7KH $ 5 7 3URJUDPPDEOH 'LJLWDO (IIHFWV 3URFHVVRU TABLE OF CONTENTS Introduction .................................................................................................................................................................... 1 Installation ...................................................................................................................................................................... 2 AC Power Hookup .................................................................
Routing LEDs ........................................................................................................................................................... 8 Unloaded Preset Indicator ........................................................................................................................................ 9 Preset Display .........................................................................................................................................................
Modulated Effects ............................................................................................................................................. 40 Chorus ....................................................................................................................................................... 40 Flanger ....................................................................................................................................................... 40 Phaser .................
INTRODUCTION Thank you for purchasing a DMV-PRO and congratulations! You now own one of the most sophisticated pieces of audio signal-processing technology available. The DMV-PRO uses state-of-the-art DSP techniques combined with A R T’s proprietary Dynamic Engine Allocation (DEA™) software to give you control over a multitude of brand new, stunning effects algorithms—many of which have never been heard before.
INSTALLATION The DMV-PRO may be used in a variety of setups including with mixer channel inserts, mixers with reverb send and return facilities, and in the effects loop of an instrument or P.A. amplifier. Self-contained in an all-steel, single-height 19” rack-mount enclosure, the DMV-PRO is designed for continuous professional use. Because the unit is compact and lightweight, mounting location is not critical.
QUICK START INSTRUCTIONS You’ve unpacked your DMV-PRO and you’re in a hurry to get it up and running. You probably would rather play with it than read the manual. Fair enough. First, check out the basics, outlined here, just to get your DMV-PRO on-line. It should take only a couple of minutes for you to read through this section and then you’ll be ready to fire up your new unit. Later, when you want to get into more of the details, check out the rest of the manual.
called Dry Kill that will conveniently turn off the dry signal path inside the unit. Each preset’s Mix value is still retained, even though all dry sound is eliminated. To enable Dry Kill, turn on the DMV-PRO and press the MIDI/Util button. Turn the Preset Encoder (the knob on the far right of the unit) until the top line of LCD (A) reads: “Dry Kill:” then turn Processor (A)’s encoder until “ON” appears on the bottom line. By enabling Dry Kill, you have turned off or “killed“ the path for dry sound.
TRY IT OUT: Turn on your amp or mixer and monitor amplifier. Make sure that your mixer’s or amp’s send level control is turned up and that a signal is being sent to the DMV-PRO. Watch the Meters on the front of the unit. Most of the lights (LEDs) should be on, except for the +6 LED, which should only glow when a really loud, instantaneous signal reaches the unit. If the +6 LED glows constantly, turn down the send level from your mixer or instrument.
DMV-PRO FRONT PANEL CONTROLS & INDICATORS PROCESSORS (A) AND (B) The DMV-PRO contains two audio processors, labeled Processor (A) and Processor (B). Each can be operated independently from the other. The controls for each processor operate similarly and are outlined below. & POWER The Power switch turns the DMV-PRO on and off. The Numerical Display Window and both LCDs illuminate when power is on. If the unit does not turn on when this switch is toggled, check the AC power cord and adapter.
the Encoder’s function between selecting parameters and changing values. For more information on parameters, see page 28. ) PROCESSORS (A) & (B) ENCODER / SWITCH The first two Encoders are used separately to view and modify their corresponding processor’s parameters and effects. The Encoders can be turned and pressed while editing, and their action is explained in the previous paragraph.
option is available as an effect parameter. See the parameter descriptions on page 28 for more information on bypassing individual effects. . PRESET ENCODER / SWITCH The Preset Encoder is used to change presets. As you turn it, the number in the Preset Display changes, as does the information in both LCDs and the Routing Display; these are showing you information about the new preset. Notice that the light on top of the Preset Display is lit once you have turned the encoder.
2 UNLOADED PRESET INDICATOR When you turn the Preset Encoder to view presets, the DMV-PRO’s sound won’t change until you press the Preset Encoder to load the preset. The Unloaded Preset Indicator is a reminder that you are viewing an unloaded preset. 3 PRESET DISPLAY The Preset Display shows 3 alphanumeric characters that correspond to the current preset number, whether it’s presently loaded or not.
