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> Reverb+Feedback 1:
back into itself to create rhythmic repetitions of the reverb signal.
> Reverb+Feedback 2:
only difference being that the Reverb is audible immediately after the dry signal.
NOTE: Tip: When using either of the Reverb+Feedback algorithms, try using Ambience or
Small Room reverb type, as both of these offer reasonably long pre-delay times. Set a short
reverb time, a long pre-delay and set reverb feedback to a high value. These settings should
give you a good indication of the purpose of these algorithms.
> Delay X:Y:
These are 'ping-pong' delays, which means that the delay times for the left and
right channels are different, making the sound appear to bounce back and forth between
the speakers, like a ping-pong ball. The different ratios refer to the relationship between the
left and right signals, i.e. 2:1 means that the left delay time is twice the length of the right
delay time.
> Pattern X+Y:
These 'Pattern' delays are also ping-pong delays, but instead of referring to
the delay time or clock parameters, they refer instead to the global tempo. The two num-
bers represent how many sixteenth note (semiquaver) increments the left and right chan-
nels will be delayed by. Note that neither Delay Time nor Delay Clock will have any effect in
this mode.
NOTE: Tip: Try using these 'Groove' delays in conjunction with the arpeggiator to create
interesting rhythmic patterns.
> SEND
Determines them amount of the dry signal to be sent to the delay/reverb effect. This behaves
exactly like a post-fader effect bus on a mixing console. As the value nears 127, the dry signal
is faded out and only the delay/reverb signal is audible.
This variation of the reverb algorithm feeds the pre-delay signal
This behaves in a similar fashion to Reverb+Feedback 1, with the
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