FXAlgs #724-6, 728: Distortion FXAlgs #724-6, 728: Distortion FXAlg #724 Ñ Mono Distortion FXAlg #725 Ñ MonoDistort + Cab FXAlg #726 Ñ MonoDistort + EQ FXAlg #728 Ñ StereoDistort+EQ Small distortion algorithms Allocation Units: 1 for Mono Distortion; 2 for MonoDistort + Cab; 2 for MonoDistort + EQ; 3 for StereoDistort + EQ Mono Distortion sums its stereo input to mono, performs distortion followed by a hipass filter and sends the result as centered stereo.
FXAlgs #724-6, 728: Distortion MonoDistort + Cab is also similar to Mono Distortion except the hipass is replaced by a full speaker cabinet model. There is also a panner to route the mono signal between left and right outputs. In MonoDistort + Cab, the distortion is followed by a model of a guitar amplifier cabinet. The model can be bypassed, or there are eight presets which were derived from measurements of real cabinets. (See descriptions of FXAlgs #729-732 in this book for more information.
FXAlgs #724-6, 728: Distortion Parameters - Mono Distortion: PAGE 1 Wet/Dry 0 to 100%wet Dist Drive 0 to 96 dB Warmth 16 to 25088 Hz Highpass 16 to 25088 Hz Out Gain Off, -79.0 to 24.0 dB Out Gain Off, -79.0 to 24.0 dB Cab Bypass In or Out Cab Preset Basic Out Gain Off, -79.0 to 24.
FXAlgs #724-6, 728: Distortion PAGE 2 Bass Gain -79.0 to 24.0 dB Treb Gain -79.0 to 24.0 dB Bass Freq 16 to 25088 Hz Treb Freq 16 to 25088 Hz Mid Gain -79.0 to 24.0 dB Mid Freq 16 to 25088 Hz Mid Width 0.010 to 5.000 oct Wet/Dry The amount of distorted (wet) signal relative to unaffected (dry) signal. Out Gain The overall gain or amplitude at the output of the effect. For distortion, it is often necessary to turn the output gain down as the distortion drive is turned up.
FXAlg #727: PolyDistort + EQ FXAlg #727: PolyDistort + EQ Eight-stage distortion followed by equalization Allocation Units: 2 PolyDistort + EQ is a distortion algorithm followed by equalization. The algorithm consists of an input gain stage, and then eight cascaded distortion stages. Each stage is followed by a one-pole LP filter. There is also a one pole LP in front of the first stage. After the distortion there is a 4-band EQ section: Bass, Treble, and two Parametric Mids.
FXAlg #727: PolyDistort + EQ PolyDistort is an unusual distortion algorithm which provides a great number of parameters to build a distortion sound from the ground up. The eight distortion stages each add a small amount of distortion to the sound. Taken together, they can produce a very harsh heavy metal sound. Between each distortion stage is a lopass filter. The lopass filters work with the distortion stages to help mellow out the sound.
FXAlg #727: PolyDistort + EQ PAGE 4 Bass Gain -79.0 to 24.0 dB Treb Gain -79.0 to 24.0 dB Bass Freq 16 to 25088 Hz Treb Freq 16 to 25088 Hz Mid1 Gain -79.0 to 24.0 dB Mid2 Gain -79.0 to 24.0 dB Mid1 Freq 16 to 25088 Hz Mid2 Freq 16 to 25088 Hz Mid1 Width 0.010 to 5.000 oct Mid2 Width 0.010 to 5.000 oct Wet/Dry This is a simple mix of the distorted signal relative to the dry undistorted input signal. Out Gain The overall gain or amplitude at the output of the effect.
Tube Amp/Distortion/Delay Combinations Tube Amp/Distortion/Delay Combinations FXAlg #729: TubeAmp<>MD>Chor FXAlg #730: TubeAmp<>MD>Flan FXAlg #731: PolyAmp<>MD>Chor FXAlg #732: PolyAmp<>MD>Flan Mono distortion circuits in combination with moving delays, and a stereo chorus or stereo flange Allocation Units:3 each Each of these four algorithms offer a flexible chain of effects designed primarily for guitar processing.
Tube Amp/Distortion/Delay Combinations The cabinet can by switched on or off with the Cab In/Out parameter. The Cab Pan parameter adjusts the final pan position of the cabinet at the output of the algorithm, but this does not affect the cabinet signal fed into the final stereo flange or chorus. If Ch Wet/Dry or Fl Wet/Dry is set to 100%, this pan control will not have any audible affect since the entire output of the cabinet is fed into the flange or chorus instead of the algorithm output.
Tube Amp/Distortion/Delay Combinations MD Wet/Dry L Input Input Bal Blend Tone Tube Amp Moving Delay Cab Simulator R Input Ch Wet/Dry Pan L Output Chorus R Output Ch Out Bal Out Gain TubeAmp<>MD>Chor with moving delay inserted PostDist Parameters: PAGE 1 In/Out In or Out Input Bal -100 to 100% Out Gain Off; -79.0 to 24.0 dB Tube Drive Off; -79.0 to 60.0 dB Warmth 16 to 25088 Hz PAGE 2 (TubeAmp algs) Bass Tone 0.0 to 10.0 Mid Tone 0.0 to 10.0 Cab In/Out In or Out Treb Tone 0.
