Korg TouchView Trinity Effect Manual

Korg music workstation drs effect guide.
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   Summary of Contents for Korg TouchView Trinity

  • Page 2: Table Of Contents

    Table of Contents Table of Contents Overview ... 1 Insert Effects... 1 Effect Size ... 2 Effect Input/Output ... 2 Grouping ... 3 Master Effects ... 3 Program ... 4 Program - Single/Double OSC mode ... 4 Program - Drums OSC mode ... 5 Combination ...

  • Page 3: Table Of Contents

    Table of Contents Insert Effect size2 00: St. Amp Simulation (Stereo Amp Simulation)... 47 01: Stereo Compressor ... 48 02: Stereo Limiter... 49 03: Multiband Limiter... 50 04: Stereo Gate ... 51 05: OD/Hi-Gain Wah (Overdrive/Hi-Gain Wah) ... 53 06: St. Parametric 4EQ (Stereo Parametric 4-Band EQ) ... 55 07: St.

  • Page 4: Table Of Contents

    Table of Contents Insert Effect size4 00: Piano Body/Damper (Piano Body/Damper Simulation) ... 119 01: St. Mlt.band Limiter (Stereo Multiband Limiter)... 120 02: OD/Hyper-Gain Wah (Overdrive/Hyper-Gain Wah)... 121 03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ)... 122 04: Vocoder ... 123 05: St.

  • Page 5: Overview, Insert Effects

    Overview The TRINITY series has two types of effects: Insert Effects and Master Effects. As shown in the figure below, you can use the Insert Effects in the process of sound creation after the Oscillator, Filter, and Amp. Then, reverberation and other effects are applied through the Master Effects. One hundred Insert Effects and fourteen Master Effects enable highly flexible sound production.

  • Page 6: Effect Size, Effect Input/output

    Overview Effect Size Insert Effects utilize effect sizes of 1, 2, and 4. Program (Single or Double mode Program): Up to three effects with a total effect size of four or less can be inserted in series. Program (Drum mode Program): Up to four effects with a total effect size of four or less can be inserted in series/parallel.

  • Page 7: Grouping, Master Effects

    When you want to preserve the stereo image of a Double mode Program, use Insert Effects of size 2 or 4. Grouping You can use the grouping function in the Combination and Sequencer modes to use the Insert Effects effi- ciently.

  • Page 8: Program, Program - Single/double Osc Mode

    Overview Program You can use the Insert Effects as long as the total of the effect size is four or less in Program mode. The configuration of the Insert Effects is different when using a Single or Double mode Program than when using a Drum mode Program.

  • Page 9: Program - Drums Osc Mode

    If output connectors 3 and 4 are used for stereo output, you can set the stereo position of Send 1 and 2 using the Pan 3 and 4 parameters (P8 in Program Edit mode). To set the Master Effect return level, use the Return 1 and 2 parameters (P8 in Program Edit mode). If you check the check box located between Send 1 and Send 2 in the upper left corner of the LCD, the serial routing of Modulation Reverb/Delay will be added.

  • Page 10: Combination

    Overview If you have inserted Insert Effects, the Send 1 and 2 parameters of P7 in Program Edit mode will become effective (those of P5 will be ignored). If you have not inserted Insert Effects, the Send 1 and 2 parameters of P5 in Global mode and P5 in Program Edit mode will become effective.

  • Page 11

    You can also set the total effect size for a single Timbre to eight. However, if you are routing three Insert Effects in series, you cannot place an effect of size 4 on the second position. For a Timbre that uses a Drum mode Program, you can set the total effect size to eight.

  • Page 12: Sequencer

    Overview Sequencer Track Play / Rec (Sequencer P1) Track1 in the case of Insert Effect =Off Send1 Send2 Filter1 Amp1 OSC1 Send1 Send2 OSC2 Filter2 Amp2 in the case of Insert Effect =On Track2 in the case of Insert Effect =Off Send1 Send2 Amp1...

  • Page 13

    When you are adding Timbres/Tracks that use Single or Double mode Programs to a group of Tim- bres/Tracks that use Drum mode Programs, they will be grouped (input) into Insert Effect Inst1 of the Timbres/Tracks that use Drum mode Programs. When you are adding Timbres/Tracks that use Drum mode Programs to a group of Timbres/ Tracks that use Single or Double mode Programs, only DrumKit sounds that have been assigned to Inst1 in P5 of Global mode will be grouped (input) into the Insert Effects of the Timbres/Tracks...

  • Page 14: Dynamic Modulation

    Dynamic Modulation Dynamic Modulation You can control certain effect parameters using the joystick, ribbon controller, etc. “on the fly.” For exam- ple, you can use the After Touch effect to speed up the LFO of the chorus and flanger, or you can use the ribbon controller to activate the wah effect.

  • Page 15

    Source JS(–Y) Joystick - downward JS(X) Joystick - horizontal direction Ribbon(X) Ribbon controller - horizontal direction Ribbon(Z) How strongly you press the ribbon controller Assignable Panel Switch 1 (CC#80) Assignable Panel Switch 2 (CC#81) Foot SW Assignable Foot Switch (CC#82) Foot Pedal Assignable Foot Pedal (CC#04) SustainPdl...

  • Page 16

    Dynamic Modulation If the switches on the panel are assigned as a dynamic modulation source, set SW1 to Modulation (CC#80) and SW2 to (CC#81) in P1 of Program Edit mode, or P4 of Combination Edit mode. Foot SW If the assignable foot switch is assigned as a dynamic modulation, set Foot Switch to Modulation (CC#82) in P1 of Global mode.

  • Page 17: Amp Simulation

    00: Amp Simulation This effect simulates the frequency response characteristics of guitar amplifiers. You can obtain a realistic guitar amplifier sound. It is also effective for organ sounds. Mono In - Mono Out Amplifier Type SS, EL84, 6L6 Wet/Dry Dry, 1:99…99:1, Wet None…Tempo –100…+100 Amp Simulation Filter...

  • Page 18: Compressor

    01: Compressor 01: Compressor This effect compresses the input signal to regulate the level and give a “punchy” effect. It is useful for gui- tar, piano, and drum sounds. Mono In - Mono Out EQ Trim Sensitivity Attack EQ Trim Pre LEQ Gain [dB] Pre HEQ Gain [dB] Ouput Level...

