parallel effects processor R e f e r e n c e Ma n u a l Version 2.
DP/4+ Reference Manual: Written, designed, and illustrated by: Tom Tracy, Bill Whipple, Jon Dattorro, John Senior Copyright © 1995, 1996 ENSONIQ® Corp 155 Great Valley Parkway Box 3035 Malvern, PA 19355-0735 USA Printed in U.S.A.
Table of Contents Table of Contents DP/4+ List of Tips Preface Welcome!.................................................................................................................i The Effects..........................................................................................................i Parallel Processing..............................................................................................i Clean Up and Maintenance...................................................................
Table of Contents Input Configurations..................................................................................................19 One Source Input Configuration............................................................................19 Two Source Input Configuration............................................................................19 Three Source Input Configuration.........................................................................19 Four Source Input Configuration...............
Table of Contents GUITAR AMP 1, GUITAR AMP 2.........................................................................70 GUITAR AMP 3...................................................................................................72 GUITAR AMP 4...................................................................................................74 GUITAR TUNER 2U............................................................................................76 HALL REVERB..........................................
Table of Contents Available ABCD Routings..................................................................................137 2 Source Config..........................................................................................................140 3 Source Config..........................................................................................................142 4 Source Config..........................................................................................................
Table of Contents Section 6 — Presets Quick Steps to Hear Presets.......................................................................................183 To Select 1 Unit Presets........................................................................................183 To Select 2 Unit Presets........................................................................................183 To Select 4 Unit Presets........................................................................................
List of Tips DP/4+ List of Tips Using Four Mono Foot Switches with the DP/4+.........................................................14 Shortcuts for locating System•MIDI parameters........................................................18 To Get to the First Parameter.....................................................................................25 To Advance by Screens...............................................................................................
Preface Welcome! Congratulations, and thank you for purchasing the ENSONIQ DP/4+ Parallel Effects Processor. The DP/4+ creates 24-bit digital effects using four independent processors, and features four independent inputs and outputs with full internal mixing capabilities. The DP/4+ is equally at home in a professional recording studio, home studio, guitar rig, MIDI setup, or PA system.
Preface Power Insert the line cord into the line receptacle on the rear panel of the DP/4+. Plug the other end of the cable into a grounded AC outlet (the proper voltage for your DP/4+ is listed on the Serial Number label on the rear panel). Turn the DP/4+ power on and make sure the display lights up. If not, check your connections and power source. When you turn the power on, the display will show “ENSONIQ * DP/4+,” and then go to Select mode (Select LED on).
Preface AC Line Conditioning As with any computer device, the DP/4+ is sensitive to sharp peaks and drops in the AC line voltage. Lightning strikes, power drops, or sudden and erratic surges in the AC line voltage can scramble the internal memory, and in some cases, damage the unit’s hardware. Here are a few suggestions to help guard against such occurrences: • • A Surge/Spike Suppressor.
Preface Amplifying Your DP/4+ Through a Home Stereo System If you are thinking about amplifying your DP/4+ through your home stereo, please be careful. A home stereo is great for playing CDs, albums or tapes — the dynamic range of these media is limited, and your speakers aren’t usually subjected to extreme volume changes and frequency transients.
Preface Reinitializing the DP/4+ If your DP/4+ is behaving in peculiar ways (the display is showing alphanumeric characters that shouldn’t be there or unexplainable Unexpected Event messages) and a soft reset (or turning the DP/4+ power off and then on again) won’t cure the problem, try reinitializing the DP/4+. WARNING! THIS PROCESS WILL ERASE ALL RAM PRESETS! The 200 User Presets in the internal memory (RAM) are automatically loaded with the factory defaults after reinitialization.
Preface Battery Replacement Guidelines The reason that the DP/4+ “remembers” configs, presets and system parameters, even when the power is off, is that all of its internal RAM is “battery-backed-up.” The battery that keeps the DP/4+ memory intact is located inside the DP/4+, and when it becomes discharged, the battery must be replaced by an Authorized ENSONIQ Repair Station. The battery that came in your DP/4+ is good for up to five years.
Preface Need More Help? Whether you’re an aspiring programmer looking for additional information about basic effect processing techniques and MIDI theory, or a professional sound engineer working with advanced applications, you may want more detailed information that is beyond the scope of this manual. The following books can help enhance your understanding of effect processing, MIDI, and related topics. These, in addition to the numerous monthly magazines, provide a wealth of information.
Preface Monthly Magazines The following magazines offer many specific articles and columns that can provide a plethora of useful information.
Section 1 — Controls & Basic Functions There must be something better… This section provides an introduction to the DP/4+’s many controls and rear panel connections; a conceptual overview of the system; a guide to selecting DP/4+ presets; and a discussion of editing various types of parameters. We suggest you read this section carefully — it will help you get the most out of your DP/4+.
Section 1 — Controls & Basic Functions Mute Outputs DP/ peak p a r a l l e signal inputs phones 00. push outputs MIDI Mic Gain input 1 inst/mic 1 rear input 1 off 2 3 1 4 2 3 4 5 6 7 Write Cancel Copy Undo 8 9 Front Panel Controls 1. Phones 4. Mute Outputs — (inst/mic) Plug headphones into this 1/4” stereo jack to listen to the DP/4+ in stereo. The signal going to this jack is from the sum of all four rear outputs, even if they are not connected.
Section 1 — Controls & Basic Functions /4 + l input configurations e f f e c t s p r o c e s s o r 1 source 2 source A . B 1 A:Hall Reverb C 1 2 D Mix=25 Volume=99 1 3 A B 1 2 C D 3 3 source 4 source 1 A 1 1 A 1 2 B 2 2 B 2 C D 3 3 C 3 3 4 4 D 4 4 on MIDI Select Edit bypassed active System bypass all Compare 10 11 12 13 A MIDI 14 B 15 C D Config 16 17 18 19 9 Cancel•Undo Button 14.
Section 1 — Controls & Basic Functions Rear Panel Connections Line MIDI Thru Out Outputs In Foot Switch 1 Foot Switch 2 4 CV•Pedal 3 2 mono 1 Level (dBu) mono Inputs 4 3 2 mono 1 mono +4 To reduce the risk of fire or electric shock do not expose this product to rain or moisture. 1 Front panel Mic Gain button disables rear Input 1 TRS Bal/Unbal Inputs & Outputs WARNING! R 2 3 4 5 R L 6 7 main -10 L 8 R R L L 9 1. Line 6.
Section 1 — Controls & Basic Functions DP/4+ RULES Setting Levels The input and output levels affect the volume of audio signal going into and coming out of the DP/4+, and are controlled by the two rows of four knobs on the left hand side of the front panel. The top row controls the input levels for Inputs 1 to 4, the bottom row controls the output levels for Outputs 1 to 4.
Section 1 — Controls & Basic Functions Using Headphones with the DP/4+ Headphones can be used with the DP/4+ when connected to the front panel 1/4” stereo Phones jack to listen to the DP/4+ in stereo. The signal going to this jack is from the sum of all four rear outputs, even if they are not connected. The 4 rear outputs are mapped to the stereo headphone as follows: 1 and 3 are mostly to the left; 2 and 4 are mostly to the right.
Section 1 — Controls & Basic Functions The Input 1 Jack — Front Panel vs. Back Panel The following diagrams show how the front panel Input 1 jack (along with the {MIC_GAIN} button) affects the rear panel Input 1 jack.
Section 1 — Controls & Basic Functions A Note About the Input and Output Jacks Use standard balanced (TRS stereo cables) or unbalanced (TS mono cables) for these connections. If there is a problem with hum or buzz, see the following section on ground loops.
