Kinotone ribbons Manuale utente
Magnetic Tape Emulator
About Ribbons
You can think of Ribbons like a build-your-own tape
machine. It gives you a high degree of control to dial in
sounds ranging from pristine and hi-, to warbley, aged
and haunting.
Most of its parameters are tape inspired, but you’ll also
nd nods to other imperfect mediums, like crackling vinyl,
skipping CDs, and lo- telecom systems.
We wanted Ribbons to be a playful and powerful tool all
on its own, so it’s packed with other features too, includ-
ing a stereo reverb, some wild Touch Modes, a four-track
looper, and a sine wave synth.
This opens up lots of possibilities for creating textures,
soundscapes, and experimental compositions. So take it
slow, have fun exploring, and we hope that you connect
with something inside this strange and magical little box.
Online manual and help
The purpose of this guide is to cover Ribbons’ core
features and help you learn its basic controls. Content
reects rmware version 1.3.
Our online manual covers more advanced topics, like
controlling Ribbons using MIDI or CV. You can nd this at
kinotoneaudio.com/ribbons-manual
Have questions? Join the Kinotone community to connect
with us and other users at forum.kinotoneaudio.com
For direct support email support@kinotoneaudio.com
Contents
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4
6
8
9
11
13
14
15
16
17
17
20
21
23
28
28
29
29
30
30
31
Mixing options
Bypass options
Factory reset
Firmware updates
MIDI, CV, expression control
Documentation updates
Page 1
Page 2
Page 3
Page 4
Magnetic Dance
Tape Stop
Broken Machine
Repeater
Crushed Cassette
Disintegration Loop
Mix and Utility
Wow and Flutter
Degradation
Reverb, Touch Modes
Getting Started
Tape Eects
Presets
Touch Modes
Four-Track Looper
Additional Topics
Getting Started
Take care to use an isolated +9VDC center-negative
power supply rated for at least 160 mA.
Ribbons passes a stereo in / stereo out signal by default
via TRS input and output jacks. To use it in stereo you will
need to use TRS style cables.
It also defaults to true bypass, with a mechanical relay
completely bypassing the pedal’s electronics when it’s
disengaged. There are a few other mixing and bypass
options though, which you can learn about on page 28.
J
C
F
G
K
MIDI
CV/EXP IN
OUT
TOUCH BYPASS
L
P
•
W
D
•
D
D
•
R
M
M
X
•
F
D
•
C
R
•
T
1
C
P
•
F
F
•
N
O
•
T
2
H
P
•
W
F
•
D
F
•
R
D
I
B
E
D
H
L
AA
AA
3
Knobs
Push button
Page and
parameter LEDs
Bypass footswitch
Bypass LED
Touch footswitch
Touch LED
Power input
TRS stereo input
TRS stereo output
MIDI input
CV / EXP input
Controls
Inputs and
Outputs
Visual feedback
The page and parameter LEDs track which page you’re
on, and show you the value of your parameters.
When you switch to a new page, the LED beneath the icon
lights up briey to indicate which page you’re on. Then,
all 4 LEDs settle to show you how your parameters are
currently set for that page.
Dotted lines illustrate how each knob connects with
an LED. As you turn a knob clockwise, the color intensity
changes from its base color to glowing white, with some
white introduced right at 12 noon.
The LEDs are a visual guide. By not only listening, but also
monitoring the intensity of the LEDs, you can easily track
your settings when jumping from page to page.
Tape Eects
When you power on Ribbons, its default mode allows you
to edit the tape eects, which broadly refers to the
dierent parameters abbreviated on the front panel.
4 knobs have unique controls across 4 pages.
Each page is color-coded with a thematic icon.
Press the push button to toggle between the pages.
4
You don’t lose your settings when jumping
from one page to another.
All of Ribbons’ parameters work together, so dialing
in your desired eect is a matter of adjusting the
knobs on each page.
If you’re ever not sure what the heck is going on and
just wish you could start over — no worries.
