance <1k?
• Voltage 9 VDC center negative (normal BOSS/Ibanez/1Spot power supply)
• Does not support battery operation
• Current Draw 100 mA
• Dimensions 125 x 95 x 57 mm
• Weight 450 g1k?