Section 1 — Controls & Basic Functions Ground Loops Sometimes currents flowing through the ground line generate a signal seen by another part of the circuit sharing the same ground. In other words, if there are two identical signal paths within a circuit, they can form a loop which can result in hum and/or noise. If you are using equipment that has 3-prong “grounded” AC power cords, you may suffer from a ground loop resulting from the interconnection of this equipment.
Section 1 — Controls & Basic Functions If it exists, input ground loops can be eliminated in the following ways: 1. In balanced applications, disconnect the shield from the connector that is plugged into the output of the source device. Custom Balanced Cable (to eliminate input ground loop) Red Black Shield T R (unconnected) OTHER 1/4" output (balanced) 2.
Section 1 — Controls & Basic Functions A Note about the Foot Switches Line MIDI Thru Out In Foot Switch 2 Foot Switch 1 WARNING! To reduce the risk of fire or electric shock do not expose this product to rain or moisture. The recommended foot switch for use with the DP/4+ is the ENSONIQ Model SW-10 Dual Foot Switch. The SW-10 is a dual (piano-type) foot switch with two separate pedals.
Section 1 — Controls & Basic Functions Four-On-The-Floor An Application For Using Two Stereo Foot Switches to Bypass Effects The DP/4+ allows you to employ two stereo foot switches (such as the ENSONIQ SW-10) to turn the DP/4+’s four effects processors on and off. To set up your foot pedals: 1. Connect one foot pedal to the Foot Switch 1 jack on the DP/4+’s back panel. 2. Connect the other foot pedal to the Foot Switch 2 jack. 3.
Section 1 — Controls & Basic Functions HOT MODS! Although they are not recommended, mono foot switches such as the ENSONIQ Models SW-2 or SW-6 Foot Switches can be used successfully if you are willing to make either of the following modifications.
Section 1 — Controls & Basic Functions HOT MODS! Build a Splitter Box to Merge Two Mono Foot Switches into One Stereo Jack The advantage of this modification is that you it will allow you to make two mono foot switches function as one stereo foot switch.
Section 1 — Controls & Basic Functions DP/4+ Modes The DP/4+ will always be in one of three different modes: Select, Edit, or System•MIDI. You enter one of these modes by pressing its button on the front panel; the current mode is indicated by which LED is lit. Select Mode Select Edit System Compare MIDI Edit Mode Select Edit System Compare MIDI Press the {SELECT} button to enter Select mode. Its LED will light. In this mode, you select Presets.
Section 1 — Controls & Basic Functions About Select Mode In Select mode, you select Presets. These can be 1 Unit, 2 Unit, 4 Unit, or Config Presets, depending on the current config and on which unit buttons ({A}, {B}, {C}, or {D}) have been pressed after pressing the {SELECT} button.
Section 1 — Controls & Basic Functions About Edit Mode In Edit mode, you can edit (change the settings of) presets, the algorithm (effect) in each of the four Units ({A}, {B}, {C}, or {D}) and its related parameters, and the config parameters (how the signals are routed). Edit Mode is the easiest place to change the algorithm (by selecting a 1 Unit preset) in a single unit. After pressing {EDIT}, pressing ({A}, {B}, {C}, or {D}) or {CONFIG} determines what you will be editing.
Section 1 — Controls & Basic Functions About System•MIDI Mode In System•MIDI mode, you can edit unit-specific MIDI parameters, and parameters which are system-wide, or “global.” The System•MIDI parameters (such as MIDI channels, Controllers, and program change maps) do not change when you select different presets and configs. For specific information about the System•MIDI parameters, see Section 4 — System•MIDI. To enter System•MIDI mode, press the {SYSTEM"MIDI} button.
Section 1 — Controls & Basic Functions About Presets The DP/4+ has 400 presets in its memory, but you can’t get to all of them at any one time. This is because: • • 100 of the presets are Config presets which change the input configuration and routing as well as load new effects algorithms; and of the remaining 300 presets, the type(s) of presets available for viewing and selecting depends on the current config type.
Section 1 — Controls & Basic Functions Selecting Config Presets Of the four Preset types, the most powerful is the Config Preset. The Config preset lets you save, and later recall, the current state of the DP/4+, including all algorithm, signal routing and mixing information. Selecting a Config preset will • Reconfigure the DP/4+ inputs and outputs; • Change the signal routing between units; and • Load a new algorithm into each of the four Units. To select a Config preset 1. Press {SELECT}. 2.
Section 1 — Controls & Basic Functions How the Config Type Affects Selecting Presets The four different config types effectively turn the DP/4+ into 1, 2, 3, or 4 independent effects processors, with a varying number of DP/4+ effects units per “processor”: Configuration type: A B C Preset Example (s): D A 1 source config turns the DP/4+ into one giant multi-effects processor, with four effects units all processing the same input signal. These are called 4-Unit Presets.
Section 1 — Controls & Basic Functions Replacing the Algorithm in a Single Unit You can use Edit mode to easily replace the algorithm in one of the four units without changing the current config or affecting what is in the other units. To replace the algorithm in a unit: 1. Press {EDIT}. 2. Press Unit {A}, {B}, {C}, or {D} to select that unit for editing. The active unit’s yellow LED should be lit. The display shows: Unit Preset Number flashing m 50 3.
Section 1 — Controls & Basic Functions About Signal Routing The four audio inputs are analog signals which are fed to four analog-to-digital converters. The four units are digital audio signal processors which have digital inputs and outputs. Routing between the units is digital. The output of a unit is converted back to analog audio for the output jack.
Section 1 — Controls & Basic Functions Understanding Serial, Parallel and Feedback Signal Routing When we speak of connecting units together, we are usually referring to one of three types of signal routing, serial, parallel, or feedback. It is very important to understand the difference between these concepts. Serial Routing Serial routing means the input signal is routed through the first unit before being sent to the input of the second unit.
Section 1 — Controls & Basic Functions Bypassing Units At some point while you’re selecting various 4 Unit Presets, you may want to listen to how an individual unit’s effect is processing the incoming audio signal. In this case, you would need to bypass the other three units. To bypass a single unit’s algorithm: 1. Press the unit button ({A}, {B}, {C}, or {D}) that you want to bypass. 2. Press the same unit button again. The red LED above the unit button will be lit, and the unit will be bypassed. 3.
Section 1 — Controls & Basic Functions 26 ENSONIQ DP/4+ Reference Manual
Section 2 — Algorithms 09 — Comp Noise Gate Off Below Range: -96 to +00 dB Sets the lower threshold level at which the noise gate shuts off the audio. 10 — Comp Noise Gate On Above Range: -96 to +00 dB Sets the upper threshold level at which the noise gate passes audio. This higher second threshold prevents false “turn ons.” 11 — Gate Release Time Range: 1ms to 10.0s Determines how long it takes for the gate to be fully released after the input signal drops below the threshold level.
Section 2 — Algorithms EQ - DDL - WITH LFO EQ-DDL-withLFO features a parametric EQ and a stereo digital delay (similar to Dual Delay) that provides LFO modulation of a wide range of delays.
Section 2 — Algorithms 08 — DDL+LFO Delay Regen Range: -99 to +99 Controls the amount of regeneration applied to the delay time taps. The sign of the value determines the polarity of the regen. 09 — DDL+LFO Delay Cross Regen Range: -99 to +99 Allows you to feedback the delayed signals to their opposite sides; the left voice crosses to the right voice, and the right voice crosses to the left voice. A setting of +99 or -99 will cause infinite repeats.
