7KH $ 5 7 3URJUDPPDEOH 'LJLWDO (IIHFWV 3URFHVVRU TABLE OF CONTENTS Introduction .....................................................................................................................................................................1 Quick Start Instructions .................................................................................................................................................2 Quick Setup ...............................................................................
Special Key Combinations: ....................................................................................................................................... 9 Restoring Presets to Original Factory Settings ................................................................................................... 9 Dry Kill and Global Mix ...................................................................................................................................... 10 Setting Dry Kill and Global Mix .....
Tremolo ..............................................................................................................................................................54 Panner ...............................................................................................................................................................57 MIDI Parameters ......................................................................................................................................................
INTRODUCTION Thank you for purchasing a Quadra/FX and congratulations! You now own one of the most sophisticated pieces of audio signal-processing technology available. The Quadra/FX 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.
QUICK START INSTRUCTIONS You’ve unpacked your Quadra/FX 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 Quadra/FX 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.
board and not additionally at the Quadra/FX’s faders. One way to do this is to set EACH preset’s Mix parameter to 100%. This would be a tedious process! Fortunately, there is a special Quadra/FX function 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, press and hold the Bypass and Parameter buttons, then release them both.
Output #2 to the amp’s other effects return jack.) Again, don’t forget that the Quadra/FX has the power to act as two separate, stereo processors or four separate, mono processors. 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 Quadra/FX. Watch the Smart Meter on the front of the unit.
INSTALLATION The Quadra/FX 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 Quadra/FX is designed for continuous professional use. Because the unit is compact and lightweight, mounting location is not critical.
QUADRA/FX FRONT PANEL CONTROLS & INDICATORS - ROTARY ENCODER / SWITCH The Rotary Encoder is used to change values or presets. Depending on the Quadra/FX’s programming mode, it may also be pressed to change menus. See the tutorials beginning on page 15 for more information on how to use the rotary Encoder/Switch. $ POWER The Power switch turns the unit on and off. The Numerical Display Window and various LEDs illuminate when power is on.
& ENGINE BUTTON The Quadra/FX contains up to four audio signal processors, or engines. Pressing this button and turning the Encoder will select an engine for editing (the selected engine LED will flash). Depending on the current routing, one or more engine LEDs may flash. Press the Engine button again to return to Preset mode. For more information on engines, see page 27.
) PARAMETER BUTTON When you press the Parameter button, the LEDs for all available parameters of the current engine’s effect are lit. The currently selected parameter LED flashes and its value is displayed in the Preset / Value window. Turn the Encoder to select a different parameter. Pressing either the Encoder or Parameter button will allow you to change the selected parameter’s value with the Encoder. Press the Encoder again to repeat the parameter selection process.
Display shows - , for a bypassed engine and - , for a bypassed preset. Press Bypass again to disengage this mode. When Bypass is pressed in Preset mode, all engines are bypassed. When Bypass is engaged while editing an engine, only the current engine is bypassed. For more information on bypassing separate engines, see the end of the tutorial that starts on page 15. .
If you have made some favorite programs, either scroll through their parameters and write them down, or use the MIDI Dump feature to off-load your presets to a MIDI storage device before implementing a factory reset. (See page 12 for information on the Quadra/FX’s MIDI Dump.) To restore all presets to their factory settings, start from Preset mode and follow these steps in order: 1) Press and hold the Bypass button. 2) Press and hold the Routing button. 3) Press and hold the Effects button.
NOTE: With Dry Kill active, a preset’s Mix parameter now sets the level of all sound coming out of the Quadra/FX. For example, with a Mix setting of 0, no sound will come out of the unit (in other words, zero percent of the wet signal is allowed to pass). Global Mix is a function similar to Dry Kill, though it doesn’t necessarily remove the dry part of the sound. Global Mix is a simple way to set every preset’s Mix parameter to a certain value.
MIDI Dump By performing a MIDI Dump, you can save all of the Quadra/FX’s presets to an external device capable of recording MIDI data. You can even directly transfer the presets from one Quadra/FX to another one with a MIDI cable. To perform a MIDI Dump, start from Preset mode, press and hold the Bypass button, and then press MIDI. Release both buttons. It may take a few seconds to transmit the data. Since each preset has a stored MIDI mapping, there is no separate MIDI Program Table (MPT) to dump.