  • Page 19: Limiter

    02: Limiter The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter com- presses only signals that exceed the specified level to lower unnecessary peak signals. The Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to set any band width to be covered.

  • Page 20

    02: Limiter c: Attack These parameters set the attack time and release time. A higher attack time will d: Release cause the compression to be applied more slowly. f: Side PEQ Insert These parameters are used to set the EQ applied to the trigger signal. g: Side PEQ Cutoff [Hz] The Limiter determines whether the compression is applied or not, based on the g: Q...

  • Page 21: Gate

    03: Gate The Gate effect mutes signals with a level lower than the specified threshold. You can also use this effect to create Gated Reverb by routing it after the Reverb effect. The Gate can be turned on/off directly by Note On/Off.

  • Page 22

    03: Gate Output Level e: Delay Time This parameter sets the delay time of the Gate input. If the sound has a very fast attack, increase the delay time so that the signal will be input after the Gate is opened.

  • Page 23: Overdrive/hi-gain

    04: Overdrive/Hi-Gain This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the 4-band EQ will allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds. Mono In - Mono Out Pre Low-cut Mode: Overdrive / Hi-Gain Drive Mode...

  • Page 24: Parametric 4eq (parametric 4-band Eq)

    05: Parametric 4EQ (Parametric 4-Band EQ) 05: Parametric 4EQ This effect is a four-band parametric equalizer. You can select either a peaking type or a shelving type for Band 1 and 4. Band 2 allows for gain control via dynamic modulation. Mono In - Mono Out Trim -mod...

  • Page 25

    d: Band2 Dynamic Gain You can control the gain of Band 2 using the modulation source. d: Amt [dB] f: Gain [dB] +15dB +6dB 05: Parametric 4EQ (Parametric 4-Band EQ) Parametric 4EQ - Band2 Dynamic Gain Control -mod +6dB Band2 Cutoff –9dB Band2 Gain[dB]= +6.0 Band2 Dynamic Gain Amt[dB]= +9.0...

  • Page 26: Graphic 7band Eq

    06: Graphic 7Band EQ 06: Graphic 7Band EQ This effect is a seven-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound.

  • Page 27: Wah/auto Wah

    07: Wah/Auto Wah This wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings. You can select Band Pass or Low Pass for the wah filter. Mono In - Mono Out Envelope Sens -mod Response...

  • Page 28

    07: Wah/Auto Wah a: Frequency Bottom The sweep width and direction of the wah filter are determined by the Fre- b: Frequency Top quency Top and Frequency Bottom settings. Frequency Top=75 Bottom=25 Zero Frequency Top=75 Bottom=25 c: Sweep Mode This parameter changes the wah control mode. Setting Sweep Mode to Auto will select an auto-wah that sweeps according to envelope changes in the input signal level.

  • Page 29: Random Filter

    08: Random Filter The filter frequency changes randomly. You can create a special effect from filter oscillation. Mono In - Mono Out Random LFO LFO Frequency [Hz] 0.05…50.00Hz None…Tempo –50.00…+50.00Hz Cutoff 0…100 Depth 0…100 None…Tempo –100…+100 Resonance 0…100 –Wet…–1:99, Dry, Wet/Dry 1:99…Wet None…Tempo...

  • Page 30: Dyna Exciter

    09: Dyna Exciter 09: Dyna Exciter This effect gives a frame to a sound and emphasizes the outline. You can control the intensity of the effect using dynamic modulation. Mono In - Mono Out EQ Trim -mod Blend Emphatic Point EQ Trim Pre LEQ Gain [dB] Pre HEQ Gain [dB]...

  • Page 31: Sub Oscillator

    10: Sub Oscillator This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver. Mono In - Mono Out Pre LPF Fixed Frequency...

  • Page 32: Decimator

    11: Decimator 11: Decimator This effect creates a rough sound like a cheap sampler by lowering the sampling frequency. You can also simulate noise unique to a sampler (aliasing). Mono In - Mono Out Sampling Frequency Pre LPF Sampling Freq [Hz] (Sampling Frequency) High Damp [%] Wet/Dry...

  • Page 33: Chorus

    12: Chorus This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. Mono In - Mono Out EQ Trim LFO: Tri / Sine LFO Waveform Triangle, Sine LFO Frequency [Hz] 0.02…20.00Hz None…Tempo –20.00…+20.00Hz Pre Delay [msec] 0.0…50.0msec...

  • Page 34: Harmonic Chorus

    13: Harmonic Chorus 13: Harmonic Chorus This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use this chorus block with feedback as a flanger. Mono In - Mono Out High/Low Split Point LFO: Triangle...

  • Page 35: Ensemble

    14: Ensemble This chorus effect is created by a subtle shimmering LFO, and adds richness and thickness to the sound. It is most effective on the string sounds. Mono In - Mono Out Shimmer Speed 1…100 None…Tempo –100…+100 Shimmer 0…100 Depth 0…100 None…Tempo...

  • Page 36: Flanger

    15: Flanger 15: Flanger This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics, such as cymbals or electric guitar sounds. Mono In - Mono Out LFO: Tri / Sine LFO Shape Delay Time [msec]...

  • Page 37: Tempo Flanger

    16: Tempo Flanger This Flanger allows you to match the LFO cycle with a song’s tempo. For example, you can apply the Flanger synchronizing to a sequencer rhythm pattern, or you can input a tempo before a live performance so that the flanging effect will match the song tempo. The LFO cycle can be set in steps of one note. Mono In - Mono Out D-mod Tempo...

  • Page 38: Envelope Flanger

    17: Envelope Flanger 17: Envelope Flanger This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging each time you play. You can also control the Flanger directly using the modulation source. Mono In - Mono Out -mod EG Decay Delay Bottom [msec]...

  • Page 39: Phaser

    18: Phaser This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. Mono In - Mono Out LFO Shape LFO: Tri / Sine LFO Waveform Triangle, Sine LFO Shape –100…+100 LFO Frequency [Hz] 0.02…20.00Hz None…Tempo –20.00…+20.00Hz...

