Rack Amplifier; Edison Ex1; Auto-Pan; Noisegate - Behringer DEEPMIND 12 User Manual

82 DeepMind 12 User Manual
Rack Amplifi er
Modelled after the Tech 21 SansAmp, the Stereo / Dual Guitar Amp simulates the
sound of plugging into a real guitar amp. From shimmering cleans to saturated
crunch, the Stereo / Dual Guitar Amp allows an electric guitar player to sound
great without using an amp on stage. The PREAMP knob adjusts the amount of
input gain prior to the band-specifi c distortion adjustment. BUZZ adjusts the
low-end breakup, PUNCH adjusts the midrange distortion, and CRUNCH tailors
the high-frequency content and distortion for smooth or cutting notes. The DRIVE
knob simulates the amount of power amp distortion from a tube amp. The LOW
and HIGH knobs allow EQ adjustment independent of distortion content, and the
overall output is controlled by the LEVEL knob. There are 11 CABINET emulations
which can be selected using the CAB parameter. The CABINET simulation can also
be bypassed which allows the eff ect to function like a boost or distortion pedal.

Edison EX1

The EDISON EX1+ is a remarkably eff ective tool that allows manipulation of the
stereo fi eld. The eff ect off ers stereo and mid/side input and output and a phase
correlation meter. Exaggerate the stereo fi eld with the ST SPREAD knob and
adjust the ratio of mono to stereo content with the BALANCE knob. The CENTER
DIST knob allows the mono content to be panned. Compensate for level changes
with the OUTPUT GAIN knob.

Auto-Pan

Auto-pan creates an up and down volume change at a constant and even tempo
just like the guitar amps of yesteryear. Use the Auto-pan to add a unique "surf-
music" texture.
SPEED adjusts the LFO rate and DEPTH sets the amount of modulation. PHASE
can be used to set an LFO phase diff erence between the left and right channel,
which can be used for panning eff ects. The WAVE knob blends the LFO waveform
between triangular and square shape. The signal envelope, shaped by ATTACK,
HOLD and RELEASE, can be used to modulate the LFO speed (ENV SPEED) and the
LFO modulation depth (ENV DEPTH).

NoiseGate

The Noise Gate not only handles the duties of a traditional version, but also off ers
enhanced "Transient Accenting" characteristics to gated signals. Enhance the
attack envelope beyond merely opening the gate, and provide up to 12 dB of
additional transient energy to percussive programs. In many cases the DN265's
control over transients may prove to be a viable alternate to EQ.
Attack is exponential which means it can be set extremely fast to reduce signal
loss at the start of sounds while remaining sonically transparent - no clicks.
Gate release is reverse exponential so it can be set relatively fast and blend in
seamlessly with the natural decay of the material.
Delay
Stereo Delay provides independent control of left and right delay (echo) times
and features high and low pass fi lters for enhanced tone shaping of the delayed
signals. Use the Stereo Delay to give your mono signals a wide presence in the
stereo fi eld.
The MIX control lets you blend the source signal and the delayed signal.
TIME adjusts the master delay time up to three seconds. LO CUT adjusts the low
frequency cut, allowing lower frequencies to remain unaff ected by the delay.
HI CUT adjusts the high frequency cut, allowing higher frequencies to remain
unaff ected by the delay. FACTOR L sets the delay on the left channel to rhythmic
fractions of the master delay time. FACTOR R sets the delay on the right channel
to rhythmic fractions of the master delay time. OFFSET LR adds a delay diff erence
between the left and right delayed signals. The FEED LO CUT/HI CUT adjusts fi lters
in the feedback paths. FEED L and FEED R control the amount of feedback for
the left and right channels. MODE sets the feedback mode: Mode ST sets normal
feedback for both channels, X crosses feedbacks between left and right channels.
M creates a mono mix within the feedback chain.

3-Tap Delay

Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with
independent frequency, gain, and pan controls. Create time-based echo eff ects
with the Triple Delay to increase the sense of stereo separation.
TIME sets the master delay time, which is also the delay time for the fi rst stage.
GAIN T sets the gain level of the fi rst stage of the delay. BASE T sets the position
of the fi rst delay stage in the stereo fi eld. X-FEED indicates that stereo cross-
feedback of the delays is active. FEEDBACK adjusts the amount of feedback.
FACTOR A controls the amount of delay time in the second stage of the delay.
GAIN A controls the gain level of the second delay stage. PAN A sets the position
of the second delay stage in the stereo fi eld. FACTOR B controls the amount of
delay time in the third stage of the delay. GAIN B controls the gain level of the
third delay stage. PAN B sets the position of the third gain stage in the stereo
fi eld.