QUADRA/FX REAR PANEL CONTROLS & CONNECTIONS Despite the Quadra/FX’s sophistication, it is 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 Quadra/FX is designed for line level or instrument operation. We don’t recommend plugging microphones directly into the processor.
and #4. For more information on the different configurations of the Quadra/FX’s inputs and outputs, see page 27 and the tutorial starting on page 15. ' OUTPUT LEVEL SWITCH The Output Level switch is used for matching the Quadra/FX’s output level to your system. Matched signal levels are important for controlling the amount of distortion present in the final signal. Too little signal results in a disproportionate amount of noise, while too much signal sounds distorted and gritty.
TUTORIAL The best way to understand the Quadra/FX is to just jump in and edit some presets. It doesn’t take long and you’ll see how easy editing is due to the Quadra/FX’s intuitive layout. This section consists of four tutorials: Creating From Scratch, Just Editing, MIDI, and Advanced Application Notes. After you finish the tutorials, check out the section entitled The Quadra/FX’s Adjustable Parameters, on page 27, for a complete list of each effect’s parameters and ranges.
Cascade Cascade routing also has two processors with two linked engines, but the output of the first processor is fed into the second one. In this routing, you have two stacked, true-stereo effects. Only Inputs and Outputs #1 and #2 are used. Engines #1 and #2 are linked and control the first processor, and Engines #3 and #4 are linked and control the second processor. Stereo Stereo routing is the most powerful routing type. It uses all four engines in an ultra-stereo group with enormous horsepower.
Engine button to enable routing changes. If you press any other button instead, the old routing will be restored. NOTE: Panner and Rotary are stereo effects and are not available in Discrete 4 (mono) routing. Engine: It should now sound like different effect algorithms are processing the audio entering the Quadra/FX; these are the default effects for the routing that you chose. To change an effect, you must first select its engine or engine group.
Parameter button again. All Parameter LEDs go out except for the one that was flashing (the one you selected). Turning the Encoder will now change the parameter’s value, as can be seen in the Preset / Value Display. If you wish to change the value of another parameter, press the Parameter button twice; the first press returns the unit to Preset mode and the second press puts the unit back in Parameter Edit mode (just like in the previous paragraph).
all active inputs. (For more information on the Smart Meter, see page 9.) The LED to the far left shows the current preset’s routing. Make sure the selected preset’s routing is one that can be monitored with your setup. (See page 27 for more information on routings, engines, and connections.) All the rest of the lights on the Quadra/FX seem to change at fixed periods. This is because the front panel is sequentially showing you the state of all available engines. Watch the Engine LEDs.
procedure to edit as many parameters as you want. When you are done, you can save the preset by pressing Store, selecting a preset number to overwrite, and pressing Store again to confirm. After you’ve edited one engine’s parameters, you may wish to edit another engine’s. Simply press the Engine button, turn the encoder to select a different one, and press the Encoder (three times) until you are back in the Parameter edit area. You could also select an engine and just press the Parameter button.
Editing MIDI Parameters: To edit the Quadra/FX’s MIDI parameters, press the MIDI button. Notice that all of the Smart Meter LEDs are lit and its MIDI Map/-18 LED is flashing. The Smart Meter is no longer showing audio level. Instead, its LEDs (along with the text to the left) indicate which MIDI parameter is selected for editing. Also, notice that Routing and Engine LEDs are on to remind you of the preset’s routing and which engine’s MIDI parameters you are currently editing.
NOTE: MIDI map can be set and changed from within any engine and it, along with the MIDI controller assignments (see the next section), need to be saved with the preset. Setting MIDI Controllers: Press the Encoder again to switch back to the parameter selection mode, where turning the Encoder scrolls through the six MIDI options.
To assign MIDI to trigger an engine’s Smart Encoder function, turn the Encoder until two Parameter LEDs light. If only one Parameter light goes on at a time, it is because there is no Smart Encoder function available for the effect of the current engine. Only reverb, delay, and rotary effects use the Smart Encoder.
Preset mode and the MIDI edits will not be saved, though they will remain active until you change presets. MIDI Channel, however, is automatically saved each time it is updated. TUTORIAL 4: ADVANCED APPLICATION NOTES The Smart Encoder: The Quadra/FX’s reverb, delay, and rotary effects have certain parameters that can be triggered with a press of the front-panel Encoder.