Dry Kill and Global Mix Dry Kill and Global Mix are two related functions that allow you to quickly alter the ratio of wet (processed) and dry (unprocessed) sound coming out of the unit. Normally, the Mix parameter sets this ratio separately for each preset, but by using Dry Kill or Global Mix, you can change these settings for all presets at once. Dry Kill is used to remove all dry sound from the DMV-PRO’s internal mix buss. One application for Dry Kill is when you are using the unit with a mixer.
Setting Dry Kill and Global Mix: To adjust Dry Kill or Global Mix, press the MIDI/Util button. Turn the Preset Encoder until [ 08 (++A] appears on the top line of LCD (A). Turn Encoder (A) to switch the bottom line of LCD (A) between ON and OFF. If Dry Kill is on, the effect’s dry path is disabled. If Dry Kill is off, dry sound is allowed to pass and each preset’s Mix control governs the ratio of dry and wet signal. Also, if Dry Kill is off, LCD (B) displays the Global Mix setting.
DMV-PRO REAR PANEL CONNECTIONS Despite the DMV-PRO’s sophistication, it’s easy to interface the unit with other equipment. All inputs and outputs are located on the rear panel. Standard ¼” inputs and outputs make patching simple. Note: For best audio quality, always use high-quality cables. The DMV-PRO is designed for line level or instrument operation. We don’t recommend plugging microphones directly into the processor.
& OUTPUTS #1–4 All four Outputs are single-ended (unbalanced) ¼” jacks with low impedance. A preset’s routing determines the use of each Output jack. For example, Cascade and Multi FX Routings do not use Outputs #3 and #4. For more information on the different configurations of the DMV-PRO’s inputs and outputs, see page 26 and the tutorial starting on page 14. ' OUTPUT LEVEL SWITCH The Output Level switch is used for matching the DMV-PRO’s output level to your system.
TUTORIAL The best way to understand the DMV-PRO is just to jump in and edit some presets. It doesn’t take long and you’ll see how easy editing is due to the DMV-PRO’s intuitive layout. This section consists of four tutorials: Starting from Scratch and Changing Effects, Editing Effect Parameters, MIDI, and Advanced Applications. After you finish the tutorials, check out the section entitled The DMV-PRO’s Adjustable Parameters, on page 26, for a complete list of each effect’s parameters and parameter ranges.
Cascade Cascade routing also has two effects with two linked engines, but the output of the first group is fed into the second. In this routing, you have two stacked, true-stereo effects. Only Inputs and Outputs #1 and #2 are used. The first effect (Engines #1 and #2) is edited in Processor (A), and the second effect (Engines #3 and #4) is edited in Processor (B). Discrete 4 (mono) In Discrete 4 routing, each engine separately processes one channel of sound and is just like having four mono effects.
TUTORIAL 1: STARTING FROM SCRATCH AND CHANGING EFFECTS Edit the Routing: By editing any preset’s routing, you are essentially building a new preset from scratch. When routings are changed, the DMV-PRO reconfigures its internal architecture and loads in default effects. The preset’s former effects, class, and parameter values are all replaced. Repeatedly press the Routing button until the Twin Stereo Routing LED is lit.
Repeatedly press the Routing button until the Discrete 4 Routing LED is lit. Observe both LCDs. Again, the DMV-PRO has loaded default effects for Discrete 4 routing, but notice that there are now two effects in each LCD. Look at LCD (A). The top line now corresponds to Effect #1 (at Input and Output #1) and the bottom line corresponds to Effect #2 (at Input and Output #2). Processor (B) is similar, with its top line representing Effect #3 and its bottom line representing Effect #4.
Follow the instructions: Use the Preset Encoder to select the preset number that you want to overwrite (you don’t have to turn the encoder if you just want to overwrite the current preset). When you are ready, press the Store button to confirm the operation. If you press any button other than Store, or if Store isn’t pressed within 10 seconds, the save command will be aborted. After a preset is stored, the DMV-PRO enters Preset mode.
