User`s manual

This will decrease the possibility of distortion and keep the amount of background
noise to a minimum. If the signal LED of your Verb II starts to light-up ,turn down
the Input level or decrease the output volume of the source (instrument, mixer send,
etc.). If the output level of your Verb II is causing the mixer or amp to distort, turn
down the Output Level of your Verb II.
c. Effects Mix Level Adjust
Whether a Preset of your Verb II contains a single effect or two or three effects,
you can adjust the Verb II [MIX] control to obtain a desirable balance between the
original signal and the processed one. Turning [MIX] to the right allow you to hear
more of the processed sound; turning it to the left let you hear more of the source
signal. When hooked up to an instrument setup, such as a guitar amp, the Mix setting
will typically be somewhere in the middle, balancing the processed sound with the
sound of the source instrument. If your Verb II is connected to a mixing console's
Aux Send, the [MIX] control should be set all the way to the right (effects only) so
that the balance can be controlled from the board.
At any time you can bypass the sound processing, allowing the direct signal to pass
through your Verb II unchanged. This can be done in two ways: by turning the MIX
knob all the way to the left or by connecting a footswitch to the [BYPASS] jack and
pressing the footswitch. Your Verb II will automatically recognise the right "polarity"
of the pedal.
d. Effects Bypass
Your Verb II may be placed almost anywhere: on a table, on top of an amp, next to
a mixing console or inside a standard 19" rack with optional rack mounting kit. If it will
be on a piece of furniture, fix the provided rubber feet to the bottom of the unit. Make
suretoplaceyour VerbIIACadapterawayfromotheraudioequipmentthatmay
induce magnetic fields, and away from the signal wiring, it is possible that your Verb II
maypickupnoisefieldsgeneratedbyotherequipmentsuchaslargepoweramplifiers.
inthiscase,moveyour VerbIIawayuntilthenoisedisappears.
4.3 INSTALLATION
a. Normal Operation
b. Application examples
- LINE LEVEL INSTRUMENTS
When connecting audio cables and/or turning power on and off, make sure that all
devices in your system have their volume controls turned down. Your Verb II has two
1/4" unbalanced inputs and two 1/4" unbalanced outputs. The configuration will provide
three different options:
Connect an audio cable to the [LEFT] INPUT of your Verb II from a mono
source, and another audio cable from the [LEFT] output of your Verb II to an
amplification system or mixer input. Disregard [RIGHT] Input and Output.
MONO:
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3. CONTROL ELEMENTS
4. INSTALLATION AND CONNECTION
5.2 MODULATIONS
a. TREMOLO
Tremolo is an amplitude modulation of the signal. It is
useful for adding warmth and life to standing electric
piano or guitar's chords. It is normally used as "WET"
effect without adding direct sound or adding a few
percentage of it, so to avoid the direct sound to cover
the amplitude modulation.
LFO
Amplitude Multiplier
Modulated by Ramp/Sin LFO.
b. CHORUS
The Chorus effect tries to recreate the illusion of more than one instrument from a
single instrument sound. Two musicians playing the same instrument never play in
perfect unison (both time and pitch wise). In order to build up the proper illusion using
an electronic device, the original sound is summed with a slightly delayed and detuned
version of itself. Instead of a constant pitch deviation, more natural results come from
a varying pitch deviation (two players never keep equal their relative pitch distance). In
this program we implement the variable delay and the detuning of it is modulated by an
LFO (low frequency oscillator) which causes the detuning to vary. The direct sound and
the detuned one are summed analogically on the outputs.
c. FLANGER
In the early days the flanger was a mechanical device: two identical tapes were run
in parallel while an Operator randomly controlled the speed of each unit, making minor
variations up and down the nominal tape speed. Mixing the sound from both tapes,
the signals sometimes aligned in phase, while other times aligned in counter phase,
resulting in a time varying filtering that has been named "flange"'. The structure of the
flanger is then that of the mix of two randomly delayed copies of a signal. Here the
detuning process is same as the one of the chorus, added with a "regeneration" part.
Fixed Delay
Var Delay Line
Analog Input (Direct)
LFO Sin/Ramp
Input
Analog Mix
Effect
10
Input
Delay
Var Delay line
LFO Sin/Ramp
Effect
Analog Mix
LFO Sin/Ramp
Regeneration%
5. PRESET DESCRIPTION