To tap in a new delay time, press the Encoder at the desired tempo. The number of times that you press doesn’t matter; the Quadra/FX takes the average tempo. As you are tapping, you will hear the new delay time and see its value in the Display. Repeat this process as often as necessary. Repeat Hold infinitely loops the delayed sound. Play a phrase and then press the Encoder. The delayed sound will repeat, at the rate of the delay time, until you press the Encoder again.
trigger the Smart Encoder’s stored action. Each preset can have one default function and it becomes active as soon as the preset is loaded. Whenever you enter Smart Encoder mode (by pressing Bypass and the Encoder), the default Smart Encoder function appears first (its Routing, Engine, and Parameter LEDs are lit). To assign a different default function, simply turn the Encoder to select another one and press Store twice.
THE QUADRA/FX’s ADJUSTABLE PARAMETERS DESCRIPTION OF ROUTINGS AND ENGINES The Quadra/FX 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. Press the Routing button and turn the Encoder to scroll through the four routings: Discrete 4, Twin Stereo, Cascade, and Stereo. Discrete 4: This routing configures the Quadra/FX as four mono signal processors.
Cascade: This routing feeds the output of one stereo processor (grouped Engines #1 and #2) into another (grouped Engines #3 and #4). It only uses Inputs and Outputs #1 and #2. Inputs and Outputs #3 and #4 are disabled. As with Twin Stereo, the left and right channels of each processor remain separate, but any modulated parameter is linked. Stereo: This routing uses all four Engines in the Quadra/FX as one “supercharged” stereo processor.
Gated classes contain an auxiliary gate to create “ducking” effects. On reverbs, this class allows for forward/reverse gated reverb with no decay tail. Ambient classes contain some stereo special effects that are not available in Discrete 4 (mono) routing. The Ambient Delay simulates “mic. placement” or “listener location” images and Ambient Reverb creates earlyreflection spaces. Dynamic classes modify certain parameters based on the Quadra/FX’s input level.
Boost (dB) Bass Control 20 15 10 5 0 -5 -10 -15 -20 10 100 1000 10000 Frequency in Hz (Log Scale) High EQ Each effect has a user adjustable high equalization control that is inline with the processed (wet) signal. It has a variable slope with a maximum treble boost/cut amount of ±15 dB (in 1-dB steps).
CHAMBER REVERB 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. ROOM REVERB The Rooms in the Quadra/FX approximate the impulse responses of different types of “real” rooms.
REVERB CLASSES: Vocal The Vocal Reverb class can be used to sweeten and enhance the intelligibility or breathy qualities of a sound, particularly a vocal track. Bandwidth on longer decays is tailored to keep voices balanced in the tail. 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.
REVERB Delay (Predelay) Size (Size) Regen (Diffusion) Decay (Decay) Shape (Shape) Pitch (Motion) Speed (Ramp Rate) Width (Depth) Special (*see below) Vocal Instrument Concert Gated Ambient Dynamic 0–255ms 0–255ms 0–255ms 0–255ms 0–255ms 0–255ms 5–50m 5–50m 5–50m .05–.5s 5–50m 5–50m 0–10 0–10 0–10 0–10 0–10 0–10 0.3–28s 0.3–28s 0.3–28s 0–31 0–31 0–31 0–31 0–31 0–31 0–9 0–9 0–9 0–9 0–9 0–9 0–41 0–41 0–41 0–32 0–32 0–32 0–32 0–32 0–32 Threshold Threshold Threshold 0.3–28s 0.
Shape: Controls extra early-reflection delays that are used to modify the reverb envelope’s contour. This parameter’s range is from 0 to 31. Use Shape settings from 0 to 6 to modify the initial attack envelope. With settings from 7 to 23, the attack envelope stays constant, but spreads out in time. Settings above 23 create longer delays and a reverse slap. Use this control to further shape the front-end of your hall or to create distant echo effects.
In the Dynamic Class, Special sets the Threshold that switches the Decay time from a minimum setting to the preset length. As with the above classes, Threshold can be set from 1 to 30 dB below unity gain. Normally, when the input signal is below the Threshold’s setting, the reverb’s decay time is as set. When the signal is higher than the Threshold, the Decay time is reduced.