Load up preset 1 to reset the tape eects to a
completely transparent state (see page 13).
Powering o and on won’t help, since Ribbons
Remembers your last used settings between power
cycles, including which page you were on.
Relative knobs
When you switch pages, the physical position of a knob
and its parameter may be momentarily misaligned.
When this occurs, controls are responsive in a relative
way, meaning that the knob will attenuate or increase
the parameter based on the actual amount of space
that’s available. Once they match up, the knob will start
tracking again as you'd expect.
This sounds a bit complicated but it’s actually really
simple, and you should get a feel for it pretty quickly by
watching the LEDs.
!
5
MIX (MX) — Ribbons has a dedicated mix knob for all of
its sounds and eects. This is thoughtfully designed so
that so you can blend dry and wet signals without any
phasing issues.
The main use case for this knob is to use it in conjunc-
tion with the dierent modulation settings. For example,
at 100% mix you can get a tape-like vibrato, at 50% a
lush chorus, and at zero you’ll get no eects at all —
just your dry signal.
LOW-PASS MIX
COMPRESSION
SATURATION
HIGH-PASS
Mix and UtilityPage 1
LOW-PASS (LP) — A slightly resonant four-pole virtual
analog low-pass lter. Rotating the knob counter-
clockwise removes treble and brightness from your
signal.
HIGH-PASS (HP) — A symmetrical and opposite high-
pass lter. Rotating the knob clockwise removes bass
and boominess from your signal.
6
There is also TAPE SATURATION if you’d prefer that here
instead of compression. You can swap out the CP knob
for a saturation parameter by sending MIDI CC 52,
value >0. This change is persistent between power
cycles unless you switch it back.
Ribbons’ compression algorithm is modeled after a
vinyl simulator found in a sampler that was used to
make a number of classic hip hop records.
COMPRESSION (CP) — Controls the dynamics of your
incoming audio and attenuates the loudest sounds.
As you increase it, your audio will feel warmer and more
balanced.
When used on guitar it can add some amazing sustain
to your notes, and on full mixes it has a magical way of
gluing your sounds together without distorting them.
Ribbons’ lters are modeled after the lter from a
very famous 1970’s synthesizer.
If you have suddenly lost eects and are unsure
why, double check your page 1 settings.
By design you can completely lter out incoming
audio by turning the LP knob all the way to the left,
or the HP knob all the way to the right. You will also
of course lose eects by turning the MIX knob down.
7
Wow is meant to emulate slower pitch variations
caused by malfunctioning components in a tape
transport. So something like a worn out belt or
deformed rubber rollers.
WOW DEPTH (WD) — By turning up depth, your audio’s
pitch will start to randomly wobble. As you increase it,
the intensity of the variation gets more dramatic.
WOW FREQUENCY (WF) — Changes the max speed at
which these variations occur.
Flutter emulates faster and more jittery pitch
variations sometimes found on tape players. This can
be caused by things like bent capstans, backlash from
worn out gears, or other obstructions in the tape path
that create unexpected friction.
Wow and FlutterPage 2
WOW DEPTH FLUTTER DEPTH
FLUTTER
FREQUENCY
WOW
FREQUENCY
8
Dropouts emulate tape getting stuck momentarily and
then catching up. So think physical interruptions, like
tape getting snagged on an object, or intentionally
manipulating a tape during playback.
DegradationPage 3
Ribbons' random wow and utter parameters are
modeled after spectral and waveform data collected
from all kinds of tape players, ranging from perfectly
functioning to completely broken — four-track
cassette machines, reel-to-reels, dictaphones,
mangled cassette loops, tape delays, and more.
FLUTTER DEPTH (FD) — Turning up depth will start to
introduce subtle, stuttery pitch variations in your signal.
FLUTTER FREQUENCY (FF) — As you increase
frequency, the variations become more chaotic.
DROPOUTS
DEPTH
CRINKLE
NOISEDROPOUTS
FREQUENCY
9
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