  • Page 40: Tempo Phaser

    19: Tempo Phaser 19: Tempo Phaser This Phaser allows you to match the LFO cycle with the song tempo. For example, you can synchronize the Phaser to a sequencer rhythm pattern, or you can input a tempo before a live performance so that the phasing effect will match the song tempo.

  • Page 41: Envelope Phaser

    20: Envelope Phaser This Phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each time you play. You can also control the Phaser directly using the modulation source. Mono In - Mono Out -mod D-mod EG Decay Manu Bottom...

  • Page 42: Vibrato

    21: Vibrato 21: Vibrato This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the shimmering speed. Mono In - Mono Out LFO: Tri / Sine AutoFade AUTOFADE Src Fade-In Rate LFO Waveform LFO Shape LFO Frequency [Hz]...

  • Page 43: Resonator

    22: Resonator This effect resonates the input signal at a specified pitch. For example, the Resonator will add a unique character to a string sound by emphasizing certain harmonics, or give a “pitch” to a drum sound. You can control the resonance intensity via an LFO. Mono In - Mono Out Trim Resonance...

  • Page 44: Ring Modulator

    23: Ring Modulator 23: Ring Modulator This effect creates a metallic sound by routing the input signal to an Oscillator. You will obtain a very rad- ical modulation by modulating or operating the Oscillator using an LFO or dynamic modulation. Since the Oscillator frequency can match the note number, you can create a ring modulation effect that follows the scale.

  • Page 45

    d: Note Offset These are used to set the oscillator when OSC Mode is set to Note (Key Follow). e: Note Fine The Note Offset parameter specifies the pitch difference from the original note number in steps of semitones. The Note Fine parameter is used to “fine-tune” this setting in steps of cents.

  • Page 46: Tremolo

    24: Tremolo 24: Tremolo This effect modulates the volume level of the input signal. Mono In - Mono Out LFO: Tri/Sin/Sqr/Up/Down LFO Waveform LFO Shape LFO Frequency [Hz] Depth Wet/Dry a: LFO Waveform This parameter selects the LFO waveform. Square wave simulates the characteristics of the tremolo created on a guitar amplifier.

  • Page 47: Rotary Speaker

    25: Rotary Speaker This effect simulates a rotary speaker which is essential to organ sounds. This size 1 Rotary Speaker effect is monaural. You can change the speed of speaker rotation via dynamic modulation. The effect also simu- lates the microphone settings. Mono In - Mono Out -mod Speed Switch: Slow/Fast...

  • Page 48: Delay

    26: Delay 26: Delay This delay effect delays the input signal over time. You can change the character of the delay sound by setting the feedback damping amount separately for the low range and high range. Mono In - Mono Out Input Level D-mod Delay Time [msec] Feedback...

  • Page 49: Multitap Delay

    27: Multitap Delay This Multitap Delay has two taps for delay. With various delay time settings, you can create complex delay sounds. Mono In - Mono Out Input Level D-mod Tap1 Time [msec] 0.0…680.0msec Tap2 Time [msec] 0.0…680.0msec Tap1 Level +0…+100 Feedback –100…+100...

  • Page 50: Early Reflections

    28: Early Reflections 28: Early Reflections This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You can also create sounds such as gated reverb and reversed effects by selecting the decay curve of the early reflection.

  • Page 51: St. Amp Simulation (stereo Amp Simulation)

    00: St. Amp Simulation This is a stereo amp simulator. Stereo In - Stereo Out Left Right Amplifier Type SS, EL84, 6L6 Wet/Dry Dry, 1:99…99:1, Wet None…Tempo –100…+100 00: St. Amp Simulation (Stereo Amp Simulation) (Stereo Amp Simulation) Amp Simulation Filter Amp Simulation Filter Selects the type of guitar amplifier Sets the balance between the effect and dry sounds.

  • Page 52: Stereo Compressor

    01: Stereo Compressor 01: Stereo Compressor This is a stereo compressor. You can link left and right channels, or use each channel separately. Stereo In - Stereo Out Left EQ Trim Envelope Select EQ Trim Right Envelope Select Sensitivity Attack EQ Trim Pre LEQ Gain [dB] Pre HEQ Gain [dB]...

  • Page 53: Stereo Limiter

    02: Stereo Limiter This effect is a stereo limiter. You can link left and right channels, or use each channel individually. Stereo In - Stereo Out Left Envelope Select Right L/R Mix, L Only, R Only, L/R Envelope Select Individually Ratio 1.0:1…50.0:1, Inf:1 Threshold [dB]...

  • Page 54: Multiband Limiter

    03: Multiband Limiter 03: Multiband Limiter This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can control dynamics for each range to adjust the sound pressure of the low range, mid range, and high range in a different way from the EQ.

  • Page 55: Stereo Gate

    04: Stereo Gate This is a stereo gate effect. Three types are available to turn the gate on/off. This effect features a Hold function that keeps the gate open for a specified period of time. Stereo In - Stereo Out Left Envelope Select Right...

  • Page 56

    04: Stereo Gate Level Trigger Attack Trigger Release b: Envelope Select The Envelope Select parameter selects whether the gate on/off is triggered by b: Src the level of the input signal, or controlled directly by the modulation source. The Src parameter specifies the modulation source, selected from None to Gate2+Sus. With Envelope Select = L/R Mix, the left and right channel signal mixture will trigger the gate on/off.

  • Page 57: Od/hi-gain Wah (overdrive/hi-gain Wah)

    05: OD/Hi-Gain Wah This effect is a distortion with wah, 4-band EQ and amp simulator. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Pre Low-cut Right -mod Off, On None…Tempo Wah Sweep Range –10…+10 Drive Mode Overdrive, Hi-Gain Pre Low-cut...

  • Page 58

    05: OD/Hi-Gain Wah (Overdrive/Hi-Gain Wah) a: Wah The Wah parameter switches the wah effect on/off. The wah center frequency a: Src can be controlled by the modulation source specified in the Src parameter. b: Wah Sweep Range This parameter sets the sweep range of the wah center frequency. A negative value will reverse the direction of sweep.