As you can see, the editing operation is simple: Turn the encoder to select a parameter, press and turn the encoder to change the parameter’s value, press and turn to select another parameter, press and turn to change the new parameter’s value, and so on. The number of available parameters is dependent on the current effect. (See page 26 for a complete listing of effects and their associated parameters.
this ordering. You could, for example, set a received program change value of 1 to recall DMV-PRO preset #40, a program change value of 2 to recall DMV-PRO preset #5, and a program change value of 3 to also recall DMV-PRO preset #5. Like MIDI Channel, the DMV-PRO’s MIDI Map is set in MIDI/Util Mode and is automatically saved when changed. Controllers 1–4: The DMV-PRO’s continuous controller mappings are extremely flexible and add a great deal of power to the unit.
Next, turn Encoder (A) to select an incoming MIDI program change number that you wish to map. This control’s range is from 1 to 128. Turn Encoder (B) to set the corresponding DMV-PRO preset number that will be recalled when the program change number in LCD (A) is received. The range of DMV-PRO preset numbers is from 1 to 100, or OFF to disable a program change number from recalling any DMV-PRO preset. Repeat this process to map other program changes.
controller’s value linearly corresponds to the key, velocity, or aftertouch value being played. For example, if MIDI CC Number was set to Note On and Mode was set to Continuous, then the controller’s value would equal the key number played. Key, Velocity, or AT Value If Mode is set to Toggle, a second parameter becomes available to set the key, velocity, or aftertouch value that will toggle between the controller values 0 and 127.
TUTORIAL 4: ADVANCED APPLICATIONS The Smart Encoder: The Smart Encoder™ functions allow you to perform real-time tasks, such as tapping in new delay times or spinning up and down the rotary effect, by pressing the Edit and Encoder buttons. Using the encoders this way is called “smart” because parameters can be automatically changed, instead of by having to manually scroll through a series of menus and values.
Rotary The Rotary Spin High/Low option allows the Encoder to toggle the rotary speed between a high and low spin rate (alternating with each Encoder press). Smart Encoder Programming: Smart Encoder operation is set with an effect’s parameters. To program Processor (A)’s Smart Encoder, first select a preset with a Processor (A) effect and class that uses one of the Smart Encoder functions (see the table above).
Smart Encoder Functions while Editing Reverb, Delay, and Rotary Effects: Smart Encoder functions are automatically set up to work while editing reverb, delay, and rotary effects. For Reverb effects, a reverb impulse can be triggered while adjusting any of the reverb’s parameters; this helps you hear the reverb changes as you are making them. To trigger an impulse while editing, simply press and hold the Edit button of the corresponding processor and press the Encoder.
THE DMV-PRO’s ADJUSTABLE PARAMETERS DESCRIPTION OF ROUTINGS AND ENGINES The DMV-PRO contains four engines that can be routed in four different ways. Our proprietary Dynamic Engine Allocation (DEA™) technology ensures that all DSP horsepower is effortlessly configured for your routing choice. Repeatedly press the Routing button to scroll through the four routings: Twin Stereo, Cascade, Discrete 4, and Multi FX. Twin Stereo: This routing turns the DMV-PRO into two true-stereo processors.
Discrete 4: This routing configures the DMV-PRO as four mono signal processors. Each Input feeds its corresponding Output. However, if any Input (except #1) does not have a jack inserted, its input will be taken from the closest previous input that has a plug inserted. For example, if the unit is in Discrete 4 mode and ¼ inch plugs are only inserted into Inputs #1 and #3, both Engines #1 and #2 will be fed from Input #1’s signal and Engines #3 and #4 will be fed from Input #3’s signal.
DESCRIPTION OF CLASSES Each effect has six classes, which are effect variations. The class name generally denotes the application for which the class was optimized. For example, The Vocal class of reverbs is designed to enhance voice-type inputs. Descriptions of all effects and their classes begin on page 31. The following, though, are some class generalizations: Ducking classes use ramped dynamics processing to create smooth “ducking” effects, such as faded, leveldependant delays, choruses, and flangers.
Effect Class: Classes are effect variations and are named after the applications they are optimized for. Each effect has six classes and their names, sounds, and adjustable parameters vary based on the effect. (See page 31 for a description of all effects and their classes.) Mix This parameter sets the ratio of unprocessed (dry) sound to processed (wet) sound, with a range from 0% to 100% (0 = all dry, 100 = all wet). Enabling Effect Bypass is equivalent to turning the Mix control to 0.