Tube Amp/Distortion/Delay Combinations PAGE 3 MD Insert Post Dist, ... MD Delay 0.0 to 1000.0 ms MD Wet/Dry 0 to 100% MD LFOMode Flange, ... MD LFORate 0.00 to 10.00 Hz MD LFODpth 0.0 to 200.0% MD Fdbk -100 to 100% PAGE 4 (Chorus algs) Ch Rate L 0.01 to 10.00 Hz Ch Rate R 0.01 to 10.00 Hz Ch Depth L 0.0 to 100.0 cts Ch Depth R 0.0 to 100.
Tube Amp/Distortion/Delay Combinations MD Delay Adjusts the delay time for the moving delay circuit, which is the center of LFO excursion. MD LFOMode Adjusts the LFO excursion type. In Flange mode, the LFO is optimized for ßange effects and LFO Dpth adjusts the excursion amount. In ChorTri and ChorTrap modes, the LFO is optimized for triangle and trapezoidal pitch envelopes respectively, and LFO Dpth adjusts the amount of chorus detuning. In Delay mode, the LFO is turned off leaving a basic delay.
FXAlg #733: VibChor+Rotor 2 ¥ FXAlg #734: VibChor+Rotor 4 FXAlg #733: VibChor+Rotor 2 ¥ FXAlg #734: VibChor+Rotor 4 Vibrato/chorus, through optional distortion, into rotating speaker Allocation Units: 2 for VibChor+Rotor 2; 4 for VibChor+Rotor 4 The VibChor+Rotor algorithms contain multiple effects designed for the Hammond B3¨ emulation (KB3 mode). These effects are the Hammond¨ vibrato/chorus, amplifier distortion, and rotating speaker (Leslie¨).
FXAlg #733: VibChor+Rotor 2 ¥ FXAlg #734: VibChor+Rotor 4 positive angles negative angles Rotating speaker with virtual microphones For the rotating speakers, you can control the crossover frequency of the high and low frequency bands (the frequency where the high and low frequencies get separated). The rotating speakers for the high and low frequencies have their own controls. For both, the rotation rate, the effective driver size and tremolo can be set.
FXAlg #733: VibChor+Rotor 2 ¥ FXAlg #734: VibChor+Rotor 4 Parameters: PAGE 1 In/Out In or Out Out Gain Off, -79.0 to 24.0 dB VibChInOut In or Out Dist Drive 0 to 96 dB Vib/Chor V1 DistWarmth 16 to 25088 Hz Roto InOut In or Out Cabinet LP 16 to 25088 Hz PAGE 2 Xover 16 to 25088 Hz Lo Gain Off, -79.0 to 24.0 dB Hi Gain Off, -79.0 to 24.0 dB Lo Rate -10.00 to 10.00 Hz Hi Rate -10.00 to 10.
FXAlg #733: VibChor+Rotor 2 ¥ FXAlg #734: VibChor+Rotor 4 DistWarmth A lowpass Þlter in the distortion control path. This Þlter may be used to reduce some of the harshness of some distortion settings without reducing the bandwidth of the signal. [VibChor+Rotor 4 only] Cabinet LP A lowpass Þlter to simulate the band-limiting of a speaker cabinet. The Þlter controls the upper frequency limit of the output.
FXAlg #733: VibChor+Rotor 2 ¥ FXAlg #734: VibChor+Rotor 4 LoResonate A simulation of cabinet resonant modes express as a percentage. For realism, you should use very low settings. This is for the low frequency signal path. Lo Res Dly The number of samples of delay in the resonator circuit in addition to the rotation excursion delay. This is for the low frequency signal path. LoResXcurs The number of samples of delay to sweep through the resonator at the rotation rate of the rotating speaker.
FXAlg #734: Distort + Rotary FXAlg #734: Distort + Rotary Small distortion followed by rotary speaker effect Allocation Units: 2 Distort + Rotary models an amplifier distortion followed by a rotating speaker. The rotating speaker has separately controllable tweeter and woofer drivers. The algorithm has three main sections. First, the input stereo signal is summed to mono and may be distorted by a tube amplifier simulation.
FXAlg #734: Distort + Rotary In/Out When set to ÒInÓ, the algorithm is active; when set to ÒOffÓ the algorithm is bypassed. Out Gain The overall gain or amplitude at the output of the effect. For distortion, it is often necessary to turn the output gain down as the distortion drive is turned up. Dist Drive Applies a boost to the input signal to overdrive the distortion algorithm. When overdriven, the distortion algorithm will soft-clip the signal.
FXAlg #735/6: KB3 FX FXAlg #735/6: KB3 FX Vibrato/chorus into distortion into rotating speaker into cabinet Allocation Units: 7 for full working effect (4 for KB3 FXBus, 3 for KB3 AuxFX) The KB3 FXBus and KB3 AuxFX algorithms contain multiple effects designed for the Hammond B3 emulation (KB3 mode). For correct operation, both effects must be running at the same time, with the output of KB3 FXBus feeding the input of KB3 AuxFX.
FXAlg #735/6: KB3 FX highest frequency. The crossover filters for the lower and upper drivers may be set independently. A small amount of overlap seems to work well. The gains of the high and low band signals may also be separately controlled. At this point KB3 FXBus has finished its processing and passes the high and low signals to the KB3 AuxFX algorithm which contains the rotating-speaker routine. See the section in this book on FXAlg #733 for details.