Section 2 — Algorithms EQ - FLANGER - DDL EQ-Flanger-DDL combines an EQ with a flanger and a digital delay. Use flanging to get that “jet aircraft woosh” effect. EQ - Flanger - DDL Signal Routing Flanger EQ Delay L Echo Left Input Level Trim EQ Delay Feedback Echo Level Flanger Main Outputs R Right The signal enters an input level trim (parameter 20) followed by a programmable EQ, and then is routed to the flanger. The flanger is routed directly to the output.
Section 2 — Algorithms 08 — Left/Right LFO Range: Out-of-Phase or In-Phase Determines whether the flanger on the left and right channels is modulating in or out-of phase. 09 — Flanger Sample & Hold Rate Range: Off, 001 to 100 Controls the sample rate of a sample and hold network. This is applied to the LFO within the flanger. When in hold, the effect will be to create momentarily fixed notches within the frequency spectrum (if the notch depth is not 00).
Section 2 — Algorithms EQ - PANNER - DDL EQ-Panner-DDL combines an EQ with a panning effect and a digital delay. If this algorithm doesn’t sound like it’s panning, check parameter 05 to see if it’s in-phase or out-of-phase; a mono signal will only work “in-phase.
Section 2 — Algorithms 06 — Panner Sample & Hold Rate Range: Off, 001 to 100 Controls the sample rate of a sample and hold network applied to the LFO within the panner. When in hold, the stereo image will be momentarily fixed (if the width is not 00). A setting of 001 will have the largest space between holds. Higher values will increase the number of holds per second, making the panning flow more smoothly. This parameter can also be turned off.
Section 2 — Algorithms EQ-TREMOLO-DDL EQ-Tremolo-DDL combines an EQ and a tremolo effect, which is a pulsating change in volume, with a digital delay. EQ-Tremolo-DDL Signal Routing EQ Tremolo Delay L Echo Left Input Level Trim EQ Regen Echo Level Tremolo Main Outputs R Right The signal enters an input level trim (parameter 17) followed by a programmable EQ, and is then routed to the tremolo. The tremolo is routed directly to the output.
Section 2 — Algorithms 06 — Tremolo Sample & Hold Rate Range: Off, 001 to 100 Controls the sample rate of a sample and hold network applied to the LFO within the tremolo. When in “Hold,” the effect will be to fix the instantaneous amplitude (if the depth is not 00). A setting of 001 will have the largest space between holds. Lower settings create a staccato effect, whereas higher values will increase the amount of samples, making the tremolo flow more smoothly. This parameter can also be turned off.
Section 2 — Algorithms EQ - VIBRATO - DDL EQ-Vibrato-DDL combines an EQ and a vibrato effect (a pitch shifter modulating over a very small range), with a digital delay. Many vintage guitar amplifiers offered a vibrato control, but don’t feel that this algorithm is limited to guitars; try this with other sources as well. There is a sample & hold parameter that doesn’t hold the instantaneous pitch shift, but if set properly will provide a “chirping” effect when acting on the input signal.
Section 2 — Algorithms 06 — Vibrato Sample & Hold Rate Range: Off, 001 to 100 Controls the sample rate of a sample and hold network. This is applied to the LFO within the vibrato. When in hold (low values), it causes rhythmic chirps in the pitch of the audio signal. Higher values will increase the number of holds per second, making the vibrato flow more smoothly. The sample and hold function can also be turned Off.
Section 2 — Algorithms EXPANDER Expander performs downward expansion of an input signal’s dynamic range. For high expansion ratios this algorithm functions as a gate. This algorithm operates by reducing the level of signals below the threshold and passing the signals above the threshold. The Threshold is a definable parameter. This algorithm can be used to eliminate noise. There is no EQ in the audio path; high and low pass filtering are provided on the side chain only.
Section 2 — Algorithms 08 — Expander Gate Hold Time Range: 1ms to 10.0s This is the detection sustain time in the ADSR which constitutes attack, sustain, and release. 09 — Sidechain EQ Gain Range: -48 to +48 dB Controls the amount of boost applied to the output signal of the high/low pass filter. This accounts for insertion loss through those filters. 10 — HighPass Fc Range: 4 to 8000 Hz This sets the cutoff frequency of the lower frequency band high pass shelving filter.
Section 2 — Algorithms FAST PITCH SHIFT FastPitchShift has a transport delay of only 10 msec and a maximum detune ratio of one semitone. Try shifting the voices slightly in both positive and negative values (parameters 03 and 06) to create a fat sound. This algorithm can be used for pitch correction (for instance, try hooking up a mod wheel for MIDI). 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section.
Section 2 — Algorithms FLANGER Flanger is a fat digital flanger. The DP/4+ offers two different flanger algorithms. This flanger has deeper notches and requires less feedback than the EQ-Flanger-DDL algorithm. 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section. The flange depth can be changed somewhat by changing the Mix level. 03 — Flanger LFO Rate Range: 00 to 99 This parameter controls the rate of modulation of the flanger notches.
Section 2 — Algorithms GATED REVERB Gated Reverb provides an excellent gated reverb. When the output of a reverb is muted partway through it’s decay, it creates a gated sound. To achieve this gated effect, both the Gated and Reverse reverbs must gate a number of internal parameters, not just the output amplitude envelope. It is however, the output amplitude over which the user has control. The DP/4+ offers a highly controllable gated reverb, optimized for percussive instruments, but useful for any signal.
Section 2 — Algorithms 03 — Attack Range: 1ms to 10.0s Sets the attack time of the gated reverb once the incoming signal has reached the trigger level. Generally the attack should be short and not set longer than the Hold Time. This parameter should not be used to achieve a reverse reverb envelope, because here the attack volume increases whereas in the Reverse reverb the attack volume accelerates. 04 — Hold Time Range: 1ms to 10.
Section 2 — Algorithms 11 — Diffusion 2 Range: 00 to 99 This parameter, similar to and in series with Diffusion 1, performs the same way but controls lower frequency ranges. Recommended setting is approximately 50. 12 — Decay Definition Range: 00 to 99 Controls the rate of echo density build up in the reverb decay. If set too high, the echo density will build at a rate that exceeds the decay rate. A general rule of thumb: Definition should not exceed the Decay Rate.
Section 2 — Algorithms GUITAR AMP 1, GUITAR AMP 2 These algorithms recreate the warm sound of a tube guitar amplifier. They do this by emulating tube distortion characteristics. These algorithms are good for all stringed instruments. Guitar Amp 1 offers more distortion than Guitar Amp 2. Guitar Amp 1 is designed for Hard Rock sounds. Guitar Amp 2 is optimized for “bluesy” type sounds. 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section.
Section 2 — Algorithms 11 — Noise Gate Off Below Range: -96 to +00 dB Sets the lower threshold level at which the noise gate shuts off the audio. 12 — Noise Gate On Above Range: -96 to +00 dB Sets the upper threshold level at which the noise gate passes the audio. The higher second threshold prevents false “turn ons.” 13 — Gate Release Time Range: 1ms to 10.0s This parameter sets the amount of time after the signal has elapsed for the noise gate to shut down.
Section 2 — Algorithms GUITAR AMP 3 Guitar Amp 3 combines an inverse expander with a bright distortion for amp lead sounds. The inverse expander may be thought of as a compressor that amplifies all signals below the threshold. This algorithm is good for heavy metal and hard rock guitar solos. 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section.
Section 2 — Algorithms 13 — Noise Gate On Above Range: -96 to +00 dB Sets the upper threshold level at which the noise gate passes audio. This higher second threshold prevents false “turn ons.” 14 — Gate Release Time Range: 1ms to 10.0s Sets the amount of time after the signal has elapsed for the noise gate to shut down. For a longer sustain, set this parameter higher. 15 — Speaker High Pass Cutoff Range: 4 to 1000 Hz Filters out the low frequencies of the main amp prior to the speaker.