DIGITAL DELAY These algorithms delay a signal in time. The maximum delay length, per channel, is 2.75 seconds for Stereo routing and 1.25 seconds for all other routings. Up to twelve delay taps are available and can be equally and unequally spaced within the span of the delay length. Some of these classes have dynamics sensing, which can use input level to switch the effect in and out or change the Regen value. The Ambient class creates a special miked-speaker simulation.
Dynamic The Dynamic Delay uses input level to switch the Regen amount between its preset value and 0. DELAY Delay (Delay Time ± 1 ms) Size (Delay Time ± 50 ms) Regen (Regen) Decay (Fade Time) Shape Pitch Speed (Shape) (1–9 in Discrete 4) Width (Number of Taps) Special (*see below) Vocal Instrument Concert Gated Ambient 0–1250ms 0–1250ms 0–1250ms 0–1250ms In feet, based on Size 0–1250ms 0–1250ms 0–1250ms 0–1250ms 0–1250ms 2–112 ft.
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. Pitch: (Not used.) Speed: (Not used.) Width: Sets the number of taps taken over the course of the delay length. You can have up to 12 taps in the amplitude and time pattern set by Shape. In the Ambient class, this parameter sets the distance between the two microphones, from 0 to 2.2 feet.
PITCH TRANSPOSER 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. This feature can 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 Dynamic class). PITCH CLASSES: Vocal The Vocal PT is the ultimate double tracking algorithm. This class’ range of transposition is ±1.
PITCH Vocal Instrument Concert Gated Ambient Dynamic Delay (Predelay ± 1 ms) Size (Predelay ± 50 ms) Regen (Regen) 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–99 0–99 0–99 0–99 0–99 0–99 Decay (Envelope Rate) 0–31 0–31 Shape (Buffer Size) Pitch (Pitch) 1–4 1–4 1–4 1–4 1–4 1–4 ±1.27, -2.4 ±12.7, -24 ±12.7, -24 ±12.7, -24 ±12.7, -24 ±12.7, -24 Speed Width (Pitch 2) Special (*see below) ±1.27, -2.4 Threshold ±12.
Dynamic class uses the Quadra/FX’s dynamics sensing to trigger the Whammit! effect. The Threshold range is the same as with the Vocal and Gated classes; it can be set in 1-dB increments, from 1 to 30 dB below full-scale. Normally, when the input signal crosses below the set Threshold, the Whammit! effect glides to the desired transposition amount (at the length of time set with Decay) and stays there until the signal level crosses above the Threshold.
CHORUS Chorus is an effect that mixes a signal with slightly detuned copies to produce a rich, moving texture. The Low Frequency Oscillator (LFO) Speed determines the movement (sweep) rate and the LFO Shape determines the sweep pattern. Some of the chorus classes have dynamics sensing, which can use input level to switch the effect in and out or trigger the LFO. NOTE: The chorus effect is strongest when Mix is set to 50.
Dynamic A Dynamic Chorus can trigger the LFO through one cycle of its sweep when the input signal crosses above the programmed Threshold level. When the input signal crosses back, the LFO is reset and will trigger again the next time the input signal crosses over the Threshold level. Threshold is set with the Special parameter.
controls the gating action of the effect. This parameter can be set in 1-dB increments, from 1 to 30 dB below full-scale. Normally, when the input signal is above the Threshold setting, the chorus is muted. With signals below the Threshold, the chorus is heard. If the value in the Display is preceded by an r ( ), this gating action is reversed; signals above the Threshold setting are chorused and ones below are not.
FLANGER The Flanger sweeps harmonically spaced filter notches through a signal’s spectrum. The Low Frequency Oscillator (LFO) Speed determines the sweep rate and the LFO Shape determines the sweep pattern. Some of the flanger classes have dynamics sensing, which can use input level to switch the effect in and out or trigger the LFO. NOTE: The flanger effect is strongest when Mix is set to 50.
Dynamic A Dynamic Flanger will trigger the LFO through one cycle of its sweep when the input signal crosses above the programmed Threshold level. When the input signal crosses back, the LFO is reset and will trigger again the next time the input signal crosses over the Threshold level. Threshold is set with the Special parameter.
the input signal is above the Threshold setting, the flanger is muted. With signals below the Threshold, flanging is heard. If the value in the Display is preceded by an r ( ), this gating action is reversed; signals above the Threshold setting are flanged and ones below are not. Dynamic class uses the Quadra/FX’s dynamics sensing to trigger the LFO through one cycle of its sweep.