Boost (dB) Treble Control 20 15 10 5 0 -5 -10 -15 -20 100 1000 10000 Frequency in Hz (Log Scale) 100000 MIDI Parameters Effects can have up to four controller assignments (designated a, b, c, and d) that can modify any of its parameters in real-time. Each of the four assignments has separate settings for the following parameters: CC Channel, MIDI CC Number, Parameter, Value Low Range, and Val. High Range. See the tutorial on page 21 for information on setting the controller assignments.
&+$0%(5 5(9(5% The Chamber Reverb simulates a reflective enclosure (perhaps made of wood or concrete) with a sound source at one end and a microphone near the other. By varying the Size parameter from small to large, you can simulate spaces as small as a shower stall and as large as an elevator shaft. This reverb is more reflective and has a more defined echo characteristic than Halls or Rooms. 5220 5(9(5% The Rooms in the DMV-PRO approximate the impulse responses of different types of “real” rooms.
Instrument The Instrument Reverb is tailored for most solo instruments to maintain their tonal quality. High frequency decays are not limited and low frequencies are controlled to prevent muddiness. An auxiliary gate is available to dynamically process the sound. Concert The Concert Reverb has a neutral high frequency response with a low frequency decay emphasis. It should be used on sounds or mixes to simulate the “liveness” of a real acoustic location.
(greater than 3 seconds) are usually used for “bigger than life” special effects. Both the Decay and Size parameters should be used together to set the overall impression of the simulated space. Decay Enabled: In the Dynamic Class, this control sets the input level range that switches the Decay amount from the preset value to 0. Signals that fall within this control’s setting (for example, above -10 dB) have the programmed decay time, otherwise, the decay time is 0.
Length: Sets the length of the gated reverb, from 50 to 500 milliseconds. Motion: Sets the movement of the reverberation tail. This control is used to help make long decay times sound more natural. When turned on, this control’s range is from 1 to 9 and is normally set at 1, producing a very subtle effect. A setting of OFF turns this control off. You can increase Motion if long Decay times sound periodic.
',*,7$/ '(/$< These algorithms delay a signal in time. The maximum delay length, per channel, is 1.25 seconds. Up to twelve delay taps are available and can be equally and unequally spaced within the span of the delay length. Some delay classes have dynamics sensing, which can use input level to switch the effect in and out or change the Regeneration value. The Ambient class creates a special miked-speaker simulation.
Dynamic The Dynamic Delay uses input level to switch the Regeneration amount between its preset value and 0.
starting from the bottom-left speaker. An ‘S’ at the end of the line indicates that both mics pick up sound from both speakers as with normal Stereo miking. An ‘M’ at the end of the line indicates that both mics are acting in Mono and are sonically isolated from the opposite speaker. In other words, the left microphone only picks up sound from the left speaker and the right microphone only picks up sound from the right speaker.
3,7&+ 75$16326(5 The Pitch Transposer (PT) algorithm can change the base-pitch of a sound. Each PT class contains an auxiliary digital delay that feeds back into the pitch-shift to create falling or rising pitch effects. Some classes also have dynamics sensing, which can use input level to switch the effect in and out or trigger the Whammit! effect (see below). PITCH CLASSES: Micro 2 Voice Micro 2 Voice is the ultimate double tracking algorithm. This class’ range of transposition is restricted to ±1.
PITCH PARAMETERS: Buffer Size: This control sets the loop length and splicing characteristics of the PT. Two of the four settings, SmoothLong and Smooth-Short, are optimized for the smoothest sound, but need a fixed amount of transport delay. The other two settings, Smart-Long and Smart-Short, utilize a looping technique that varies the amount of transport delay based on the Pitch setting.
02'8/$7(' ())(&76 Chorus, flanger, phaser, tremolo, and panner are modulated effects. They use a Low Frequency Oscillator (LFO) to sweep certain aspects of the effect’s sound. LFO Speed determines the movement (sweep) rate and the LFO Shape determines the sweep pattern. Some of the classes have dynamics sensing, which can use input level to switch the effect in and out or trigger the LFO. &+2586 Chorus is an effect that mixes a signal with slightly detuned copies to produce a rich, moving texture.