Section 2 — Algorithms GUITAR AMP 4 Guitar Amp 4 is designed to recreate the warm sound and “touch” of vintage class “A” tube guitar amplifiers. This is done by carefully emulating their distortion characteristics. The waveshaping table used in creating this guitar amp simulation is a symmetrical table. A symmetrical table produces odd harmonics (no even harmonics).
Section 2 — Algorithms 11 — Pre-EQ Gain Range: -48 to +24 dB Adjusts the amount of boost or cut applied to the parametric filter in front of the preamp. 12 — Pre-EQ Q Range: 01 to 18 Determines the width of the resonant peak at the parametric filter center frequency. While the Filter center parameter determines where (at what frequency) this peak will occur, the Q setting controls the presence of the peak.
Section 2 — Algorithms GUITAR TUNER 2U GuitarTuner2U is a utility algorithm specifically optimized to tune a guitar, or a bass guitar. In Select mode, when a preset that uses this algorithm is selected, it automatically takes you to parameter 03, for instant tuning ability. Guitar Tuner Signal Routing Unhappy Guitarist 01 — Mix Guitar Tuner 2U Range: Happy Guitarist 00 to 99 This parameter could be thought of as a reversed volume control. When this parameter is set to 99, the signal is muted.
Section 2 — Algorithms HALL REVERB Hall Reverb is a large acoustic space, and provides a high density reverb. Hall Reverb Signal Routing Echo Time LPF Echo Time Definition (Decay Diffuser) Diffuser L Left Main Outputs LPF Echo Time LPF Diffuser Echo Time Definition (Decay Diffuser) Right R LPF The signal enters a low pass filter, and goes directly through the diffusers which smear the signal.
Section 2 — Algorithms 03 — Decay Range: 0.70 to 250.0 sec. Controls the amount of time it takes for the reverberation to decay away to a very low level after the input signal stops. Higher values are recommended for the hall reverb. 04 — Predelay Time Range: 0 to 450 ms Controls the amount of time it takes for the original signal to be presented to the reverb. Higher values denote a longer delay.
Section 2 — Algorithms 12 — Detune Depth Range: 00 to 99 Controls the depth of the detuning, that is, how much the pitch will change. Low values yield a metallic sound. Some sounds may require very low values, while others sound more natural with higher values. 13 — Primary Send Range: -99 to +99 Controls the level of the diffused input signal into the reverb definition. 14 — Ref 1 Time Range: 0 to 120 milliseconds Controls the delay time for the first pre-echo.
Section 2 — Algorithms INVERSE EXPANDER InversExpander creates sustain by expanding the signal so that the signal levels above threshold are passed and levels below threshold are boosted to create a more even sound. A traditional expander would have the opposite effect: that is a signal level below threshold would be attenuated. An inverse expander is much like a compressor in so far as they both can be used to create sustained sounds, and de-emphasize transient signals.
Section 2 — Algorithms 07 — Exp Release Range: 1ms to 10.0s Determines how long it takes for the expansion to be fully deactivated after the input signal rises above the threshold level. This is generally longer than the attack time. 08 — Exp Noise Gate Off Below Range: -96 to +00 dB This parameter sets the lower threshold level at which the noise gate shuts off the audio. 09 — Comp Noise Gate On Above Range: -96 to +00 dB Sets the upper threshold level at which the noise gate passes audio.
Section 2 — Algorithms KEYED EXPANDER Keyed Expander operation is identical to the Expander. The only difference is that the left signal (Input 1) is expanded as determined by the key. The key is the right channel signal (Input 2). This effect is often used in studios to “tighten” rhythm tracks (e.g., a rhythm guitar in Input 1 is tightened by a different signal, like a drum machine connected to Input 2).
Section 2 — Algorithms 09 — Sidechain EQ Gain Range: -48 to +48 dB Controls the amount of boost applied to the output signal of the high/low pass filter. This accounts for insertion loss through those filters. 10 — HighPass Fc Range: 4 to 8000 Hz Sets the cutoff frequency of the lower frequency band high pass shelving filter. 11 — LowPass Fc Range: 100 Hz to 16 KHz Sets the amount of boost or cut applied to the low pass filter.
Section 2 — Algorithms LARGE PLATE A plate reverb takes the vibrations from a metal plate and uses them to create a metallic sounding reverb. Large plate reverbs are often used to enhance a vocalist’s performance. Large Plate simulates a larger plate reverb. Large Plate Reverb Signal Routing Diffuser Definition (Decay Diffuser) L LPF Left Main Outputs Diffuser Definition (Decay Diffuser) LPF R Right The two plate reverb algorithms share exactly the same signal routing topology.
Section 2 — Algorithms 07 — Diffusion 1 Range: 00 to 99 Smears the input signal to create a smoother sound. Lower values will cause impulse sounds to appear as a series of discrete echoes, while higher values tend to increase the smear, making the echoes less apparent. 08 — Diffusion 2 Range: 00 to 99 This Diffuser, similar to and in series with the previous one, offers control over lower frequency ranges.
Section 2 — Algorithms LARGE ROOM REV Large Room Rev, larger than Small Room Rev, provides ambience. Large Room Rev Signal Routing Echo Time LPF Echo Time Definition (Decay Diffuser) Diffuser L Left LPF Echo Time LPF Main Outputs Echo Time Definition (Decay Diffuser) Diffuser Right R LPF The signal enters a low pass filter, and goes directly through the diffusers which smear the signal.
Section 2 — Algorithms 05 — LF DecayTime Range: -99 to +99 Functions as a tone control and boosts (when set to a positive value) or cuts (when set to a negative value) the rate at which low frequencies will decay. 06 — HF Damping Range: 00 to 99 Controls the rate of attenuation of high frequencies in the decay of the reverberation. As natural reverb decays, some high frequencies tend to get absorbed by the environment.
Section 2 — Algorithms 12 — Detune Depth Range: 00 to 99 Controls the depth of the detuning, that is, how much the pitch will change. Low values yield a metallic sound. Some sounds may require very low values, while others sound more natural with higher values. 13 — Primary Send Range: -99 to +99 Controls the level of the diffused input signal into the reverb definition. 14 — Ref 1 Time Range: 0 to 120 milliseconds Controls the delay time for the first pre-echo.
Section 2 — Algorithms MULTI TAP DELAY MultiTap Delay produces four independent controllable delays. This algorithm requires only one unit, allowing the other three units to be free for other algorithms. 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section. This algorithm sounds best with a Mix of wet and dry.
Section 2 — Algorithms No Effect will bypass the unit, providing no effect. Whether or not this utility algorithm passes audio (bypass) or squelches it (kill) is controlled in the Edit/Config parameters and is explained in more detail in Section 3 — Config Parameters. 01 — Mix Range: 00 to 99 Controls the mix of silence with a dry audio signal. In other words, this algorithm has two signals, one that is silent, and a signal that is not. When this parameter is set to 00, you select the audible signal.
Section 2 — Algorithms NON LIN REVERB 1, 2, 3 Non Linear reverbs can be used to obtain blooming reverb, gated reverb, reverse reverb and early reflections. In general, they do not produce an exponentially decaying reverb. Unlike the hall, room and plate reverbs, Non Lin 1, 2, and 3 pass the input signal through the reverb diffusers only once. For this reason the reverb diffusers are called Density, to distinguish them from the other reverb diffusers (called Definition).
Section 2 — Algorithms ENVELOPE LEVEL 1 ENVELOPE LEVEL 2 ENVELOPE LEVEL 9 LEVEL SIGNAL TIME 03 — Envelope Level 1 04 — Envelope Level 2 05 — Envelope Level 3 09 — Envelope Level 4 07 — Envelope Level 5 08 — Envelope Level 6 09 — Envelope Level 7 10 — Envelope Level 8 11 — Envelope Level 9 Ranges: 00 to 99 These parameters control the output tap levels sequenced in time across the density from input to output.