  • Page 59: St. Parametric 4eq (stereo Parametric 4-band Eq)

    06: St. Parametric 4EQ This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation. Stereo In - Stereo Out Left Trim Trim...

  • Page 60: St. Graphic 7eq (stereo Graphic 7-band Eq)

    07: St. Graphic 7EQ (Stereo Graphic 7-Band EQ) 07: St. Graphic 7EQ This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound.

  • Page 61: Graphic 13band Eq

    08: Graphic 13Band EQ This effect is a 13-band graphic equalizer that allows for finer equalization. Two types of settings are available for the center frequency of each band. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Trim Band1...

  • Page 62: St. Random Filter (stereo Random Filter)

    09: St. Random Filter (Stereo Random Filter) 09: St. Random Filter This effect is a stereo random filter. You can also fade in the effect sound using Auto-Fade, or change the LFO speed. Stereo In - Stereo Out Stereo In - Stereo Out Left Left Right...

  • Page 63

    a: AUTOFADE Src If AutoFade is selected for the LFO speed, depth of modulation, and Effect Bal- a: Fade-In Rate ance, you can use the AutoFade function to apply modulation. The AUTOFADE Src parameter selects the modulation source that triggers Auto- Fade.

  • Page 64: Stereo Enhancer

    10: Stereo Enhancer 10: Stereo Enhancer This effect spreads and adds presence to the sound, and also functions as a stereo exciter. It is useful when you wish to emphasize a stereo image of the input signal or create a stereo image from a monaural source.

  • Page 65: Talking Modulator

    11: Talking Modulator This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the instrument is talking. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Right Voice Top: A...

  • Page 66

    11: Talking Modulator e: Formant Shift This parameter adjusts the frequency level to which the effect is applied. If you wish to apply the effect to a higher-range sound, set this parameter to a higher value; to apply the effect to a lower-range sound, set this to a lower value. f: Resonance This parameter sets the intensity of resonance for the voice pattern.

  • Page 67: Stereo Decimator

    12: Stereo Decimator This is a stereo decimator. Stereo In - Stereo Out Left Sampling Frequency Right Pre LPF Off, On Sampling Freq [Hz] 1.00k…24.00kHz (Sampling Frequency) None…Tempo –24.00k…+24.00kHz High Damp [%] 0…100% Wet/Dry Dry, 1:99…99:1, Wet None…Tempo –100…+100 High Damp Pre LPF Decimator Decimator...

  • Page 68: Stereo Chorus

    13: Stereo Chorus 13: Stereo Chorus This is a stereo chorus. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. The chorus effect can fade-in by means of the AutoFade function. Stereo In - Stereo Out Left EQ Trim...

  • Page 69

    b: LFO Phase [degree] Shifting the left and right LFOs’ phase will cause modulation to be applied dif- ferently for the right and left, spreading and swelling the effect sound between the left and right. d: L Pre Delay [msec] Setting the left and right delay time individually allows you to control the stereo e: R Pre Delay [msec] image.

  • Page 70: St. Harmonic Chorus (stereo Harmonic Chorus)

    14: St. Harmonic Chorus (Stereo Harmonic Chorus) 14: St. Harmonic Chorus This is a stereo harmonic chorus. Shifting the left and right LFO phases from each other will add spread to the sound. Stereo In - Stereo Out Left High/Low Split Point Right LFO: Tri / Sine LFO Waveform...

  • Page 71: Multitap Chorus/dly (multitap Chorus/delay)

    15: Multitap Chorus/Dly This effect has four chorus blocks with a different LFO phase. You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually. You can also fix some of the chorus blocks to combine the chorus and delay effects.

  • Page 72

    16: Ensemble 16: Ensemble This Ensemble effect has three chorus blocks, and gives three dimensional depth and spread to the sound, because the signal is output from the left, right, and center. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Right Shimmer...

  • Page 73: Stereo Flanger

    17: Stereo Flanger This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. The flanging effect can fade-in by means of the AutoFade function. Stereo In - Stereo Out Left FB Mode (Normal/Cross)

  • Page 74: St. Random Flanger (stereo Random Flanger)

    18: St. Random Flanger (Stereo Random Flanger) 18: St. Random Flanger This is a stereo flanger. The effect uses a step-shape waveform and random LFO for modulation, creating a unique flanging effect. Stereo In - Stereo Out Left FB Mode (Normal/Cross) Right LFO: Step-Tri/Random...

  • Page 75

    18: St. Random Flanger (Stereo Random Flanger) Random Flanger LFO LFO Frequency LFO Step Freq LFO Step Freq Step-Tri Random...

  • Page 76: St. Tempo Flanger (stereo Tempo Flanger)

    19: St. Tempo Flanger (Stereo Tempo Flanger) 19: St. Tempo Flanger This is a stereo tempo flanger. The flanging effect can fade-in by means of the AutoFade function. Stereo In - Stereo Out Left FB Mode (Normal/Cross) Right D-mod Tempo LFO Mode 120 [beat/min] Manual...

  • Page 77: Stereo Phaser

    20: Stereo Phaser This is a stereo phaser. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. The phaser effect can fade-in by means of the AutoFade function. Stereo In - Stereo Out Left Right LFO: Tri / Sine...

  • Page 78: St. Random Phaser (stereo Random Phaser)

    21: St. Random Phaser (Stereo Random Phaser) 21: St. Random Phaser This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. Stereo In - Stereo Out Left Right LFO: Step-Tri/Step-Sin/Random LFO Waveform LFO Phase [degree] LFO Frequency [Hz]...

  • Page 79: St. Tempo Phaser (stereo Tempo Phaser)

    22: St. Tempo Phaser This is a stereo tempo phaser. The phasing effect can fade-in by means of the AutoFade function. Stereo In - Stereo Out Left Right D-mod Tempo LFO Mode 120 [beat/min] Manual AutoFade AUTOFADE Src None…Tempo Fade-In Rate 1…100 LFO Waveform Triangle, Sine...

  • Page 80: St. Bi-phase Mod. (stereo Bi-phase Modulation)

    23: St. Bi-phase Mod. (Stereo Bi-phase Modulation) 23: St. Bi-phase Mod. This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parame- ters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound.