Classic, Jazz Chorus, MXR “Grey,” and MXR “Phase 90,” These classes recreate the sound of the “classic” effects. The LFO parameters and sometimes Bandwidth are controlled to produce the characteristic sound and control action. For example, as LFO Speed is increased, Width is automatically adjusted within a musical range. The MXR “Phase 90” is a 2-notch Phaser. Concert and MXR “Phase 100” These classes create high-end, studio effects.
5-Notch Ducking MXR “Phase 90” MXR “Phase 100” Gated “Boston” Phaser Dynamic Delay ±1ms Delay ±50ms LFO Rate LFO Width Regeneration LFO Shape LFO Offset Effect Enabled Attack/Release Delay ±1ms Delay ±50ms LFO Rate LFO Width Regeneration LFO Shape LFO Offset Delay ±1ms Delay ±50ms LFO Rate LFO Width Regeneration LFO Shape LFO Offset Delay ±1ms Delay ±50ms LFO Rate LFO Width Regeneration LFO Shape LFO Offset Effect Enabled Delay ±1ms Delay ±50ms LFO Rate LFO Width Regeneration LFO Shape LFO Offset
Effect Enabled: In Ducking and Gated classes, this control sets the audio input level that controls the gating action of the effect. Signals that fall within its setting (for example, above –10 dB) are heard and ones that are not are muted. LFO Offset: Controls the LFO phase difference (in 30° increments) between the two outputs of an engine group (Outputs #1 and #2, or Outputs #3 and #4). A setting of 0° creates a mono sweep, where both channels’ LFOs start at 0° (low).
527$5< The Rotary effect simulates a 2-way rotating-speaker cabinet with a built in crossover network. Rotating speakers are traditionally used with electric organs, but contemporary uses include with guitars, vocals, drums, and just about any sound that needs some added motion. Since this effect creates a stereo simulation, it is not available with mono effects.
Auto Switch Wood Cabinet Concert Gated Stereo Split Dynamic Spin Up Time Spin Down Time Low/High Mix Speed Adjust Stereo Spread Spin Up Time Spin Down Time Low/High Mix Speed Adjust Rotor Speed Stereo Spread Spin Up Time Spin Down Time Low/High Mix Speed Adjust Rotor Speed Stereo Spread Spin Up Time Spin Down Time Low/High Mix Speed Adjust Rotor Speed Stereo Spread Effect Enabled Spin Up Time Spin Down Time Low/High Mix Speed Adjust Rotor Speed Stereo Spread Spin Up Time Spin Down Time Low/High M
MIDI/UTIL PARAMETERS The MIDI/Util Parameters affect the whole unit are set in MIDI/Util Mode. To access this mode, press the MIDI/Util button, then turn the Preset Encoder to scroll both LCDs through their separate list of parameters. To change the value of any parameter, turn its corresponding Processor Encoder. Changes to MIDI/Util parameters take effect immediately and do not have to be saved. To exit MIDI/Util mode, press the MIDI/Util button again.
internally change patches when this happens; it just sets LCD (A)’s program change number to the number that it receives. DRY KILL / GLOBAL MIX Dry Kill Global Mix Dry Kill is used when running the DMV-PRO with a Global Mix is a convenient way to set each preset’s Mix mixing board in a send/return fashion. (For a complete parameter to a certain value. Global Mix is only description, see page 10.) To enable or disable Dry Kill, accessible when Dry Kill is off.
REFERENCE: DMV - PRO Factory Preset List # Name TOP 19 1 Big Stereo Reverb 2 Tight Stereo Reverb 3 Gated Stereo Reverb 4 Sideways Reverb 5 Big Echo Hall 6 Horror Film 7 Nonlinear Delay 1 8 Rotary 9 Tense Rotary 10 Bass Phaser 11 Phaser 1 12 Phaser 2 13 Water Guitar 14 Flanger 1 15 Flanged Tails 16 Barber Pole Flanger 17 Chorus 1 18 Chorus 2 19 Slight Vibrato REVERB 20 Ducking Delay → Rvb 21 Reverb FX 2 22 Reverb FX 3 23 MONDO Verb 24 Voice Over 25 Jumping Verb 26 Gated Reverb 1 27 Gated Reverb 2 28 Reverse
Chorus 50 Wide Rhode Multi FX 51 MXR "Yellow" Twin Stereo 52 Tri-Chorus Multi FX 53 Direct Strat Multi FX 54 Warm Space Cascade 55 Chorus Spread Discrete 4 56 2X Chorus Cascade 57 Big Chorus + Reverb Cascade 58 Boston (L-R) Chorus Twin Stereo 59 Four Choruses Discrete 4 Flanger 60 2X Flanger Cascade 61 MXR Flanger Twin Stereo 62 Reverb FX 1 Cascade 63 12 String Multi FX 64 Hybrid 1 Cascade 65 Hybrid 2 Cascade 66 Light Flange Twin Stereo 67 Almost Stuck F.
