Malcolm Toft Punishr+

1. DISTORTION
The three types of Distortion are:
• Symmetrical distortion where both sides of the waveform are clipped
• Asymmetrical distortion where only side of the waveform is clipped
• Iron, where a transformer is saturated **

**This is quite different to the previous two as saturation of the transformer only tends to occur at low frequencies (typically from below approximately 130Hz). 

Each type of distortion therefore has its own sound and characteristic and the PUNISHR makes it possible to use any one or a combination of these simultaneously and in individually controllable amounts.

Normally to create distortion, an amplifier (or transformer) is overloaded so that it is no longer able to pass an audio signal without noticeable artefacts (distortion). This is achieved by increasing the level (volume) of the signal passing through the device until the desired effect is achieved.

However, because the signal has to be increased by a significant amount (typically 15-20db), there is a very noticeable increase in the overall signal level. It is therefore necessary to attenuate the signal by a similar amount afterwards in order to restore the signal to its previous level.

This makes it quite difficult to compare the distorted and undistorted signals objectively. However, the circuits of the PUNISHR have been designed in such a way that when any of the three different types of distortion are added and in any amount, automatic gain levelling circuitry means that the signal level does not increase at all. This makes it much easier to compare the original signal with the distorted signal. Each of the three types of distortion also have their own illuminated bypass switch so that their individual effect can be easily compared. 

This makes it quite difficult to compare the distorted and undistorted signals objectively. However, the circuits of the PUNISHR have been designed in such a way that when any of the three different types of distortion are added and in any amount, automatic gain levelling  circuitry means that the signal level does not increase at all.

This makes it much easier to compare the original signal with the distorted signal. Each of the three types of distortion also have their own illuminated bypass switch so that their individual effect can be easily compared.

2. EQ and FILTER
The versatile equaliser section has been designed to work specifically with the distortion effects allowing tonal shaping.

First, there is a high and low frequency section with boost and cut of 15db starting at 100Hz for the bass and 8kHz for the treble, also with its own illuminated bypass switch. Use of these controls in conjunction with the chosen type of distortion provides an incredible amount of possibilities.

Secondly, both high and low pass sweepable filters ranging from 30Hz to 350Hz and 1.5kHz to 20kHz respectively, are also provided in the equaliser section.

Again, with their own bypass switch. Used individually, they can provide yet more options for sound shaping. Those options increase yet again when used in conjunction with the high and low frequency controls. Contained within the equaliser section is another illuminated switch marked ‘EQ PRE’. 

Normally, the equaliser section is placed at the output of the three distortion controls. However, depressing the ‘EQ PRE’ button places the equaliser section in front of the three distortion controls (directly after the input), so the signal can be equalised before it goes through the distortion effect. This again can provide yet another range of distortion effects.

SUM MODE
Another flexible feature is the ‘SUM’ button. Under normal operation, the signal flows in series (one after the other) through the three distortion sections, starting with the Symmetrical section, then the Asymmetrical section and finally the Iron section.

Depressing and illuminating the ‘SUM’ button feeds the signal to the input of all three sections simultaneously with the single output (summed), then going on to feed the rest of the unit. This once more adds to the versatility and combination of effects that can be generated. 

3. DRY / WET
Finally (and perhaps one of the most important controls), is the ‘DRY/WET’ function.

This continuously variable control makes it possible in the ‘DRY’ position to hear the unaffected signal. Movement of the control in a clockwise direction to the ‘WET’ position, introduces the distortion and equaliser effects that have been added to the signal in proportion to the position of the control.

So in the middle it will be 50% undistorted and 50% distorted and at fully clockwise (‘WET’) you will only hear the distorted signal.

IN/OUT
To conclude the array of facilities, there is of course an overall RED illuminated ‘IN’ button which when undepressed, bypasses overall all of the distortion and equaliser functions. 

Features
• Analogue Harmonic Saturation 19" 1U rack Module with DI, Dual mono with output level control
• 4 Tonal Shaping Processing Paths
• 3 Different types of distortion : SYM, ASYM and IRON 
• SYM : Symmetrical distortion - where both sides of the waveform are clipped
• ASYM : Asymmetrical distortion - where only one side of the waveform is clipped
• IRON : Iron Transformer Saturation
• Input Drive LED designed to illuminate when a steady signal (or tone) reaches 0dbm
• Individual Bypass LED switches and Level control for each Distortion Circuit
• Automatic gain levelling circuitry
• Sweepable High Pass Filter from 30Hz to 350Hz
• Sweepable Low Pass Filter from 1.5kHz to 20kHz
• Smooth 12db per octave Musical Filter Slopes
• EQ/Filter circuit can be placed Pre or Post the Distortion Circuits
• SUM mode feeds the input to all 3 Distortion Circuits simultaneously
• Overall continuously variable Dry / Wet Mix Control
• Made in UK - Analogue Circuit Design by Malcolm Toft