  • Page 81

    23: St. Bi-phase Mod. (Stereo Bi-phase Modulation) LFO1 Depth1 LFO2 Depth2 Bi-Phase Modulation LFO...

  • Page 82: Stereo Vibrato

    24: Stereo Vibrato 24: Stereo Vibrato This is a stereo vibrato. You can set a delay for the time that is taken before the auto-fade starts. Stereo In - Stereo Out Left Right LFO: Tri / Sine AutoFade AUTOFADE Src Fade-In Rate Fade-In Delay [msec] LFO Waveform...

  • Page 83

    The following is an example of fade-in where the LFO speed is increased from “1.0Hz” to “4.0Hz” when a note-on message is received. a: AUTOFADE Src = Gate1 e: LFO Frequency [Hz] = 1.0 e: Src = AUTOFADE e: Amt = 3.0 The effect is off when a value for the dynamic modulation source speci- fied for the AUTOFADE Src parameter is smaller than 64, and the effect is on when the value is 64 or higher.

  • Page 84: Voice Resonator

    25: 2-Voice Resonator 25: 2-Voice Resonator This resonator has two resonance points. You can set the output level and stereo image (pan) for each res- onator. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Trim Trim Right...

  • Page 85

    a: Control Mode This parameter determines whether the resonance intensity is controlled by the e: Voice1: Resonance LFO or not. h: Voice2: Resonance When Control Mode = Manual, the Resonance parameter sets the intensity of resonance. If the Resonance parameter has a negative value, harmonics will be changed, and resonance will occur at a pitch one octave lower.

  • Page 86: Doppler

    26: Doppler 26: Doppler This effect simulates a “Doppler effect” (sound moving while changing its pitch) that sounds, for exam- ple, like an ambulance siren passing by. Mixing the effect sound with the dry sound will create a special chorus effect. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Right...

  • Page 87

    c: Pitch Depth With the Doppler effect, the pitch is raised when the sound approaches, and the pitch is lowered when the sound goes away. This parameter sets this pitch varia- tion. d: Pan Depth This parameter sets the width of the stereo image of the effect sound. With larger values, the sound seems to come and go from much further away.

  • Page 88: Stereo Tremolo

    27: Stereo Tremolo 27: Stereo Tremolo This is a stereo tremolo. You can create sound panning to left and right by offsetting the phase of the left and right LFOs from each other. The tremolo effect can fade-in by means of the AutoFade function. Stereo In - Stereo Out Left Right...

  • Page 89: Stereo Auto Pan

    28: Stereo Auto Pan This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO phases from each other will simulate the sound of the left and right channels crossing over each other by turns, or chasing each other.

  • Page 90

    28: Stereo Auto Pan LFO Phase = 0 degrees L-In R-In L-In R-In L-In R-In L-In R-In Left Center Output Stereo Image LFO Phase = 90 degrees L-In R-In L-In L-In R-In R-In L-In R-In L-In R-In L-In R-In Right Stereo Auto Pan - LFO Phase LFO Phase = 180 degrees L-In...

  • Page 91: St. Envelope Pan (stereo Envelope Pan)

    29: St. Envelope Pan This stereo Pan uses the envelope generator to pan sound to the left and right. You can also control the panning directly using a modulation source. Stereo In - Stereo Out Left Right -mod EG Attack, Release Pan Mode EG, D-mod None…Tempo...

  • Page 92

    29: St. Envelope Pan (Stereo Envelope Pan) With Pan Mode = D-mod, you can control panning directly using the modula- tion source specified in the Src field. b: EG Attack c: EG Release d: Lch Start Offset When Pan Mode = EG, the Start Offset parameter sets the panning at the start of d: Destination Offset the Envelope Generator.

  • Page 93: Stereo Dyna Pan

    30: Stereo Dyna Pan This effect counts the number of times the modulation source is turned on/off, and switches the panning mode. You can create a panning effect that changes according to phrases you play on the keyboard. It is very effective for solos.

  • Page 94

    30: Stereo Dyna Pan The effect is off when the value for the modulation source specified for the Trigger Source parameter is smaller than 64, and the effect is on when the value is 64 or higher. When Trigger Direction is set to Attack, the number of times this value changes from 63 or smaller to 64 or higher (Off On) will be counted.

  • Page 95: Phaser+tremolo

    31: Phaser+Tremolo This effect links a stereo phaser LFO and a tremolo LFO. Swelling created by the phaser and shimmering created by the tremolo are synchronized, making a pleasant modulation. It works well with electric piano sounds. Stereo In - Stereo Out Left Right LFO Frequency [Hz]...

  • Page 96

    31: Phaser+Tremolo b: Phaser LFO [degree] The Phaser LFO and Tremolo LFO determine the right and left phase difference g: Tremolo LFO [degree] respectively. g: Diff Tremolo<>Phaser Phaser LFO is used to control the spread of the phaser effect, and Tremolo LFO is used to control the tremolo effect that is shimmering between left and right.

  • Page 97: Shimmer

    32: Shimmer This effect controls a stereo tremolo based on the input signal level. You can create an effect in which the shimmering becomes larger and fades away as the volume level becomes lower. Stereo In - Stereo Out Left Right LFO: Tri/Sin/Sqr/Up/Down Envelope...

  • Page 98

    32: Shimmer Setting example: The maximum input level will produce 1.0Hz, Depth = 0. An input level of “0” will produce 8.0Hz, Depth = 100: f: LFO Frequency [Hz] = 8.0 f: Envelope Amount [Hz] = –7.0 g: Depth = 100 g: Envelope Amount = –100 Level Dry Envelope...

  • Page 99: Detune

    33: Detune Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Right...

  • Page 100: Pitch Shifter

    34: Pitch Shifter 34: Pitch Shifter This effect changes the pitch of the input signal. You can select from three types: Fast (quick response), Medium, and Slow (preserves tonal quality). You can also create an effect in which the pitch is gradually raised (or dropped) using the delay with feedback.

  • Page 101

    c: Pitch Shift [1/2tone] The amount of pitch shift will use the value of the Pitch Shift plus the Fine value. c: Src The amount of modulation will use the c: Amt value plus d: Amt. c: Amt Modulation Source is used both for Pitch Shift and Fine. d: Fine [cent] d: Amt e: Delay Time [msec]...