Section 2 — Algorithms 16 — NonLin Density 1 Range: 00 to 99 Density 1 controls the number of echoes. 17 — NonLin Density 2 Range: 00 to 99 Density 2 controls the number of echoes in a lower frequency range. In general, to get the smoothest sound, Density 2 is usually less than the value of Density 1. 18 — NonLin Primary Send Range: -99 to +99 Controls the level of the diffused input signal which is nearly instantaneous with respect to the input.
Section 2 — Algorithms PARAMETRIC EQ Parametric EQ offers a minimum phase four band parametric EQ. 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section. For this algorithm, we recommend a setting of 99. 03 — Bass Fc Range: 0 to 1000 Hz Sets the center of the low frequency EQ. 04 — Bass Gain (loShv) Range: -48 to +24 dB Sets the amount of boost or cut applied to this low frequency parametric.
Section 2 — Algorithms PHASER-DDL Phaser-DDL combines a phaser with a digital delay. The phaser creates non-harmonically spaced moving notches in the signal spectrum, whereas a flanger creates harmonic spacing. This phaser implements a stereo twelve pole phasing network to achieve time delay which is a function of frequency (i.e., phase delay); this is what differentiates the phaser from the flanger. The phasing effect is achieved within the phaser topology, so it does not depend upon the external mix.
Section 2 — Algorithms 06 — Phaser Feedback Range: -99 to +99 Controls the amount of feedback applied to the left and right channel phaser. The sign of the value determines the polarity of the feedback. 07 — Phaser Notch Depth Range: -99 to +99 Controls the depth of the notches created by the phasing. Deep notches occur in the phased spectrum when the parameter is set to 99. When this parameter is set to +00, there exists no phasing (i.e.
Section 2 — Algorithms PITCH SHIFT 2U Pitch Shifters allow you to change the pitch of a signal to any pitch desired within a range of one octave in either direction. Pitch Shift 2U is a splicer-type incorporating zero crossing detection. Pitch Shift 2U has incorporated one ESP chip for zero crossing (pitch) detection for splice synchronization, having an optimal detection range of 55 to 555Hz. Splicer type pitch shifters are popular because for low pitch shift ratios, splicing is infrequent.
Section 2 — Algorithms 06 — PitchShifter Vc 1 Pan Range: -99 to +99 Allows you to assign the location of output Voice 1 in the stereo field. A value of -99 would be far left, and +99 would be far right. 07 — PitchShifter Vc 2 Semi Range: -12 to +12 Adjusts the pitch of Voice 2 up to an octave above or below the original pitch in semi-tones. 08 — PitchShifter Vc 2 Fine Range: -99 to +99 This parameter allows you to fine tune the pitch of Voice 2.
Section 2 — Algorithms PITCHSHIFT - DDL PitchShift-DDL combines a pitch shifter with a digital delay. PitchShift-DDL uses a continual crossfading technique of pitch shifting. This technique maintains the stereo field exactly. Of the one unit pitch shifters, this one works best for large pitch shift ratios, in some circumstances. Another feature of this algorithm is a digital delay that feeds back into the pitch shift. This feature allows spiraling upward or downward pitch shifts.
Section 2 — Algorithms 08 — PitchShift Vc 2 Fine Range: -99 to +99 Allows you to fine tune the pitch of Voice 2. Slight shifts create something like a chorused effect. 09 — PitchShift Vc 2 Level Range: 00 to 99 This parameter adjusts the volume of Voice 2. 10 — PitchShifter Vc 2 Pan Range: -99 to +99 Allows you to assign the location of Voice 2 in the stereo field. A value of -99 would be far left, and +99 would be far right.
Section 2 — Algorithms PITCH SHIFTER A pitch shifter allows you to change the pitch of a signal to any pitch desired within a range of one octave in either direction. Pitch Shifter offers a 1 unit splicer type pitch shifter. Try the different pitch shifters until you find the one that works best with your sound source, and for your application. A “splicer type” of pitch shifter will drop or add small sections of the original signal to the effect.
Section 2 — Algorithms 06 — PitchShifter Vc 1 Pan Range: -99 to +99 Allows you to assign the location of output Voice 1 in the stereo field. A value of -99 would be far left, and +99 would be far right. 07 — PitchShifter Vc 2 Semi Range: -12 to +12 Adjusts the pitch of Voice 2 up to an octave above or below the original pitch in semi-tones. 08 — PitchShifter Vc 2 Fine Range: -99 to +99 This parameter allows you to fine tune the pitch of Voice 2.
Section 2 — Algorithms REVERSEREVERB1 ReverseReverb1 produces a reverberation that gradually increases, simulating a backwards sound with a maximum duration of several seconds. When a signal enters this algorithm, the plate reverb (from which this algorithm is derived) is almost instantaneously turned on, and then the output volume is ramped up. This algorithm will only trigger one time. ReverseReverb1 is triggered by an input signal level (threshold) determined by the user.
Section 2 — Algorithms 06 — Trigger Threshold Range: -96 to +00 dB Set this parameter as low as possible to work with your particular sound source. To eliminate false triggering, it should not be set too low. When the input signal rises above this threshold, the reverse envelope will begin. 07 — HF Damping Range: 00 to 99 This parameter sounds best when it’s set to low values. It has the same function as in the Plate Reverb, which is to filter out more and more high frequency energy.
Section 2 — Algorithms REVERSE REVERB 2 Reverse Reverb 2 is identical to Reverse Reverb, except this algorithm will retrigger by an assigned input signal level (threshold) determined by the user. Once triggered, the reverse envelope will proceed to completion, unless retriggered by subsequent input signals. If you are looking for a reverse effect that will not retrigger, try using the previous Reverse Reverb algorithm.
Section 2 — Algorithms 10 — Diffusion 2 Range: 00 to 99 Similar to and in series with Diffusion 1, this parameter controls lower frequency ranges. 11 — Decay Definition Range: 00 to 99 Controls the rate at which echo density is increased with time. If set too high, the echo density will build at a rate that exceeds the decay rate. This can be used for a special effect.
Section 2 — Algorithms ROTATING SPEAKER Rotating Spkr adds the famous classic rotating speaker sound to any instrument. A tunable distortion is added to the input signal and is also passed through the rotors. 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section. For this algorithm we recommend higher Mix settings.
Section 2 — Algorithms 09 — Rotating Speaker Distortion Tone Range: 000 to 127 This parameter is the distortion tone control. High settings will yield a more raspy distortion tone, whereas mid settings will give that “amp growl.” When this parameter is set to 000, there is no distortion. 10 — Rotating Speaker Stereo Spread Range: 00 to 99 Controls the apparent width of the stereo image created by the rotating speaker effect.
Section 2 — Algorithms RUMBLE FILTER Rumble Filter is a high pass filter in cascade with a low pass filter, fourth order (24dB per octave). The high pass filter is good for eliminating turntable rumble. The low pass filter is good for eliminating hiss. Alternatively, these filters can be used in a feedback routing with any other effect. 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section. For this algorithm, we recommend mid values of the Mix.
Section 2 — Algorithms SINE/NOISE GEN Sine/Noise Gen is a utility algorithm, but when used with a real time modulator/controller, can provide some interesting musical effects. Filters are provided for the noise, but no filters are provided for the sinusoid. 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section. We recommend lower Mix settings. 03 — Sine Frequency Range: 0 to 9999 Hz This parameter controls the sine wave frequency.
