Each of my devices expresses itself uniquely. When you view the demos for each one, you’ll notice that they each tend to hover within a particular set of colour, texture, and pattern characteristics. Sometimes there is overlap at the periphery, but overall, each device offers something distinct.

Although the core principles behind the enhancer and colour correction circuits are similar across all of these units, they are implemented quite differently—modifying and distorting the source signal’s waveform in unique ways. Some are simpler; others are more complex. These variations in circuit design, combined with the way I’ve installed each modification, result in an idiosyncratic palette specific to each machine.

The demos reflect my own creative preferences, but you can often explore further than what I have shown, discovering your own sweet spots as you tweak and combine different knobs. You’ll find that each device is an instrument unto itself—even when they share similarities. Think of it like the differences between a violin, cello, bass, or guitar: while their construction is somewhat similar, they each sound and play differently, and occupy their own distinct place in the mix.

They will also respond differently depending on the kind of source material you feed into them. I encourage experimentation, as one patch’s effect can easily blossom into something new when you try different source material. For instance, a flat, high-contrast animation or image will spawn a different kind of effect than a more dynamic source with subtle gradients of hue and luminance.

A note about the clarity of the bypassed video: With Series I devices, you’ll be able to achieve a relatively clean signal when they are in bypass mode and the effect controls are not engaged.

In Series II devices, the signal in bypass mode will always be somewhat to heavily affected. Some of the effect controls can help clean up the signal, but with these devices in particular, you’ll be working with a more distorted signal overall.