FXAlg #735/6: KB3 FX Parameters (KB3 AuxFX): PAGE 1 In/Out In or Out Out Gain Off, -79.0 to 24.0 dB Lo Gain Off, -79.0 to 24.0 dB Hi Gain Off, -79.0 to 24.0 dB Lo Rate -10.00 to 10.00 Hz Hi Rate -10.00 to 10.00 Hz Lo Size 0 to 250 mm Hi Size 0 to 250 mm Lo Trem 0 to 100% Hi Trem 0 to 100% Lo Beam W 45.0 to 360.0 deg Hi Beam W 45.0 to 360.0 deg LoMicA Pos -180.0 to 180.0 deg LoMicB Pos -180.0 to 180.
FXAlg #900: Env Follow Filt FXAlg #900: Env Follow Filt Envelope-following stereo 2-pole resonant filter Allocation Units: 2 The envelope-following filter is a stereo resonant filter with the resonant frequency controlled by the envelope of the input signal (the maximum of left or right). The filter type is selectable and may be one of low pass (i), highpass (ii), band pass (iii), or notch (iv). (i) (ii) (iii) (iv) Resonant Filter Types: (i) lowpass, (ii) highpass, (iii) bandpass, and (iv) notch.
FXAlg #900: Env Follow Filt The attack and release rates of the envelope follower are adjustable. The rates are expressed in decibels per second (dB/s). The envelope may be smoothed by a lopass filter which can extend the attack and release times of the envelope follower. A level meter with a threshold marker is provided. Parameters: PAGE 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB FilterType Lowpass Min Freq 16 to 8372 Hz Freq Sweep -100 to 100% Resonance 0 to 50 dB Atk Rate 0.
FXAlg #901: TrigEnvelopeFilt FXAlg #901: TrigEnvelopeFilt Triggered envelope-following stereo 2-pole resonant filter Allocation Units: 2 The triggered envelope-following filter is used to produce a filter sweep when the input rises above a trigger level. The triggered envelope-following filter is a stereo resonant filter with the resonant frequency controlled by a triggered envelope follower. The filter type is selectable and may be one of low pass (i), high pass (ii), band pass (iii), or notch (iv).
FXAlg #901: TrigEnvelopeFilt PAGE 2 Trigger -79.0 to 0.0 dB Env Rate 0.0 to 300.0 dB/s Retrigger -79.0 to 0.0 dB Rel Rate 0.0 to 300.0 dB/s Smth Rate 0.0 to 300.0 dB/s E -dB 60 40 * 16 * 8 4 0 Wet/Dry The amount of modulated (wet) signal relative to unaffected (dry) signal as a percent. Out Gain The overall gain or amplitude at the output of the effect. FilterType The type of resonant Þlter to be used. May be one of ÒLowpassÓ, ÒHighpassÓ, ÒBandpassÓ, or ÒNotchÓ.
FXAlg #902: LFO Sweep Filter FXAlg #902: LFO Sweep Filter LFO-following stereo 2-pole resonant filter Allocation Units: 2 The LFO following filter is a stereo resonant filter with the resonant frequency controlled by an LFO (low-frequency oscillator). The filter type is selectable and may be one of low pass (i), high pass (ii), band pass (iii), or notch (iv). See the section of this book on FXAlg #900 for diagrams of the filter actions.
FXAlg #902: LFO Sweep Filter PAGE 2 FilterType L Phase Lowpass 0.0 to 360.0 deg L 0Hz Min Freq 16 to 8372 Hz Max Freq 16 to 8372 Hz Resonance 0 to 50 dB R Phase 0.0 to 360.0 deg R 2k 4k 6k 0Hz 2k 4k 6k Wet/Dry The amount of modulated (wet) signal relative to unaffected (dry) signal as a percent. Out Gain The overall gain or amplitude at the output of the effect. LFO Tempo Basis for the rates of the LFO, as referenced to a musical tempo in bpm (beats per minute).
FXAlg #903 Resonant Filter ¥ FXAlg #904 Dual Res Filter FXAlg #903 Resonant Filter ¥ FXAlg #904 Dual Res Filter Stereo and dual-mono 2-pole resonant filters Allocation Units: 1 (each) The resonant filter is available as a stereo (linked parameters for left and right) or dual mono (independent controls for left and right). The filter type is selectable and may be one of low pass (i), high pass (ii), band pass (iii), or notch (iv).
FXAlg #905: EQ Morpher ¥ FXAlg #906: Mono EQ Morpher FXAlg #905: EQ Morpher ¥ FXAlg #906: Mono EQ Morpher Parallel resonant bandpass filters with parameter morphing Allocation Units: 4 for EQ Morpher, 2 for Mono EQ Morpher The EQ Morpher algorithms have four parallel bandpass filters acting on the input signal, whose results are summed for the final output. EQ Morpher is a stereo algorithm for which the left and right channels receive separate processing using the same linked controls.
FXAlg #905: EQ Morpher ¥ FXAlg #906: Mono EQ Morpher 0 dB Amp 0 dB Bandwidth -10 -10 -20 -20 -30 Freq (i) -30 Freq (ii) Frequency response of (i) a single bandpass filter, and (ii) the sum of two bandpass filters Now that weÕve gone through what the algorithm does, the question becomes ÒWhy are we doing this?Ó With careful thought to parameter settings, EQ Morph does an excellent job of simulating the resonances of the vocal tract.