  • Page 102: Pitch Shift Mod. (pitch Shift Modulation)

    35: Pitch Shift Mod. (Pitch Shift Modulation) 35: Pitch Shift Mod. This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by panning the effect sound and dry sound to the left and right. This is especially effective when the effect sound and dry sound output from stereo speakers are mixed.

  • Page 103

    Original Pitch e: Pan The Pan parameter pans the effect sound and dry sound to the left and right. f: Wet/Dry With “L,” the effect sound is panned left, and the dry sound is panned right. With a Wet/Dry = Wet setting, the effect and dry sound will be output in a pro- portion of 1:1.

  • Page 104

    36: Rotary Speaker 36: Rotary Speaker This effect simulates a rotary speaker, and obtains a more realistic sound by simulating the rotor in the low range and the horn in the high range separately. The effect also simulates the microphone settings. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Right...

  • Page 105

    a: Sw This parameter sets how the modulation source switches between rotation and stop. When Sw = Momentary, the speaker is rotating. It stops only when you hold the pedal or keep the joystick in position. When the value for the modulation source is 63 or smaller, the speaker will rotate.

  • Page 106: Dual Delay

    37: Dual Delay 37: Dual Delay This 2-channel delay allows you to set the delay time for the left and right channels independently. Stereo In - Stereo Out Left Input Level D-mod Input Level D-mod Right L Delay Time [msec] L Feedback L High Damp [%] L Low Damp [%]...

  • Page 107: Stereo Delay

    38: Stereo Delay This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between the left and right by changing the feedback routing. Stereo In - Stereo Out Left Input Level D-mod Stereo/Cross Input Level D-mod...

  • Page 108: St. Multitap Delay (stereo Multitap Delay)

    39: St. Multitap Delay (Stereo Multitap Delay) 39: St. Multitap Delay The left and right Multitap Delays have two taps respectively. Changing the routing of feedback and tap output allows you to create various patterns of complex effect sounds. Stereo In - Stereo Out Left Input Level D-mod Input Level D-mod...

  • Page 109: L/c/r Delay

    40: L/C/R Delay This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust the left and right spread of the delay sound. Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Left Input Level D-mod High Damp Low Damp...

  • Page 110: Tempo Delay

    41: Tempo Delay 41: Tempo Delay This delay allows you to match the delay time with a song’s tempo. For example, you can apply the delay effect synchronized to the sequencer, or you can input the tempo prior to a real-time performance so that the delay effect will match the song tempo.

  • Page 111

    a: Mode This parameter selects the delay operating mode. When Manual is selected, the a: Src (fixed) value set in e: Tempo will be used. When D-mod is selected, the delay will syn- chronize to the internal MIDI clock. This is useful for performances using a sequencer.

  • Page 112: St. Modulation Delay

    42: St. Modulation Delay 42: St. Modulation Delay This stereo delay uses an LFO to sweep the delay time. The pitch also varies. You will obtain a delay sound with swell and shimmering. You can also control the delay time using a modulation source. Stereo In - Stereo Out Left Right...

  • Page 113

    b: D-mod Modulation When the modulation source is used for control, this parameter reverses the left and right modulation direction. e: LFO Sync The LFO can be reset via a modulation source. e: Src The Src parameter sets the modulation source that resets the LFO. For example, f: L LFO Phase [degree] you can assign Gate as a modulation source so that the sweep always starts from f: R LFO Phase [degree]...

  • Page 114: St. Dynamic Delay (stereo Dynamic Delay)

    43: St. Dynamic Delay (Stereo Dynamic Delay) 43: St. Dynamic Delay This stereo delay controls the level of delay according to the input signal level. You can use this as a duck- ing delay that applies delay to the sound only when you play keys at a high velocity or only when the volume level is low.

  • Page 115

    43: St. Dynamic Delay (Stereo Dynamic Delay) Dynamic Delay Level Threshold Release Envelope Attack (Ducking Delay) Control Target=Out Polarity= (–) Delay Time Control Target=Out Polarity= (+) Time...

  • Page 116: Random Panning Dly (random Panning Delay)

    44: Random Panning Dly (Random Panning Delay) 44: Random Panning Dly When this stereo delay is applied, the delay sound will jump around randomly, creating a unique, myste- rious delay effect. Stereo In - Stereo Out Left Right L Delay Time [msec] R Delay Time [msec] L Feedback R Feedback...

  • Page 117

    45: Early Reflections This is a stereo early reflection effect. Compared to the Early Reflections of size 1, this effect has twice the number of reflections, thus creating a smooth and dense sound. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left EQ Trim EQ Trim...

  • Page 118: Reverb-hall, Reverb-smoothhall

    46: Reverb-Hall 46: Reverb-Hall This effect simulates the reverberation and ambience of medium-size concert halls and ensemble halls. 47: Reverb-SmoothHall This hall-type reverb creates a reverberation with a smooth release curve. Setting a longer reverb time can simulate reverberations from that of a larger hall to that of a stadium. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left EQ Trim...

  • Page 119

    46: Reverb-Hall Reverb - Hall / Plate Type Level Reverb Pre Delay Thru Time Pre Delay Reverb Time...

  • Page 120: Reverb-room, Reverb-brightroom

    48: Reverb-Room 48: Reverb-Room This reverberation effect emphasizes the early reflections, simulating a tight, room sound. Changing the balance between the early reflections and reverb sound allows you to simulate nuances, such as the type of walls of a room. 49: Reverb-BrightRoom This reverberation creates a bright, room-type sound.

  • Page 121

    e: ER Level These parameters set the early reflection level and reverb level. f: Reverb Level Changing these parameter values allows you to simulate the type of walls in the room. That is, a larger ER Level simulates a hard wall, and a larger Reverb Level simulates a soft wall.

  • Page 122: Reverb-wet Plate, Reverb-dry Plate

    50: Reverb-Wet Plate 50: Reverb-Wet Plate This effect simulates a dense plate reverberation. You can create a warm reverb sound. 51: Reverb-Dry Plate This effect simulates a lighter plate reverberation. You can create a dry reverb sound. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left EQ Trim EQ Trim...