Section 2 — Algorithms SMALL PLATE A plate reverb takes the vibrations from a metal plate and uses them to create a metallic sounding reverb. Small plate reverbs are most often used in the studio for drums and percussion.
Section 2 — Algorithms 05 — HF Damping Range: 00 to 99 Increasing the value of this parameter will gradually filter out increasing amounts of high frequency energy. Higher values yield an abrupt decay. This parameter controls the cut off of a low pass filter in series with the decay within the definition. 06 — HF Bandwidth Range: 01 to 99 This parameter acts as a low pass filter on the output of the plate reverbs, controlling the amount of high frequencies present.
Section 2 — Algorithms SMALL ROOM REV Small Room Rev provides the ambience of a small room. Small Room Rev Signal Routing Echo Time LPF Echo Time Definition (Decay Diffuser) Diffuser L Left Main Outputs LPF Echo Time LPF Diffuser Echo Time Definition (Decay Diffuser) Right R LPF The signal enters a low pass filter, and goes directly through the diffusers which smear the signal.
Section 2 — Algorithms 03 — Decay Range: 0.20 to 100.0 sec. Controls the amount of time it takes for the reverberation to decay away to a very low level after the input signal stops. In room reverbs we don’t recommend higher settings, which tend to create an infinite and unnatural sustain. Since most ambient room reverbs don’t naturally have a large decay, set this low for the best sound.
Section 2 — Algorithms 12 — Detune Depth Range: 00 to 99 Controls the depth of the detuning, that is, how much the pitch will change. Low values yield a metallic sound. Some sounds may require very low values, while others sound more natural with higher values. 13 — Primary Send Range: -99 to +99 Controls the level of the diffused input signal into the reverb definition. 14 — Ref 1 Time Range: 0 to 120 milliseconds Controls the delay time for the first pre-echo.
Section 2 — Algorithms SPEAKER CABINET Speaker Cabinet simulates the warm sound of an open-back speaker cabinet. Speaker Cabinet is fabulous for a guitar, bass or any other stringed instrument, and will find much use in the studio when recording directly to the console. This algorithm contains the resonances and the nonlinearity of a real musical instrument speaker.
Section 2 — Algorithms TEMPO DELAY Tempo Delay features a stereo digital delay (similar to MultiTap) where the tempo is controlled by an assignable modulation source, like a foot switch. 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section.
Section 2 — Algorithms TUNABLE SPKR 1 Tunable Spkr 1 offers an EQ controllable speaker sound which is brighter than Speaker Cabinet. By tuning three parametric filters, you can simulate many different speaker cabinet sounds that are used in all styles of music. 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section. 03 — Mid1 Fc Range: 100 to 9999 Hz Sets the center of the mid-frequency parametric. Higher values have a brighter sound.
Section 2 — Algorithms TUNABLE SPKR 2 Tunable Spkr 2 is similar to Tunable Spkr 1, offering an EQ controllable speaker sound, but with a warmer, “analog” sound. By tuning three parametric filters, you can simulate many different speaker cabinet sounds that are used in all styles of music.
Section 2 — Algorithms 15 — Gate Release Time Range: 1ms to 10.0s Determines how long it takes for the gate to be fully released after the input signal drops below the threshold level. Lower settings yield a quick gate. 16 — Pre-EQHighPass Cutoff Range: 4 to 1000 Hz Filters out the low frequencies. The higher the value, the less low frequencies pass through. This parameter is used to increase brightness.
Section 2 — Algorithms VAN DER POL FILTER VandrPol Filter adds synthetic high harmonics to the input signal, brightening the overall sound. This algorithm is most often used in the studio for vocalists, but feel free to experiment with this algorithm using your favorite instrument as well. This algorithm features prominent transient enhancement which makes it ideal for “plucked” sounds. The filter in this algorithm operates on the signal prior to enhancement.
Section 2 — Algorithms VCF - DISTORT 1 VCF - Distort 1 combines a voltage control filter and a raspy distortion, and a second voltage control filter. Three effects can be obtained: Distortion, Wah-wah, and Auto-wah. The last two functions use the same VCF. These filters can be disabled or used as EQ if desired. When used for distortion, any speaker cabinet emulation (such as Tunable Speaker) in cascade with this effect is recommended.
Section 2 — Algorithms 07 — Envelope Follower to Pre VCF Range: -99 to +99 Determines how much the amplitude of the incoming signal will modify the distortion filter cutoff frequency. When set to +00, no modification will occur. When set to mid positive values, the Pre-Distortion VCF Fc will go high, but then come down to its nominal setting. When set to negative mid values, the Pre-Distortion VCF Fc will go low, and then go back up to its nominal setting.
Section 2 — Algorithms VCF - DISTORT 2 VCF - Distort 2 combines a voltage control filter and a raspy distortion, and a second voltage control filter. This algorithm is identical to the VCF - Distort 1 algorithm, with the addition of a “tunable” feedback signal.
Section 2 — Algorithms 08 — Post-Distortion VCF Fc 09 — Post-Distortion VCF Q 10 — Envelope Follower to Post VCF These three parameters are identical to the previous parameters, and are used to control the second VCF that exists after the distortion. 11 — Envelope Follower Attack Range: 50µs to 10.0s Sets the attack of the envelope follower (i.e. determines how closely the attack is followed) once the incoming signal has been detected. Generally the attack should be short.
Section 2 — Algorithms VOCAL REMOVER Vocal Remover is the “instant karaoke” algorithm; it removes from a stereo source any signal that is present in both the left and the right channels. The vocal track is usually common to both channels of a stereo recording, and thus can be removed by subtracting one channel from the other. This algorithm uses a Vocal Position control to compensate for panning.
Section 2 — Algorithms 01 — Mix 02 — Volume See the descriptions under the Mix and Volume Parameters, in the beginning of this section. For this algorithm, we recommend a mix setting of 99. 03 — Vocal Pos Range: -127 to +127 This is used to compensate for panning in the original recorded vocal. 04 — L/R Delay Range: -127 to +127 This makes up for any slight delay that may exist between the left and right channels due to idiosyncrasies of the recording or playback process.
Section 2 — Algorithms VOCODER The DP/4+ features a vocoder. A vocoder analyzes the frequency spectrum from an incoming source (most commonly speech from a microphone) and applies that analysis to the pitched sounds from the output of another source (like a synthesizer). DP/4+ sees Input 1 (vox) and applies it to the carrier Audio Out DP/4+ Output Input 2 (carrier) ☞ Important: The vocoder, though made up of four 1-Unit algorithms, is only made available in the DP/4+ as a Config Preset .
Section 2 — Algorithms Setting Up the Vocoder MIcrophone (Vox) Synthesizer, sampler, electric piano or tone generator (Carrier) Input 1 Input 2 DP/4+ Outputs 1 and 2 Amp Left Speaker Right Speaker Making the Right Connections The vocoder will not function if the connections are not right. Plug the incoming signal (vox) into Input 1 (front or back of the DP/4+). Connect the synthesis signal (carrier) to Input 2 on the back panel.
Section 2 — Algorithms roughly corresponds to the pitch of the microphone (vox) input. For example, it would be hard to get good results if you are talking in a low pitched voice, but are playing high notes on the keyboard. Although the Input 1 (vox) is optimized for speech, any signal source can be used. The vocoder will apply the spectrum of any Input 1 signal to the carrier signal, which can produce some interesting timbres.
Section 3 — Config Parameters This section will teach you about configs, how the effects (called algorithms) are routed in the DP/4+, and define all of the parameters relating to these configurations.