PHASER The Phaser effect sweeps non-harmonically spaced notches through a signal’s spectrum. The Low Frequency Oscillator (LFO) Speed determines the sweep rate and the LFO Shape determines the sweep pattern. Some of the Phaser classes have dynamics sensing, which can use input level to switch the effect in and out or trigger the LFO. NOTE: The phaser effect is strongest when Mix is set to 50.
Dynamic A Dynamic Phaser has 5-notches and will trigger the LFO through one cycle of its sweep when the input signal crosses above the Threshold level. When the input signal crosses back, the LFO is reset and will trigger again the next time the input signal crosses over the Threshold level. Threshold is set with the Special parameter.
Special: In Vocal and Gated classes, Special sets the audio input level (Threshold) that controls the gating action of the effect. This parameter can be set in 1-dB increments, from 1 to 30 dB below full-scale. Normally, when the input signal is above the Threshold setting, the phaser is muted. With signals below the Threshold, phasing is heard. If the value in the Display is preceded by an r ( ), this gating action is reversed; signals above the Threshold setting are phased and ones below are not.
ROTARY 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 in Discrete 4 routing.
Dynamic The Dynamic Rotary uses the Quadra/FX’s dynamics sensing to automatically switch between low and high speeds. The Threshold level at which the speed changes is set with the Special parameter.
Dynamic class uses the Quadra/FX’s dynamics sensing to switch between low and high rotor speeds. The Threshold range is the same as with the Gated classes; it can be set in 1-dB increments, from 1 to 30 dB below full-scale. The Dynamic Rotary effect normally runs at its low speed. When the input signal crosses above the Threshold level, the effect spins up to its high speed until the signal drops below the Threshold, when it then spins back down to the low rate.
TREMOLO Tremolo is a volume effect that fades a signal’s level in and out. The Low Frequency Oscillator (LFO) Speed determines the fade rate and LFO Shape determines the fade pattern. Some of the Panner classes have dynamics sensing, which can use input level to switch the effect in and out or trigger the LFO. TREMOLO CLASSES: Vocal Vocal Tremolo is the traditional tremolo effect with the addition of dynamics sensing, which can be used to fade the effect in and out if the Threshold level is crossed.
TREMOLO Vocal Instrument Concert Gated Ambient Dynamic Delay (Predelay ± 1 ms) Size (Predelay ± 50 ms) 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms Regen Decay (Fade Time) Shape (LFO Shape) 0–100 1–7 1–7 1–7 1–7 1–7 1–7 Pitch Speed (LFO Speed) Width (LFO Width) Special (*see below) 0–10.5Hz 0–10.5Hz 0–10.5Hz 0–10.5Hz 0–10.5Hz 0–10.5Hz 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% Threshold Threshold Diff.
on its high value. In the case of tremolo, low and high LFO values correspond to low and high volume levels. A Threshold setting of 2)) is available to disengage all dynamics sensing. When the Ambient Tremolo is selected, the Special parameter sets the Difference Factor. This parameter determines how much difference information (from a stereo mix) is processed by the Ambient algorithm. The Difference Factor range is from 0 to 60.
PANNER The Panner is a stereo effect that alternately raises and lowers the volume of the left and right channels. The Low Frequency Oscillator (LFO) Speed determines the rate of change and the LFO Shape determines the pattern of volume change. Since this is a stereo effect, it is not available in Discrete 4 (mono) routing. Some of the Panner classes have dynamics sensing, which can use input level to switch the effect in and out or trigger the LFO.
PANNER Delay (Predelay ± 1 ms) Size (Predelay ± 50 ms) Vocal Instrument Concert Gated Ambient Dynamic 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms 0–1000ms Regen Decay (Fade Time) Shape (LFO Shape) Pitch (LFO Offset) Speed (LFO Speed) Width (LFO Width) Special (*see below) 0–100 1–7 1–7 1–7 1–7 1–7 1–7 1–11 1–11 1–11 1–11 0–10.5Hz 0–10.5Hz 0–10.5Hz 0–10.5Hz 0–10.5Hz 0–10.
Width: Sets the LFO modulation width, or amount, from 0% to 100%. Special: In Vocal and Gated classes, Special sets the audio input level (Threshold) that controls the gating action of the effect. This parameter can be set in 1-dB increments, from 1 to 30 dB below full-scale. Normally, when the input signal is above the Threshold setting, the panner is muted. With signals below the Threshold, the panner is heard.
