User Manual

43 M32 User Manual
The BALANCE push encoder allows you to emphasise the mono and stereo
components of the input signal. The mono and stereo signals can be panned
independently with the MONO PAN and STEREO PAN controls. OUT GAIN is
used to compensate for level changes resulting from the eect. The phase can
also be shifted using the shelving push encoders. Select the frequency and
bandwidth (Q) using the corresponding push encoders, then adjust the gain with
SHV GAIN.
Edison EX1
The Edison EX1 is an unbelievably powerful psycho-acoustic processor, which
allows you to completely manipulate all spatial parameters of the stereo image
– such as width and depth – in a way never before possible. You can widen or
narrow the stereo spread, bring instruments to the front or move them to the
background, and make corrections to the stereo image – even on a nished
master. Inspired by the Behringer Edison EX1.
St Spread increases the perceived width of the audio eld over which the
signal is present. Balance simply adjusts the levels between the left and
right channels, and Center Dist moves the audio source back and forth in the
perceived audio eld. LMF Spread further adjusts the stereo depth by increasing
or decreasing the perceived spaciousness of the output signal.
Sound Maxer
The SOUND MAXER restores natural brilliance and clarity to any audio signal by
adjusting the phase and amplitude integrity to reveal more of the natural texture
of the sound, which is often hidden when using some eects and equalisers.
Inspired by Sonic Maximizer 482i.
Use LO CONTOUR to determine the curve on which the PROCESS control is
eective. GAIN determines how much of the input signal passes through the
eect. Selecting either of the ACTIVE functions activates the eect for either of
the two stages.
Dual Guitar Amp / Stereo Guitar Amp
Modelled after the Tech 21 SansAmp, the Stereo / Dual Guitar Amp simulates the
sound of plugging into a real guitar amp. From shimmering cleans to saturated
crunch, the M32’s Stereo / Dual Guitar Amp allows an electric guitar player to
sound great without using an amp on stage.
The PREAMP push encoder adjusts the amount of input gain prior to the
band-specic distortion adjustment. BUZZ adjusts the low-end breakup,
PUNCHadjusts the midrange distortion, and CRUNCH tailors the high-frequency
content and distortion for smooth or cutting notes. The DRIVE push encoder
simulates the amount of power amp distortion from a tube amp. The LOW and
HIGH push encoders allow EQ adjustment independent of distortion content,
and the overall output is controlled by the LEVEL push encoder. The CABINET
simulation can be bypassed if the guitarist is already using a real cabinet, which
allows the eect to function like a boost or distortion pedal. The Dual Guitar Amp
allows the left and right channels to be adjusted independently.
Dual Tube Stage / Stereo Tube Stage
Tube Stage / Overdrive is a versatile eect capable of emulating a variety of
modern and classic tube amps. Available in stereo and dual-mono versions,
use Tube Stage / Overdrive to dial in warm and fuzzy sounds from subtle to
fully-saturated.
DRIVE adjusts the amount of harmonics being driven by the eect. EVEN and
ODD adjusts the amount of even and odd harmonics. GAIN adjusts the output
gain of the eect. LO CUT sets the input frequency below which the source
signal will not pass through the eect. HI CUT sets the input frequency above
which the signal will not pass through the eect. BASS GAIN/FREQ adjusts a
low-shelving lter at the output of the eect. TREBLE GAIN/FREQ adjusts a
high-shelving lter at the eect’s output.
Dual Pitch Shifter / Stereo Pitch
Pitch sifting is often used in two dierent ways; one is to set the MIX control
lower and only use the CENT control to make a small oset in pitch between
the wet and dry tones. This results in a ‘voice doubling’ eect that thickens the
overall sound in a more subtle way. The extreme use of this eect is to turn
the MIX control fully-clockwise so that the full sound is aected. This way,
the signal can be shifted into other keys up to an octave above or below the
original key. When used on a voice, it results in a ‘chipmunk’ sound or a low,
‘DarthVader’eect.
When the SEMI and CENT push encoders are set to 12:00, the pitch is not altered.
Making adjustments by semitone will have a very pronounced eect, whereas
changes to the CENT control will be very minor. The DELAY control creates a
time dierence between the wet and dry sounds. The LO CUT and HI CUT push
encoders allows the aected signal to be band-limited. The Dual-Pitch eect
allows the left and right channels to be adjusted independently, and allows gain
compensation and panning of the two channels.