FXAlg #905: EQ Morpher ¥ FXAlg #906: Mono EQ Morpher PAGE 3 A Freq 3 16 to 25088 Hz B Freq 3 16 to 25088 Hz A Width 3 0.010 to 5.000 oct B Width 3 0.010 to 5.000 oct A Gain 3 -79.0 to 24.0 dB B Gain 3 -79.0 to 24.0 dB A Freq 4 16 to 25088 Hz B Freq 4 16 to 25088 Hz A Width 4 0.010 to 5.000 oct B Width 4 0.010 to 5.000 oct A Gain 4 -79.0 to 24.0 dB B Gain 4 -79.0 to 24.0 dB In/Out When set to ÒInÓ the algorithm is active; when set to ÒOutÓ the algorithm is bypassed.
FXAlg #907: Ring Modulator FXAlg #907: Ring Modulator A configurable ring modulator Allocation Units: 1 Ring modulation is a simple effect in which two signals are multiplied together. Typically, an input signal is modulated with a simple carrier waveform such as a sine wave or a sawtooth. Since the modulation is symmetric (a*b = b*a), deciding which signal is the carrier and which is the modulation signal is a question of perspective. A simple, unchanging waveform is generally considered the carrier.
FXAlg #907: Ring Modulator Dry Out Gain L Input L Output Pan R Input R Output Wet Ring Modulator in ÒL*RÓ Mode The other modulation mode is ÒOscÓ. In this mode, the algorithm inputs and outputs are stereo, and the carrier signal for both channels is generated inside the algorithm. Dry L Input Wet Osc1 + Sine2 + Sine3 + Sine4 + Sine5 L Output Out Gain Wet R Output R Input Dry Ring Modulator in ÒOscÓ Mode The carrier signal is the sum of five oscillators.
FXAlg #907: Ring Modulator PulseWidth Sine Saw+ Saw- Pulse Tri Expon Configurable Wave Shapes (Osc1 only) Parameters: PAGE 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Mod Mode L*R or Osc L*R Gain Off, -79.0 to 48.
FXAlg #907: Ring Modulator Osc1PlsWid When the conÞgurable oscillator is set to Pulse, the PlsWid parameter sets the pulse width as a percentage of the waveform period. The pulse is a square wave when the width is set to 50%. This parameter is active only in ÒOscÓ mode and when the Pulse waveform is selected. Osc1Smooth Smooths the Saw+, Saw-, and Pulse waveforms. For the sawtooth waves, smoothing makes the waveform more like a triangle wave.
FXAlg #908: Pitcher FXAlg #908: Pitcher Creates pitch from pitched or non-pitched signal Allocation Units: 1 This algorithm applies a filter which has a series of peaks in the frequency response to the input signal. The peaks may be adjusted so that their frequencies are all multiples of a selectable frequency, all the way up to 24 kHz.
FXAlg #908: Pitcher dB Khz [OPQH=100, 0, 0, 0] Deeper notches between wider peaks dB Khz [OPQH= -100, 0, 0, 0] Peaks on odd harmonic multiples and notches on even harmonic multiples of a frequency one octave down from the Pitch setting. dB Khz [OPQH=0, 100, 100, 100] Like [100,100,100,100], except that all the peaks are at (all) multiples of half the Pitch frequency. dB Khz [OPQH=50,100,100,100] Halfway between [0,100,100,100] and [100,100,100,100].
FXAlg #908: Pitcher dB Khz [OPQH= -50,100,100,100] Halfway between [0,100,100,100] and [-100,100,100,100]. If the "Odd" parameter is modulated with an FXMOD, then one can morph smoothly between the [100,100,100,100] and [-100,100,100,100] curves. dB Khz [OPQH=100, -100, 100, 100] dB dB Khz Khz [OPQH=100, 100, -100, 100] [OPQH=100, 100, 100, -100] The other 1,632,240,792 response curves have been omitted in the interest of brevity.
FXAlg #908: Pitcher Parameters: PAGE 1 Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB Pitch C-1 to G9 Ptch Offst -12.0 to 12.0 ST Odd Wts -100 to 100% Quartr Wts -100 to 100% Pair Wts -100 to 100% Half Wts -100 to 100% Wet/Dry The relative amount of input signal and effected signal that is to appear in the Þnal effect output mix. When set to 0%, the output is taken only from the input (dry). When set to 100%, the output is all wet.
FXAlg #909: Super Shaper FXAlg #909: Super Shaper Ridiculous shaper Allocation Units: 1 The Super Shaper algorithm packs two and a half times the number of shaping loops, and 8 times the gain of the shaper found in VAST. Refer to the section on shapers in the K2500 Performance Guide for an overview of VAST shaper. Setting Super Shaper amount under 1.00x will produce the same non-linear curve as that found in the VAST shaper. At values above 1.
FXAlg #910: 3 Band Shaper FXAlg #910: 3 Band Shaper 3-band shaper Allocation Units: 2 The 3 Band Shaper non-destructively splits the input signal into 3 separate bands using 1 pole (6dB/oct) filters, and applies a VAST-type shaper to each band separately. Refer to the K2500 Performance Guide for an overview of VAST shaping. The cutoff frequencies for these filters are controlled with the CrossOver1 and CrossOver2 parameters.