MIDI PARAMETERS The Quadra/FX has three types of programmable MIDI parameters: channel, MIDI map, and continuous controllers (four per engine or engine group). Press the MIDI button and then turn the Encoder to access the MIDI parameters. To edit the selected parameter’s value, press the Encoder and turn it. MIDI Controller Mappings have two associated values and will require a second Encoder press to access the second value. Again, turn the Encoder to change values.
NOTE: An incoming program change message can only be set to recall one Quadra/FX preset. If the program change number you have set is already being used by another preset, the Display will warn you by alternating between the program change number and the other preset’s number. The other preset’s number will have its right-most decimal point lit. If you choose to store the current preset with an already-used program change number, the Quadra/FX will replace the older preset’s MIDI map with a value of 2)).
CONTROLLER NUMBER Press the Encoder again to change the MIDI controller number that will modify the previously selected Assigned Parameter. The available MIDI controller numbers are pitch), . (aftertouch), and ,- – , 2 (note on pitch), 2)) (note off (pitch bend). While editing at this location, any external MIDI controller movement on the Quadra/FX’s MIDI channel will automatically set the controller number. See page 67 for more information on MIDI controllers.
REFERENCE: Quadra/FX Factory Preset List # Name Routing 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 Big Stereo Reverb Tight Stereo Reverb Gated Stereo Reverb Sideways Reverb Space Reverb FX 1 Nonlinear Delay 1 Rotary Tense Rotary Bass Phaser Phaser 1 Phaser 2 Water Guitar Flanger 1 Flanged Tails Barber Pole Flanger Chorus 1 Chorus 2 Slight Vibrato Stereo Stereo Stereo Discrete 4 Cascade Cascade Discrete 4 Cascade Cascade Cascade Twin Stereo Cascade Cascade Cascade Cascade Cascade Twin Stereo Cascad
50 51 52 53 54 55 56 57 58 59 2X Chorus Cascade MXR "Yellow" Stereo Jazzy Chorus Stereo Danish Chorus Stereo Warm Space Cascade Chorus Spread Discrete 4 Chorus Tails Cascade Big Chorus + Reverb Cascade Boston (L-R) Chorus Twin Stereo Four Choruses Discrete 4 60 61 62 63 64 65 66 67 68 69 2X Flanger Cascade MXR Flanger Stereo MXR Flange 2 Stereo Danish Flange Stereo Hybrid 1 Cascade Hybrid 2 Cascade Light Flange Twin Stereo Almost Stuck F.
LFO Shapes (two cycles each) EXPONENTIAL (SHAPE = 0) These graphs are of the available LFO shapes for Chorus, Flanger, 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 (SHAPE = 4) (SHAPE = 6) SQUARE (SHAPE = 5) INVERTED RAMP (SHAPE = 7) The Decay Control In the Vocal class of Delay, Chorus, Flanger, Phaser, Tremolo, and Panner effects, this control sets the amount of time it takes the effect to fade in and out after the Threshold setting is crossed. Threshold is set with the Special parameter. This control has been optimized for most musical applications. 10 Fade In Time Time in Seconds Fade Out Time 1 0.1 0.
MIDI Controllers and Numbers Here’s a list of MIDI Controllers and their numbers, which will help you avoid conflicts if you control the Quadra/FX and other MIDI gear in the same setup. The Quadra/FX displays controller numbers as normal, decimal numbers. The following table lists hexadecimal numbers, their equivalent decimal numbers, and the common uses for these controller numbers in MIDI.
MIDI IMPLEMENTATION IN THE QUADRA/FX Channel Voice Messages The Quadra/FX ignores all Channel Voice messages except Control Change and Program Change. When either of these are received, the Quadra/FX acts on the Control Voice message when the channel number matches. If Omni On mode is set (the Quadra/FX MIDI Channel = %%), the Quadra/FX will act on all incoming MIDI channels. Program Change Presets can be selected with a Program Change message.
The SysEx message to make the Quadra/FX dump all presets is: F0 1A 0x 21 4B F7 Other MIDI Notes The Quadra/FX ignores inbound Active Sensing messages. The Quadra/FX does not generate Active Sensing messages. The System Reset message is ignored.
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.
Quadra/FX 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.