  • Page 123: Piano Body/damper (piano Body/damper Simulation)

    00: Piano Body/Damper This effect simulates the resonance of the piano sound board caused by the string vibration, and also sim- ulates the resonance of other strings that are not being played when you press the damper pedal. It will create a very realistic sound when applied to acoustic piano sounds.

  • Page 124: St. Mlt.band Limiter (stereo Multiband Limiter)

    01: St. Mlt.band Limiter (Stereo Multiband Limiter) 01: St. Mlt.band Limiter This is a stereo multiband limiter. Stereo In - Stereo Out Band-Pass Filters Left Right Ratio Threshold [dB] Attack Release Low Offset [dB] Mid Offset [dB] High Offset [dB] Gain Adjust [dB] Wet/Dry (Stereo Multiband Limiter)

  • Page 125: Od/hyper-gain Wah (overdrive/hyper-gain Wah)

    02: OD/Hyper-Gain Wah This distortion effect has two modes: overdrive and hyper-gain that produces a strong distortion. The effect also has wah, 4-band EQ, and amp simulator. Compared to the same effect of size 1 and 2, you can set a higher gain for this effect. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Pre Low-cut...

  • Page 126: St. Graphic 13eq (stereo Graphic 13-band Eq)

    03: St. Graphic 13EQ (Stereo Graphic 13-Band EQ) 03: St. Graphic 13EQ This is a stereo 13-band graphic equalizer that allows for finer equalization. You can select one of two set- tings for the center frequency for each band. Stereo In - Stereo Out Left Trim Trim...

  • Page 127: Vocoder

    04: Vocoder This effect adds characteristics of other signals (Modulator) to the input signal (Carrier). The Carrier is input to the left channel, and the Modulator is input to the right channel. A sound with a lot of harmonics is suitable for a carrier, while a unique effect sound is suitable for a modulator. Wet: Stereo In - Mono Out / Dry: Stereo In - Stereo Out Carrier Left...

  • Page 128

    05: St. Harmonic Chorus (Stereo Harmonic Chorus) 05: St. Harmonic Chorus This is a stereo harmonic chorus effect that applies chorus separately to the high and low ranges of the input signal. You can set the parameters for the low and high range chorus individually. You can also use the high-range chorus as a step chorus employing a step-shape LFO waveform.

  • Page 129

    Wet/Dry Dry, 1:99…99:1, Wet None…Tempo –100…+100 d: LFO Step Freq [Hz] This parameter determines whether or not the waveform of the high-range LFO d: High should be step-shaped. Changing the d: High value will allow you to adjust the width of the steps. g: LFO Freq D-mod This parameter determines whether the LFO speed dynamic modulation is applied to the low range, high range, or both ranges.

  • Page 130

    06: Multitap Chorus/Dly (Multitap Chorus/Delay) 06: Multitap Chorus/Dly This effect has six chorus blocks with different LFO phases. You can produce a complex stereo image by setting a different delay time and depth for each block. You can control the delay output level via a mod- ulation source.

  • Page 131

    Tap1 Feedback –100…+100 None…Tempo –100…+100 Wet/Dry Dry, 1:99…99:1, Wet –100…+100 b: Status These parameters set the output status of each Tap. c: Status Always On: Output is always on. (No modulation) d: Status Always Off: Output is always off. (No modulation) e: Status On Off (dm): Output level is switched from on to off depending on the modu- f: Status...

  • Page 132: Stereo Ensemble

    07: Stereo Ensemble 07: Stereo Ensemble This is a stereo ensemble effect that has three chorus blocks each for the left and right channels. Stereo In - Stereo Out Left EQ Trim EQ Trim Right Shimmer LFO: Tri / Sine LFO Waveform Speed Shimmer...

  • Page 133

    08: St. Tempo Flanger This is a stereo tempo flanger. You can select random or step waveforms for the LFO, and synchronize the speed of the random/step waveform with tempo. Also, synchronizing the LFO to note-on messages will produce a flanging effect with a fixed timing. Stereo In - Stereo Out Left FB Mode...

  • Page 134

    09: St. Tempo Phaser (Stereo Tempo Phaser) 09: St. Tempo Phaser This is a stereo tempo phaser. You can select random or step waveforms for the LFO, and synchronize the speed of the random/step waveform with tempo. Also, synchronizing the LFO to note-on messages will produce a phasing effect with a fixed timing.

  • Page 135: St. Pitch Shifter (stereo Pitch Shifter)

    10: St. Pitch Shifter (Stereo Pitch Shifter) This is a stereo pitch shifter. The pitch shift amount for the left and right channels can be reversed from each other. Stereo In - Stereo Out Left Input Level Input Level Right Input Level 0…100 None…Tempo...

  • Page 136: Band Pitch Shifter

    11: 2Band Pitch Shifter 11: 2Band Pitch Shifter This pitch shifter sets an individual shift amount for the high and low input signal ranges. If you apply a detune effect to the high range of a string sound, and add the lower octave to the low range, a large ensemble sound is produced.

  • Page 137: Rotary Speaker Od (rotary Speaker Overdrive)

    12: Rotary Speaker OD This is a stereo rotary speaker effect. It has an internal speaker simulator that simulates overdrive (recre- ating the amp distortion) and characteristics of the rotary speaker, producing a very realistic rotary speaker sound. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Overdrive Right...

  • Page 138

    12: Rotary Speaker OD (Rotary Speaker Overdrive) Horn Acceleration Horn Ratio Mic Distance Mic Spread Wet/Dry a: Sw This parameter determines how to switch on/off the overdrive via a modula- tion source. When Sw = Momentary, overdrive is applied only when a pedal or joystick is held in position.

  • Page 139

    13: Early Reflections This is a stereo early reflection effect. Compared to the Early Reflections of size 2, this effect has twice the number of reflections, thus creating a smooth, dense sound. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left EQ Trim EQ Trim...

  • Page 140: L/c/r Long Delay

    14: L/C/R Long Delay 14: L/C/R Long Delay This multitap delay outputs three Tap signals to left, right and center respectively. You can set a maxi- mum of 2,730msec for the delay time. Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Left Input Level D-mod High Damp Low Damp...