FXAlg #911: Mono LaserVerb ¥ FXAlg #912: LaserVerb Lite ¥ FXAlg #913: LaserVerb FXAlg #911: Mono LaserVerb ¥ FXAlg #912: LaserVerb Lite ¥ FXAlg #913: LaserVerb A bizarre reverb with a falling buzz Allocation Units: 1 for Mono LaserVerb; 2 for LaserVerb Lite; 3 for LaserVerb LaserVerb is a new kind of reverb sound that has to be heard to be believed! When it is fed an impulsive sound such as a snare drum, LaserVerb plays the impulse back as a delayed train of closely spaced impulses, and as time passes, the
FXAlg #911: Mono LaserVerb ¥ FXAlg #912: LaserVerb Lite ¥ FXAlg #913: LaserVerb The output from LaserVerb can be fed back to the input. By turning up the feedback, the duration of the LaserVerb sound can be greatly extended. Cross-coupling may also be used to move the signal between left and right channels, producing a left/right ping-pong effect at the most extreme settings. The 2-PAU version is a sparser version than the 3-PAU version. Its buzzing is somewhat coarser.
FXAlg #911: Mono LaserVerb ¥ FXAlg #912: LaserVerb Lite ¥ FXAlg #913: LaserVerb Fdbk Lvl The percentage of the reverb output to feed back or return to the reverb input. Turning up the feedback is a way to stretch out the duration of the reverb, or, if the reverb is set to behave as a delay, to repeat the delay. The higher feedback is set, the longer the decay or echo will last. Xcouple LaserVerb & LaserVerb Lite are stereo effects.
FXAlg #950: HardKneeCompress ¥ FXAlg #951: SoftKneeCompress FXAlg #950: HardKneeCompress ¥ FXAlg #951: SoftKneeCompress Stereo hard- and soft-knee signal-compression algorithms Allocation Units: 1 The stereo hard- and soft-knee compressors are very similar algorithms and provide identical parameters and user interface. Both algorithms compress (reduce) the signal level when the signal exceeds a threshold. The amount of compression is expressed as a ratio.
FXAlg #950: HardKneeCompress ¥ FXAlg #951: SoftKneeCompress To determine how much to compress the signal, the compressor must measure the signal level. Since musical signal levels will change over time, the compression amounts must change as well. You can control the rate at which compression changes in response to changing signal levels with the attack and release time controls. With the attack time, you set how fast the compressor responds to increased levels.
FXAlg #950: HardKneeCompress ¥ FXAlg #951: SoftKneeCompress FdbkComprs A switch to set whether the compressor side chain is conÞgured for feed-forward (Out) or feedback (In). Atk Time The time for the compressor to start to cut in when there is an increase in signal level (attack) above the threshold. Rel Time The time for the compressor to stop compressing when there is a reduction in signal level (release) from a signal level above the threshold.
FXAlg #952: Expander FXAlg #952: Expander A stereo expansion algorithm Allocation Units: 1 This algorithm expands the signal (reduces the signalÕs gain) when the signal falls below the expansion threshold. The amount of expansion is based on the larger magnitude of the left and right channels. The amount of expansion is expressed as an expansion ratio. Expanding a signal reduces its level below the threshold. The expansion ratio is the inverse of the slope of the expander input/output characteristic.
FXAlg #952: Expander The signal being expanded may be delayed relative to the side chain processing. The delay allows the signal to stop being expanded just before an attack transient arrives. Since the side chain processing ÒknowsÓ what the input signal is going to be before the main signal path does, it can tame down an attack transient by releasing the expander before the attack actually happens.
FXAlg #953: Compress w/SC EQ FXAlg #953: Compress w/SC EQ Stereo soft-knee compression algorithm with filtering in the side chain Allocation Units: 2 The Compress w/SC EQ algorithm is the same as the SoftKneeCompress algorithm except that equalization has been added to the side chain signal path. The equalization to the side chain includes bass and treble shelf filters and a parametric mid-range filter.
FXAlg #953: Compress w/SC EQ Parameters: PAGE 1 In/Out In or Out FdbkComprs In or Out Out Gain Off, -79.0 to 24.0 dB PAGE 2 Atk Time 0.0 to 228.0 ms Ratio 1.0:1 to 100.0:1, Inf:1 Rel Time 0 to 3000 ms Threshold -79.0 to 24.0 dB SmoothTime 0.0 to 228.0 ms MakeUpGain Off, -79.0 to 24.0 dB Signal Dly 0.0 to 25.0 ms Reduction -dB 40 20 12 8 6 4 2 0 PAGE 3 SCBassGain -79.0 to 24.0 dB SCTrebGain -79.0 to 24.0 dB SCBassFreq 16 to 25088 Hz SCTrebFreq 16 to 25088 Hz SCMidGain -79.
FXAlg #953: Compress w/SC EQ SCBassGain The amount of boost or cut that the side chain bass shelving Þlter should apply to the low frequency signals in dB. Every increase of 6 dB approximately doubles the amplitude of the signal. Positive values boost the bass signal below the speciÞed frequency. Negative values cut the bass signal below the speciÞed frequency. SCBassFreq The center frequency of the side chain bass shelving Þlter in intervals of one semitone.
