User Manual

9 VIRTUALIZER 3D FX2000 User Manual
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VIBRATO: For this effect, the peak frequency of a tone is periodically and
uniformly changed (quickly or slowly). It is often used for guitar playing.
TREMOLO: This effect was originally found on guitar amplifiers, and is once again
trendy. It is a fast or slow periodic variation of the volume.
AUTO PANNING: This sound effect, which was very popular in the beginnings of
stereo technique, is achieved by allowing a sound source (often the lead guitar or
a synthesizer) to wander from one end of the stereo image to another or by just
letting it wander repeatedly.
Parameter Function
Speed Speed of modulation
LFO
1
Wave
Sets the curve of the modulation
(triangular, sinusoidal, rectangular)
Depth Modulation depth (L & R)
Delay Length of delay
Feedback Routes back the processed signal to the input stage
Wave
Sets the curve of the LFO (Sine, Tri, Opto, Square,
Saw Up, Saw Down)
Semitones 1 Pitch Shifter 1: detuning in semitones
Semitones 2 Pitch Shifter 2: detuning in semitones
Semitones 3 Pitch Shifter 3: detuning in semitones
Cents 1 Pitch Shifter 1: detuning in cents
Cents 2 Pitch Shifter 2: detuning in cents
Cents 3 Pitch Shifter 3: detuning in cents
Drum Depth
Intensity of amplitude modulation of the bass
loudspeaker (Rotary)
Horn Depth
Intensity of amplitude modulation of the high pitch
horn (Rotary)
Balance Volume ratio between horn and drum
Spread Effect intensity
Stereo Spread Stereo effect intensity
Stereo Phase Phase angle between left and right modulation
Bandlimit Frequency band limitation of effect
Wideness Parameter variation (Ultra Chorus)
Intensity Intensity of modulation
Base Starting point of modulation
Drive Intensity of tube distortion
Mode
Selects various effect modes or between three modes
with increasing modulation intensity (Stereo Phaser)
Auto Modulation Influences LFO frequency (dependent on input level)
Feedback LP Low pass cut-off frequency of feedback
Split Frequency Split frequency of frequency crossover
Tab. 2.3: Functioning of the modulation and pitch shifter effects’ parameters
1
(Low Frequency Oscillator): determines the speed and nature of modulation effects.
Dynamic effects2.4
COMPRESSOR/LIMITER: When the signal level exceeds the level control limit of
the signal-processing unit, it must be limited dynamically to avoid distortions.
This is achieved by installing a compressor or a limiter. The limiter abruptly limits
the signal above a specified threshold, while a compressor acts “softly” over a
large range.
EXPANDER: Background noises of all types (noise, humming etc) limit the
dynamic range of the actual signal. As long as the level of the actual
signal lies significantly above the background noise, the noise is inaudible.
The interference signal in this case is masked by the actual signal. The expander
is used to effectively expand the dynamic range of signals. Signals with small
amplitudes (such as background noise) can be weakened, thereby reducing the
background noise.
GATE: On stage and in studios, there are diverse applications where a noise
gate is needed. For example, microphones that tend to cause feedback can
be “defused”. In addition, you can use a gate to eliminate unwanted noise.
When used on vocals, for example, the signal is simply masked during pauses,
thus eliminating all noise. Needless to say, a gate used on vocals has to open very
quickly—otherwise, the first syllables of soft or whispered passages would not
be audible.
ULTRAMIZER: The ultramizer function divides the sound spectrum into two
frequency bands and, as a result, allows inaudible but extremely effective
compression. This is especially helpful during mix-down. The FX2000
analyses the received audio material and automatically adjusts input gain and
compression parameters.
DENOISER: The denoiser is used to eliminate or reduce noise and
other interference.
DE-ESSER: A problem often encountered in recording situations, is the sibilant
(Ssss) sound of the human voice. The de-esser is used to remove strong hissing
sounds from the audio signal.
WAVE DESIGNER: Using this effect, you can influence the envelope of a signal by
specifying its volume. A (= Attack) indicates the time a tone needs to reach its
full volume. R (= Release) determines how long it takes before a tone dies away.