Section 3 — Config Parameters Section 3 — Config Parameters What is a Config? The Config (short for CONFIGuration) determines the number of input sources that are to be processed by the DP/4+, and how the units and their inputs and outputs are connected. A “1 source config” means that one signal source (stereo or mono) is going into the DP/4+. Two, three, and four source configs are also available. Config Presets Of the four DP/4+ preset types, the most powerful is the Config Preset.
Section 3 — Config Parameters Input Configurations The diagram in the upper right corner of the DP/4+ shows the input configurations. All of the DP/4+ input configurations are based on this diagram: input configurations 1 source A 1 B 1 C 2 D 2 source 1 3 A B 1 C 3 D 4 2 3 source 4 source 1 A 1 1 A 1 2 B 2 2 B 2 3 3 C 3 C D 4 4 D 3 4 One Source Input Configuration In a 1 Source Config, the LED above the 1 source input configuration diagram will light.
Section 3 — Config Parameters Selecting a Config Preset In Select mode, you can select Config presets which will: • Reconfigure the DP/4+ inputs and outputs; • Change the signal routing between units; and • Load a new algorithm (and its saved parameters) into each of the four Units. To select a Config preset: 1. Press {SELECT}, then {CONFIG}. 2. Move the Data Entry Knob. The Select LED flashes, indicating that you are previewing presets. The display shows the available Config presets. 3.
Section 3 — Config Parameters 1 Source Config 1 Source Config oo 1,2 > ABCD 00 — 1 Source Config The 1 Source Config arranges the DP/4+ as one giant multi-effects processor, using all four units to process the same input signal. 1 Source Configs have two input select options, mono or stereo (refer to parameter 01). AB Input Select= o1 (1,2) Stereo 01 — AB Input Select Range: (1,2) Stereo or (1) Mono Selects either a mono (Input 1) or stereo (Inputs 1 and 2) signal.
Section 3 — Config Parameters CD Unit Routing= o3 [C®D] feedback1 03 — CD Unit Routing Range: serial, parallel, feedback1 or feedback2 Units C and D can also be routed together in one of four ways.
Section 3 — Config Parameters Available ABCD Routings 1 2 A B C AB Serial C B AB Parallel 1 2 A A CD Serial A 1 2 1 2 1 2 D 1 2 CD Serial B C AB Feedback D CD Serial 1 2 A C B D A AB Feedback 1 2 B C 1 2 D 1 2 B C A C B D CD Feedback B C AB Feedback 1 2 D CD Feedback 1 2 1 2 A B C D 1 2 AB Serial + CD Feedback A A B 1 2 C D B 1 2 C 1 2 D D AB Parallel + CD Serial 1 2 A 1 2 D AB Serial + CD Parallel 1 2 1 2 C B C A 1 2 CD Parallel
Section 3 — Config Parameters 05 — (Config Dependent) This parameter is dependent on how Units A and B are routed (determined by parameter 02). If parameter 02 is serial, this screen shows: o5 Dry Path Around AB Amt =00 This screen allows you to control an external dry signal around Units A and B. A setting of 00 would not allow a dry signal around the units, whereas a setting of 99 would permit a full signal around the units. Dry A Wet B This parameter controls this amount.
Section 3 — Config Parameters o6 Feedback D to C Amount =00 06 — (Config Dependent) This parameter, similar to parameter 05, is dependent on how Units C and D are routed together (determined by parameter 03). o7 07 — Bypass Kill (Unit) A 08 — Bypass Kill (Unit) B (b)ypass (k)ill A=b B=b C=b D=b 09 — Bypass Kill (Unit) C 10 — Bypass Kill (Unit) D These parameters determine what happens when you bypass a unit (red LED lit).
Section 3 — Config Parameters 2 Source Config o0 2 Source Config 1,2 >AB 3,4 >CD 00 — 2 Source Config The 2 Source Config divides the DP/4+ into 2 multi-effects processors, each containing 2 units of processing power. o1 01 — AB Input Select AB Input Select= (1,2) Stereo Range: (1,2) Stereo or (1) Mono This parameter selects either a mono or stereo input for Units A and B.
Section 3 — Config Parameters o4 CD Unit Routing= [C+D] parallel 04 — CD Unit Routing Range: serial, parallel, feedback1, or feedback2 Units A and B can be routed together in either serial, parallel, or two different kinds of feedback (explained in the 1 Source Config description). o5 Dry Path Around AB Amt =00 05 — AB (Config Dependent) 06 — CD (Config Dependent) For a complete discussion of config dependent parameters, please refer to 1 Source Config parameters 05 and 06 earlier in this section.
Section 3 — Config Parameters 3 Source Config o0 3 Source Config 1>A 2>B 3,4 >CD 00 — 3 Source Config The 3 Source Config divides the DP/4+ into 3 effects processors. Units A and B function independently as 1 Unit processors, while C and D are grouped together as a single 2 Unit effects processor. o1 01 — CD Input Select CD Input Select (3,4) Stereo Range: (3,4) Stereo or (4) Mono This parameter selects either a mono (Input 3) or stereo (Inputs 3 and 4) signal for Units C and D.
Section 3 — Config Parameters o4 04 — AB Output Select AB Output Select A>1 B>2 DualMono Range: Dual Mono or Mixed Stereo This parameter allows you to assign Units A and B as two independent mono signals to Outputs 1 and 2 respectively, or mix Units A and B into a stereo output. o5 05 — Bypass Kill (Unit) A 06 — Bypass Kill (Unit) B (b)ypass (k)ill A=b B=b C=b D=b 07 — Bypass Kill (Unit) C 08 — Bypass Kill (Unit) D These parameters determine what happens when you bypass a unit (the red LED is lit).
Section 3 — Config Parameters 4 Source Config o0 4 Source Config 1>A 2>B 3>C 4>D 00 — 4 Source Config In a 4 Source Config, each unit functions as an independent 1 Unit effects processor. o1 01 — AB Output Select AB Output Select A>1 B>2 DualMono Range: Dual Mono or Mixed Stereo This parameter allows you to assign Units A and B as two independent mono signals to Outputs 1 and 2 respectively, or mix Units A and B into a stereo configuration.
Section 5 — Storage This section covers the storage functions on the DP/4+, which enable you to copy 1U, 2U, 4U, or Config Presets internally to other locations, write (save) edited preset information, and transmit dumps via MIDI system exclusive messages. Presets may also be manually transcribed using the Preset Parameter Worksheet preset found at the end of this section, and also at the end of this manual.
Section 5 — Storage Section 5 — Storage The storage functions on the DP/4+ enable you to: • copy 1U, 2U, 4U, or Config Presets internally to other locations, • write (save) edited preset information, and • transmit dumps via MIDI system exclusive messages. Presets may also be manually transcribed using the Preset Parameter Worksheet preset found at the end of this chapter, and also at the end of this manual.
Section 5 — Storage Saving Presets Presets can be named and saved into any RAM location (preset numbers 00 through 49) using the following procedure: To Name and Save a Preset 1. 2. Press the {EDIT} button (the Edit LED should be on). Press the {WRITE} button. The top line of the display will show one of four different screens: Write to 1U Pset Write to 4U Pset This shows that you are saving a 1 Unit Preset. Write to 2U Pset Write to Config This shows that you are saving a 2 Unit Preset. 3. 4.
Section 5 — Storage List of Alpha-Numeric Characters The following alpha-numeric characters are available in the DP/4+ for editing preset names, and appear (in columns) as they would if you were to turn the Data Entry Knob clockwise: ) * + 2 3 4 ; < = D E F M N O V W X _ ` a h i j q r s z { | # $ % , .
Section 5 — Storage Advanced Features Switching Preset Types when Saving Before selecting a location for your preset, you may press one of the unit buttons ({A}, {B}, {C}, or {D}) to force the type of preset being written to be a 1 Unit preset.