FXAlg #954: Compress/Expand ¥ FXAlg #955: Comp/Exp + EQ FXAlg #954: Compress/Expand ¥ FXAlg #955: Comp/Exp + EQ A stereo soft-knee compression and expansion algorithm with and without equalization Allocation Units: 2 for Compress/Expand; 3 for Cmp/Exp + EQ These are stereo compressor and expander algorithms. One version is followed by equalization and the other is not.
FXAlg #954: Compress/Expand ¥ FXAlg #955: Comp/Exp + EQ To determine how much to compress or expand the signal, the compressor/expander must measure the signal level. Since musical signal levels will change over time, the compression and expansion amounts must change as well. You can control how fast the compression or expansion changes in response to changing signal levels with the attack and release time controls. Compression and expansion have separate controls. First consider the compressor.
FXAlg #954: Compress/Expand ¥ FXAlg #955: Comp/Exp + EQ threshold. The expander release time may be set quite long. An expander may be used to suppress background noise in the absence of signal, thus typical expander settings use a fast attack (to avoid losing real signal), slow release (to gradually fade out the noise), and the threshold set just above the noise level. You can set just how far to drop the noise with the expansion ratio.
FXAlg #954: Compress/Expand ¥ FXAlg #955: Comp/Exp + EQ PAGE 4 (Comp/Exp + EQ only) Bass Gain -79.0 to 24.0 dB Treb Gain -79.0 to 24.0 dB Bass Freq 16 to 25088 Hz Treb Freq 16 to 25088 Hz Mid Gain -79.0 to 24.0 dB Mid Freq 16 to 25088 Hz Mid Wid 0.010 to 5.000 oct In/Out When set to ÒInÓ the compressor/expander is active; when set to ÒOutÓ the compressor/expander is bypassed. Out Gain Compressing the signal causes a reduction in signal level.
FXAlg #954: Compress/Expand ¥ FXAlg #955: Comp/Exp + EQ Comp/Exp + EQ: Bass Gain The amount of boost or cut that the bass shelving Þlter should apply to the low frequency signals in dB. Every increase of 6 dB approximately doubles the amplitude of the signal. Positive values boost the bass signal below the speciÞed frequency. Negative values cut the bass signal below the speciÞed frequency. Bass Freq The center frequency of the bass shelving Þlter in intervals of one semitone.
FXAlg #956: Compress 3 Band FXAlg #956: Compress 3 Band Stereo soft-knee 3-frequency band compression algorithm Allocation Units: 4 The 3-band compressor divides the input stereo signal into 3 frequency bands and runs each band through its own stereo soft-knee compressor. After compression, the bands are summed back together to produce the output. You may set the frequencies at which the bands are split. The compressors reduce the signal level when the signal exceeds a threshold.
FXAlg #956: Compress 3 Band PAGE 3 Atk Mid 0.0 to 228.0 ms Ratio Mid 1.0:1 to 100.0:1, Inf:1 Rel Mid 0 to 3000 ms Thres Mid -79.0 to 24.0 dB Smth Mid 0.0 to 228.0 ms MakeUp Mid Off, -79.0 to 24.0 dB Mid Band Reduction -dB 40 20 12 8 6 4 2 0 PAGE 4 Atk High 0.0 to 228.0 ms Ratio High 1.0:1 to 100.0:1, Inf:1 Rel High 0 to 3000 ms Thres High -79.0 to 24.0 dB Smth High 0.0 to 228.0 ms MakeUpHigh Off, -79.0 to 24.
FXAlg #957: Gate ¥ FXAlg #958: Super Gate FXAlg #957: Gate ¥ FXAlg #958: Super Gate Signal gate algorithms Allocation Units: 1 for Gate; 2 for Super Gate Gate and Super Gate do stand-alone gate processing and can be configured as a stereo or mono effects. As a stereo effect, the stereo signal gates itself based on its amplitude. As a mono effect, you can use one mono input signal to gate a second mono input signal (or one channel can gate itself).
FXAlg #957: Gate ¥ FXAlg #958: Super Gate 1 0 attack time signal rises above threshold signal falls below threshold release time gate time Signal envelope for Gate and Super Gate when Retrigger is ÒOnÓ If Retrigger is off (Super Gate only), then the gate will open when the side chain signal rises above threshold as before. The gate will then close as soon as the gate time has elapsed, whether or not the signal is still above threshold.
FXAlg #957: Gate ¥ FXAlg #958: Super Gate gate closes or opens after the gate timer has elapsed. The Signal Dly parameter delays the signal being gated, but does not delay the side chain signal. By delaying the main signal relative to the side chain signal, you can open the gate just before the main signal rises above threshold. ItÕs a little like being able to pick up the telephone before it rings! For Super Gate (not the simpler Gate), filtering can be done on the side chain signal.
FXAlg #957: Gate ¥ FXAlg #958: Super Gate Threshold The signal level in dB required to open the gate (or close the gate if Ducking is on). Ducking When set to ÒOffÓ, the gate opens when the signal rises above threshold and closes when the gate time expires. When set to ÒOnÓ, the gate closes when the signal rises above threshold and opens when the gate time expires.
FXAlg #959: 2 Band Enhancer FXAlg #959: 2 Band Enhancer 2-band spectral modifier Allocation Units: 1 The 2 Band Enhancer modifies the spectral content of the input signal primarily by brightening signals with little or no high frequency content, and boosting pre-existing bass energy. First, the input is non-destructively split into two frequency bands using 6 dB/oct hipass and lopass filters.