  • Page 141: Stereo Long Delay

    15: Stereo Long Delay This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between left and right by changing the feedback routing. You can set a maximum of 1,360msec for the delay time.

  • Page 142: Dual Long Delay

    16: Dual Long Delay 16: Dual Long Delay This 2-channel delay allows you to set the delay time for left and right channels independently. You can set a maximum of 1,360msec for the delay time. Stereo In - Stereo Out Left Input Level D-mod Input Level D-mod...

  • Page 143: St. Tempo Delay (stereo Tempo Delay)

    17: St. Tempo Delay This is a stereo tempo delay. Stereo In - Stereo Out Left Input Level D-mod Feedback Input Level D-mod Right D-mod Tempo Mode 120 [beat/min] Manual Mode Manual, D-mod Src (fixed) Tempo Tempo [beat/min] 30…250 beat/min Length 1…96 / 1…96 Time Adjust [%]...

  • Page 144: Hold Delay

    18: Hold Delay 18: Hold Delay This effect records the input signal and plays it back repeatedly. You can control the start of recording and reset via a modulation source. Easy to use for real-time performances. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Right -mod...

  • Page 145

    c: RST Control Src The RST Control Src parameter specifies the modulation source that controls the e: Manual RST Control reset operation. When you set this modulatoin source to On, or Manual RST Control to RST On, you can erase what you recorded. If the Loop Time parame- ter has been set to Auto, the loop time is also reset.

  • Page 146

    00: Flanger 00: Flanger This effect is a monaural-in/stereo-out flanger, with a two-band equalizer, that allows you to control the tonal quality of the effect sound. Mono In - Stereo Out Send1 EQ Trim FB Mode (Normal/Cross) LFO: Tri / Sine Delay Time [msec] LFO Waveform LFO Shape...

  • Page 147

    01: Phaser This effect is a monaural-in/stereo-out phaser, with a two-band equalizer, that allows you to control the tonal quality of the effect sound. Mono In - Stereo Out Send1 EQ Trim LFO Shape LFO: Tri / Sine LFO Waveform Triangle, Sine LFO Shape –100…+100...

  • Page 148

    02: Multitap Chorus/Dly (Multitap Chorus/Delay) 02: Multitap Chorus/Dly This effect has three chorus blocks with different LFO phases. You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually. You can also set some of the chorus blocks to combine the chorus and delay effects.

  • Page 149

    03: Ensemble This Ensemble effect has three chorus blocks, and adds a three dimensional depth and spread to the sound, since the signal is output from the left, right, and center. Mono In - Stereo Out Send1 Shimmer Speed 1…100 None…Tempo –100…+100 Shimmer...

  • Page 150

    04: Chorus 04: Chorus This is a monaural-in/stereo-out chorus. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. Mono In - Stereo Out Send1 EQ Trim LFO: Tri / Sine LFO Waveform LFO Phase [degree] LFO Frequency [Hz]...

  • Page 151

    05: L/C/R Delay This multitap delay outputs three Tap signals to the left, right and center respectively. Mono In - Stereo Out Send1 Input Level D-mod High Damp Low Damp L Delay Time [msec] 0…680msec Level 0…50 C Delay Time [msec] 0…680msec Level 0…50...

  • Page 152

    00: L/C/R Long Delay 00: L/C/R Long Delay This multitap delay outputs three Tap signals to the left, right and center respectively. Maximum delay time is 2,000msec. Mono In - Stereo Out Send2 Input Level D-mod High Damp Low Damp L Delay Time [msec] Level C Delay Time [msec]...

  • Page 153: Delay/reverb

    01: Delay/Reverb This effect is a combination of a multitap delay and a hall-type reverb. Mono In - Stereo Out Send2 EQ Trim High Damp Low Damp L Delay Time [msec] 0…680msec Level 0…30 C Delay Time [msec] 0…680msec Level 0…30 R Delay Time [msec] 0…680msec...

  • Page 154

    01: Delay/Reverb i: Spread These parameters set the width of the stereo image of the effect sound. The wid- i: Spread Control est image can be obtained with a value of 30. With a value of 0, the effect sound will be output from the center.

  • Page 155: Reverb-bright Room, Reverb-room

    02: Reverb-Room This is a room-type reverberation. Setting the four types of early reflections individually allows you to simulate the sound reflections on the front, rear, left, and right walls of a room, creating a more realistic reverb sound. You can also adjust the width of the stereo image of the reverb sound. 03: Reverb-Bright Room This is a bright, room-type reverb.

  • Page 156

    03: Reverb-Bright Room Output Level c: Pre Delay [msec] e: ER1 Delay [msec] f: ER2 Delay [msec] g: ER3 Delay [msec] h: ER4 Delay [msec] 0…100 Output level of the effect sound None…Tempo Modulation source of output level –100…+100 Modulation amount of output level Level ER1,2,3,4 (Early Reflections)

  • Page 157: Reverb-smooth Hall, Reverb-hall, Reverb-wet Plate, Reverb-dry Plate

    04: Reverb-Hall This is a hall-type reverberation. Setting the four types of early reflections individually allows you to sim- ulate the sound reflections on the front, rear, left, and right walls of a room, creating a more realistic reverb sound. You can also adjust the width of the stereo image of the reverb sound. 05: Reverb-Smooth Hall This is a hall-type reverberation with a smooth release.

  • Page 158: Index

    Index Index Numerics 2Band Pitch Shifter132 2-Voice Resonator80 Amp Simulation13 Chorus Master Effect146 size129 Compressor14 Decimator28 Delay44 Delay/Reverb149 Detune95 Doppler82 Dual Delay102 Dual Long Delay138 Dyna Exciter26 Early Reflections size146 size2113 size4135 Ensemble Master Effect145 size131 size268 Envelope Flanger34 Envelope Phaser37 Flanger Master Effect142 size132...

  • Page 159

    Index Talking Modulator61 Tempo Delay106 Tempo Flanger33 Tempo Phaser36 Tremolo42 Vibrato38 Vocoder123 Wah/Auto Wah23...

  • Page 160

    Index...

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