Mackie SNOWBOX Owner's Manual page 49

SHOWBOX BATTERY POWERED ALL-IN-ONE PERFORMANCE RIG WITH BREAKAWAY MIX CONTROL
Effect
SMALL CHORUS (FX1 + FX2)
LARGE CHORUS (FX1 + FX2)
FAST DELAY (FX1 + FX2)
SLOW DELAY (FX1 + FX2)
DELAY + CHORUS (FX1 + FX2)
FLANGER (FX1 + FX2)
PHASER (FX1 + FX2)
TREMOLO (FX1 + FX2)
SMALL PLATE (FX2)
LARGE PLATE (FX2)
SMALL ROOM (FX2)
LARGE ROOM (FX2)
SMALL HALL (FX2)
LARGE HALL (FX2)
SPRING REVERB (FX2)
DELAY + REVERB
Effect
**REVERSE DELAY (FX1 + FX2)
** ACOUSTIC GUITAR SIMULATOR (FX1)
Description
These effects provide a soft, ethereal sweeping effect
that is useful for thickening and for making a particular
sound pop out of the mix.
These two effects provide delay with delay times of fast
and slow.
Delay + chorus combined as one adds rich, warm
character, but with modulated tails of delay.
The flange effect is a modulated delay with feedback
(and shorter delay times than a chorus), which creates
the characteristic "whooshing" sound often used to
describe the flange sound.
The phaser uses a series of all pass filters to alter the
phase of the signal so that when it adds to the dry signal,
you get notches in the output.
The tremolo effect produces a slight, rapid variation in
loudness. i.e. volume modulation
[Not to be confused with a guitar's tremolo bar which
fluctuates the pitch of the sound, not the volume.]
Plate reverbs emulate vintage mechanical reverberation
that is generated with a metal plate. Its sound
is characterized by lots of early reflections
and no pre-delay.
The small room reverb simulates the reverberation (per-
sistence of sound) in a typical small room. Small rooms
are typically coined "dead" rooms with little to no reverb.
The large room reverb simulates the reverberation
(persistence of sound) in a typical large room. Large
rooms are typically coined "live" rooms since they have a
lot of reverb.
These reverbs simulate the sound of a spacious,
yet cozy, heavily draped and carpeted hall
with an especially warm tone.
A spring reverb uses a transducer at one end of a spring
and a pickup at the other end to create and capture
vibrations in a metal spring. The longer the spring, the
longer the decay time of the reverberation.
Delay + reverb combined as one allows for more
sustained delays with confident tones and ambience.
Description
A reverse delay takes the instrument input
signal, momentarily delays it, then sends
the reversed signal (of the input) to the output.
Simply put, the acoustic guitar simulator makes a
standard electric guitar sound like an acoustic-electric.
**These FX are available only on channels 2 and 4.
Perfect for enhancement of electric and acoustic guitar
and bass, or to add a dramatic effect to vocals, particu-
larly group harmonies and choirs.
These work best with full, up-beat music like
rock where the delay needs to cut through the mix.
Pink Floyd guitarist, David Gilmour, often used
Check out Heart's "Barracuda"!
Guitarist King Edward (R.I.P.) used a phaser all over the
Green Day – Boulevard of Broken Dreams,
Audioslave – Like a Stone and many more.
Perfect for adding a long sustain to percussion such
as tambourine or hand-claps, or thickening backup
vocals or other tight vocal arrangements.
Some artists record guitars (and/or bass) from
a bathroom to get a "punchier" sound out of their amp.
Sound tends to carry in large rooms with a lot of open
space. This works well for a good, boomy, deep sound.
These reverbs should be chosen when trying
to "thicken up" and/or add "space" to a song
(or passage). Think "music hall" or "symphonic hall".
A touch of spring reverb adds to the ambience of a song.
This is a great choice when taking a guitar solo.
Useful for bands that employ the alternative rock,
shoegaze and/or experimental rock sound.
the sound, but for a more recent suggestion, check
This is the setting to choose if you only have an
electric guitar, but need it to sound like an acoustic.
49
Example of its use
this effect in his setup.
early Van Halen albums.
Example of its use
Jimi Hendrix and The Beatles perfected
out 'Stolen' by Dashboard Confessional.