FXAlg #959: 2 Band Enhancer Hi Shelf G The boost or cut of the high shelving Þlter. Hi Delay Adjusts the number of samples the hipass signal is delayed. Hi Mix Adjusts the output gain of the hipass signal. Lo Delay Adjusts the number of samples the lopass signal is delayed. Lo Mix Adjusts the output gain of the lopass signal.
FXAlg #960: 3 Band Enhancer FXAlg #960: 3 Band Enhancer 3-band spectral modifier Allocation Units: 2 The 3 Band Enhancer modifies the spectral content of the input signal by boosting existing spectral content, or stimulating new content. First, the input is non-destructively split into 3 frequency bands using 6 dB/oct hipass and lopass filters. The high and mid bands are separately processed to add additional high-frequency content by using two nonlinear transfer functions.
FXAlg #960: 3 Band Enhancer PAGE 2 Lo Enable On or Off Mid Enable On or Off Lo Drive Off, -79.0 to 24.0 dB Mid Drive Off, -79.0 to 24.0 dB Lo Xfer -100 to 100% Mid Xfer1 -100 to 100% Mid Xfer2 -100 to 100% Lo Delay 0 to 1000 samp Mid Delay 0 to 500 samp Lo Mix Off, -79.0 to 24.0 dB Mid Mix Off, -79.0 to 24.0 dB PAGE 3 Hi Enable On or Off Hi Drive Off, -79.0 to 24.0 dB Hi Xfer1 -100 to 100% Hi Xfer2 -100 to 100% Hi Delay 0 to 500 samp Hi Mix Off, -79.0 to 24.
FXAlgs #961/962: Tremolo and Tremolo BPM FXAlgs #961/962: Tremolo and Tremolo BPM A stereo tremolo or auto-balance effect. Allocation Units: 1 Tremolo and Tremolo BPM are 1-PAU stereo tremolo effects. In the classical sense, a tremolo is the rapid repetition of a single note created by an instrument. Early music synthesists imitated this by using an LFO to modulate the amplitude of a tone.
FXAlgs #961/962: Tremolo and Tremolo BPM Parameters (Tremolo): PAGE 1 In/Out In or Out Out Gain Off, -79.0 to 24.0 dB LFO Rate 0 to 10.00 Hz LFO Shape Tri Rate Scale 1 to 25088 x PulseWidth 0 to 100% Depth 0 to 100% 50% Weight -6 to 3 dB L/R Phase In or Out PAGE 2 A 0% 50% 100% Parameters (Tremolo BPM): PAGE 1 In/Out In or Out Out Gain Off, -79.0 to 24.0 dB Tempo System, 0 to 255 BPM PAGE 2 LFO Rate 0 to 12.00 x LFO Shape Tri LFO Phase 0.0 to 360.
FXAlgs #961/962: Tremolo and Tremolo BPM PulseWidth When the LFO Shape is set to Pulse, this parameter sets the pulse width as a percentage of the waveform period. The pulse is a square wave when the width is set to 50%. This parameter is active only when the Pulse waveform is selected. 50% Weight The relative amount of attenuation added when the LFO is at the -6dB point. This causes the LFO shape to bow up or down depending on whether this parameter is set positive or negative.
FXAlg #963: AutoPanner FXAlg #963: AutoPanner A stereo auto-panner Allocation Units: 1 "AutoPanner" is a 1-PAU stereo auto pan effect. The process of panning a stereo image consists of shrinking the image width of the input program then cyclically moving this smaller image from side to side while maintaining relative distances between program point sources.
FXAlg #963: AutoPanner Parameters: PAGE 1 In/Out In or Out Out Gain Off, -79.0 to 24.0 dB LFO Rate 0 to 10.00 Hz LFO Shape Tri Rate Scale 1 to 25088 x PulseWidth 0 to 100% Origin -100 to 100% PanWidth 0 to 100% L ImageWidth 0 to 100% R CentrAtten -12 to 0 dB PAGE 2 L C R In/Out When set to ÒInÓ the auto-panner is active; when set to ÒOutÓ auto-panner is bypassed. Out Gain The overall gain or amplitude at the output of the effect. LFO Rate The speed of the panning motion.
FXAlg #964: Dual AutoPanner FXAlg #964: Dual AutoPanner A dual mono auto-panner Allocation Units: 2 "Dual AutoPanner" is a 2-PAU dual mono auto-pan effect. Left and right inputs are treated as two mono signals which can each be independently auto-panned. Parameters beginning with ÒLÓ control the left input channel, and parameters beginning with ÒRÓ control the right input channel.
FXAlg #964: Dual AutoPanner Parameters: PAGE 1 L In/Out In or Out R In/Out In or Out L Out Gain Off, -79.0 to 24.0 dB R Out Gain Off, -79.0 to 24.0 dB L LFO Rate 0 to 10.00 Hz L LFO Shape Tri L RateScal 1 to 25088 x L PlseWdth 0 to 100% L Origin -100 to 100% L PanWidth 0 to 100% L CentrAtt 0 to 100% PAGE 2 L L C R PAGE 3 R LFO Rate 0 to 10.