LFO SHAPES (two cycles each) EXPONENTIAL These graphs are of the available LFO shapes for Chorus, Fanger, Phaser, Tremolo, and Panner effects. The large choice of waveforms will allow you to select the best possible shape for most applications. Some may sound bizarre while others sound natural. If the LFOs are used for time modulation effects (Chorus, Flanger, and The Exponential waveform is not available on Tremolo and Panner effects.
INVERTED RECTIFIED SINE RAMP SQUARE INVERTED RAMP MIDI IMPLEMENTATION IN THE DMV-PRO Channel Voice Messages The DMV-PRO can respond to Note On, Control Change, Program Change, Channel Pressure, and Pitch Bend messages. In order to respond to these messages, the MIDI Base Channel must be set either to the same channel of the incoming message, or to "ALL.” The other Channel Voice messages (Note Off and Polyphonic Key Pressure) are always ignored.
Byte Number Value (in hex) Description 1 2 3 4 5 ... (last) F0 1A 0x 22 ?? ?? F7 Start of SysEx message. A R T manufacturer’s ID. MIDI channel (00 to 0F). DMV-PRO product ID. Function ID. (data, zero or more bytes) End of SysEx message. The Function ID is one of the following values and is followed by zero or more bytes of data, as implied by the function. Function ID Function Class Direction Description 41 Unit Handshake to Unit from Unit to Unit Ask DMV-PRO to respond.
MIDI CONTROLLERS AND NUMBERS Here’s a list of MIDI Controllers and their numbers, which may help to avoid conflicts if you control the DMV-PRO and other MIDI gear in the same setup. The DMV-PRO displays controller numbers as decimal numbers. The following table lists hexadecimal numbers, their equivalent decimal numbers, and the common uses for these controller numbers in MIDI. The DMV-PRO’s default controller parameters are intended to work with the default values of A R T’s foot controller, the X-15.
WARRANTY INFORMATION Limited Warranty Applied Research and Technology, Inc. will provide warranty and Service for this unit in accordance with the following warrants: Applied Research and Technology, Inc. (A R T) warrants to the original purchaser that this product and the components thereof will be free from defects in workmanship and materials for a period of five years from the date of purchase. Applied Research and Technology, Inc.
4) Pack the unit in its original carton or a reasonable substitute. The packing box is not recommended as a shipping carton. Put the packaged unit in another box for shipping. Print the RA number clearly on the outside of the shipping box. Print your return shipping address on the outside of the box. 5) Include with your unit: a return shipping address (we cannot ship to a P.O. Box), a copy of your purchase receipt, a daytime phone number, and a description of the problem.
DMV-PRO SPECIFICATIONS: A/D converters: 20 bit, 64 times oversampled, delta sigma, X4 D/A converters: 20 bit, 128 times oversampled, delta sigma, X4 Sample Rate: 46.875 kHz Bandwidth: 10 Hz – 20 kHz +0, -2 dB Dynamic Range: >93dB Total Harmonic Distortion: < .01% @ 1kHz Audio In/Out: ¼” unbalanced, +4 / -10 dB switchable levels, >50k ohms input impedance, <750 ohms output impedance Maximum Delay Time: 5.5 seconds (2.75 seconds X2, in Stereo) Up to 1.
A R T maintains a policy of constant product improvement. A R T reserves the right to make changes in design or make additions to or improvements upon this product without any obligation to install the same on products previously manufactured. Therefore, specifications are subject to change without notice. Applied Research & Technology, Inc. 215 Tremont Street Rochester, NY 14608 USA (716) 436-2720 (716) 436-3942 (FAX) This manual was written by David Shaw for Shaw Musical Services, Greeley, Colorado.