FXAlg #965: SRS FXAlg #965: SRS Licensed ÒSound Retrieval System¨Ó or SRSTM effect Allocation Units: 1 The SRSTM algorithm has been licensed from SRS Labs, Inc. The following is from an SRS Labs press release: SRS, the Sound Retrieval System, is based on the human hearing system. It produces a fully immersive, threedimensional sound image from any audio source with two or more standard stereo speakers.
FXAlg #966: Stereo Image FXAlg #966: Stereo Image Stereo enhancement with stereo channel correlation metering Allocation Units: 1 Stereo Image is a stereo enhancement algorithm with metering for stereo channel correlation. The stereo enhancement performs simple manipulations of the sum and difference of the left and right input channels to allow widening of the stereo field and increased sound field envelopment.
FXAlg #966: Stereo Image Parameters: PAGE 1 L In Gain Off, -79.0 to 24.0 dB R In Gain Off, -79.0 to 24.0 dB CenterGain Off, -79.0 to 24.0 dB Diff Gain Off, -79.0 to 24.0 dB L/R Delay -500.0 to 500.0 samp RMS Settle 0.0 to 300.0 dB/s PAGE 2 DiffBassG -79.0 to 24.0 dB DiffBassF 16 to 25088 Hz Stereo Correlation 100 75 50 25 0% L In Gain The input gain of the left channel in decibels (dB). R In Gain The input gain of the right channel in decibels (dB).
FXAlg #967: Mono -> Stereo FXAlg #967: Mono -> Stereo Stereo simulation from a mono input signal Allocation Units: 1 Mono -> Stereo is an algorithm which creates a stereo signal from a mono input signal. The algorithm works by combining a number of band-splitting, panning and delay tricks. The In Select parameter lets you choose the left or right channel for the mono input, or you may choose to sum the left and right inputs.
FXAlg #967: Mono -> Stereo PAGE 2 Crossover1 16 to 25088 Hz Crossover2 16 to 25088 Hz Pan High -100 to 100% Delay High 0.0 to 1000.0 ms Pan Mid -100 to 100% Delay Mid 0.0 to 1000.0 ms Pan Low -100 to 100% Delay Low 0.0 to 1000.0 ms In/Out The algorithm is functioning when In/Out is set to ÒInÓ. If set to ÒOut, whatever is on the input channels gets passed to the output unaltered. Out Gain The output gain of the pseudo-stereo signal in decibels (dB).
FXAlg #968: Graphic EQ ¥ FXAlg #969: Dual Graphic EQ FXAlg #968: Graphic EQ ¥ FXAlg #969: Dual Graphic EQ Dual mono 10-band graphic equalizers Allocation Units: 3 The graphic equalizer is available as stereo (linked parameters for left and right) or dual mono (independent controls for left and right). The graphic equalizer has ten bandpass filters per channel. For each band the gain may be adjusted from -12 dB to +24 dB. The frequency response of all the bands is shown in the Figure 1.
FXAlg #968: Graphic EQ ¥ FXAlg #969: Dual Graphic EQ Parameters (Graphic EQ): PAGE 1 In/Out In or Out PAGE 2 31Hz G -12.0 to 24.0dB 1000Hz G -12.0 to 24.0dB 62Hz G -12.0 to 24.0dB 2000Hz G -12.0 to 24.0dB 125Hz G -12.0 to 24.0dB 4000Hz G -12.0 to 24.0dB 250Hz G -12.0 to 24.0dB 8000Hz G -12.0 to 24.0dB 500Hz G -12.0 to 24.0dB 16000Hz G -12.0 to 24.0dB In or Out R In/Out In or Out L 31Hz G -12.0 to 24.0dB L 1000Hz G -12.0 to 24.0dB L 62Hz G -12.0 to 24.0dB L 2000Hz G -12.
FXAlg #970: 5 Band EQ FXAlg #970: 5 Band EQ Stereo bass and treble shelving filters and 3 parametric EQs Allocation Units: 3 This algorithm is a stereo 5 -band equalizer with 3 bands of parametric EQ and with bass and treble tone controls. The user has control over the gain, frequency and bandwidth of each band of parametric EQ and control of the gain and frequencies of the bass and treble tone controls. The controls for the two stereo channels are ganged.
FXAlg #998: FXMod Diagnostic FXAlg #998: FXMod Diagnostic FXMod source-metering utility algorithm Allocation Units: 1 The FXMod diagnostic algorithm is used to obtain a metered display of FXMod sources. This algorithm allows you to view the current levels of any data sliders, MIDI controls, switches, or internally generated VAST LFOs, ASRs, FUNs, etc. which are available as modulation sources. This algorithm has no effect on any signal being routed through it.
FXAlg #999: Stereo Analyze FXAlg #999: Stereo Analyze Signal metering and channel summation utility algorithm Allocation Units: 1 Stereo Analyze is a utility algorithm which provides metering of stereo signals as its primary function. In addition to metering, the gains of the two channels are separately controllable, either channel may be inverted, and sum and differences to the two channels may be metered and monitored.
FXAlg #999: Stereo Analyze By inverting one channel with respect to the other, you can hear what is characterized as Òphasey-nessÓ. Usually in stereo recordings, you can localize the phantom image of sound sources somewhere between the two loudspeakers. With a phasey signal, the localization cue get mixed up and you may hear the sound coming from everywhere or within your head. Polarity reversals are provided in this algorithm so you can test for mistakes, or simply for experimentation.
FXAlg #999: Stereo Analyze Algorithm Reference-180