Section 5 — Storage Copying a 1 Unit Preset to Another Unit A 1 Unit preset can be copied from one unit to another, by using the following procedure: 1. 2. 3. Press {EDIT}, then {WRITE}. Press the Unit button ({A}, {B}, {C}, or {D}) that you want to copy. The top line of the display shows “Write to 1U Pset.” While pressing and holding the same Unit button, press another Unit button that you want to copy the first preset into.
Section 5 — Storage Copying Presets The DP/4+ can also copy presets to other RAM locations. To Copy a Preset 1. Press {SELECT} (the Select LED should be on). 2. Press the {COPY} button. The top line of the display shows one of four possible screens: Copy to 1U Pset This shows that you are copying a 1 Unit Preset. Copy to 2U Pset This shows that you are copying a 2 Unit Preset. 3. 4. 5. 6. Copy to 4U Pset This shows that you are copying a 4 Unit Preset.
Section 5 — Storage MIDI System Exclusive Storage Sending MIDI Sys-Ex Messages to another DP/4+ or to a Storage Device The DP/4+ is able to send System Exclusive (Sys-Ex) dumps of presets, either singly or in banks, as well as dumps containing all of the system parameters.
Section 5 — Storage Single Config Preset ConfigPreset Bank SysExDump Config Single Config RAM preset Preset Number<00> <00 to 49> SysExDump Config 50 Config RAM presets Preset Bank System SysExDump System All system parameters Parameters only All Preset Banks SysExDump All 200 RAM presets Preset Banks All Preset Banks with System Parameters SysExDump All PsetBanks+System 200 RAM presets and all system params Preset data is always transmitted from and received into the internal RAM.
Section 5 — Storage Receiving MIDI System Exclusive Dumps with the DP/4+ System Exclusive message reception is “automatic” and does not have to be enabled by any actions other than making sure that System Exclusive reception is enabled and that the ID number setting matches the ID embedded in the dump to be received (System•MIDI parameters 52 and 53). The MIDI message indicator will light while the dump is being received.
Section 5 — Storage Using the Preset Parameter Worksheet There is another method for saving presets. You can manually record all the parameters of your created preset by using the Preset Parameter Worksheet (or a photo copy) located at the end of this section and at the end of the manual.
Section 5 — Storage DP/4+ Preset Parameter Worksheet Preset Name: Config Parameters: 1 2 3 4 Source Config 01- 02- 03- 04- 05- 06- 07- 08- 09- 10- Unit A Algorithm: Unit B Algorithm: Unit C Algorithm: Unit D Algorithm: 01- Mix 01- Mix 01- Mix 01- Mix 02- Volume 02- Volume 02- Volume 02- Volume 03- 03- 03- 03- 04- 04- 04- 04- 05- 05- 05- 05- 06- 06- 06- 06- 07- 07- 07- 07- 08- 08- 08- 08- 09- 09- 09- 09- 10- 10- 10- 10- 11- 11- 11- 11- 12- 12-
Section 6 — Presets WOW!!! This section shows how to select the RAM and ROM presets found in the DP/4+, and shows the names, algorithms, and routing configurations within the 1 Unit, 2 Unit, 4 Unit and Config Presets.
182 ENSONIQ DP/4+ Reference Manual
Section 6 — Presets Quick Steps to Hear Presets Plug your mono sound source into the front panel Input 1 jack, or for stereo into Inputs 1 and 2 on the back of the DP/4+. Connect Output 1 (and Output 2 for stereo) to an audio source (amplifier, mixing board, etc), or plug headphones into the front panel Phones jack. If you don’t hear any sound, set all Input and Output Knobs to a 12 o’clock position, and adjust the Input Knob levels as needed. To Select 1 Unit Presets: 1. 2. 3. 4. 5. 6.
Section 6 — Presets 1-Unit RAM Presets 00 Vocal Plate 1 Large Plate 01 Synth Plate Large Plate 02 Vocal Plate 2 Large Plate 03 Zobie Plate Large Plate 04 Slam Plate Large Plate 05 Multi Plate Large Plate 06 Short Plate Small Plate 07 Ballad Reverb Large Plate 08 Bright Hall Hall Reverb 09 Vocal Hall Hall Reverb 10 14 Small Hall Hall Reverb 15 Room 224 Large Room Rev 16 Medium Room Small Room Rev 17 Dark Room Small Room Rev 18 Early Reflections NonLin Reverb1 19 Smooth Non Li
Section 6 — Presets 25 70's Drum Booth 38 Small Room Rev 26 Tiled Room Phaser - DDL 39 Small Room Rev 27 Gymnasium Backstage 40 String Verb 41 French Horn Verb 42 Country Keys 43 Lush Keys 44 Echo Clav 45 Medium Flange 46 Tight Flange 47 Wet Chorus 8 Voice Chorus 37 Analog Flanger EQ-Vibrato-DDL 48 Wild Panner EQ-Panner-DDL Flanger 36 '66 Car Radio Tunable Spkr 1 Flanger 35 Vocal Spreader FastPitchShift Dual Delay 34 Slap Vocal Dual Delay EQ-Chorus-DDL 33 Vocal Sp
Section 6 — Presets 1-Unit ROM Presets 50 Small Room Rev Small Room Rev 51 Large Room Rev Large Room Rev 52 Hall Reverb Hall Reverb 53 Small Plate Rev Small Plate 54 Large Plate Rev Large Plate 55 Reverse Reverb Reverse Reverb 56 RetrigReverseRev ReverseReverb2 57 Gated Reverb Gated Reverb 58 Non Lin Reverb 1 NonLin Reverb1 59 Non Lin Reverb 2 NonLin Reverb2 60 64 EQ-DDL-with LFO EQ-DDL-withLFO 65 VCF-Distortion 1 VCF-Distort 1 66 VCF-Distortion 2 VCF-Distort 2 67 Guitar Amp 1 G
Section 6 — Presets 75 TunableSpeaker 2 88 Tunable Spkr 2 76 Rotating Speaker EQ-Compressor 89 Rotating Spkr 77 EQ-Chorus-DDL EQ-Vibrato-DDL 90 EQ-Panner-DDL 91 EQ-Flanger-DDL 92 EQ-Tremolo-DDL 93 Phaser-DDL 94 8 Voice Chorus 95 Flanger 96 Pitch Shifter 97 Pitch Shift-DDL PitchShift-DDL 87 Noise Gate EQ-Compressor 98 PitchShifter 86 FS Tap-Tempo DDL Tempo Delay Flanger 85 Signal Generator Sine/Noise Gen 8 Voice Chorus 84 VanderPol Filter VandrPolFilter Phaser - DDL
Section 6 — Presets 2-Unit RAM Presets 00 Trumpet Plate Large Plate~8 Voice Chorus 01 Oldtime Plate Rotating Spkr~Large Plate 02 Tube Plate SpeakerCabinet~Large Plate 03 Gated Plate Small Plate~Expander 04 Compressed Plate Small Plate~EQ-Compressor 05 Horn Verb Small Plate~Large Plate 06 Twisting Hall Hall Reverb~Flanger 07 Phased Hall Hall Reverb~Phaser - DDL 08 Gated Room 1 Small Room Rev+EQ-Compressor 09 Spring Reverb Rotating Spkr~Large Plate 10 14 Drum Verb NonLin Reverb1+Large P
Section 6 — Presets 25 Feedback Verb 38 Large Plate⁄Hall Reverb 26 Sample&Phaz Verb PitchShifter~Flanger 39 Large Plate~Phaser - DDL 27 Panning Delays MultiTap&Flange 40 Ascending Delays 41 Harmoni-Echo 42 Major Triad Echo 43 Pan-Tapstic 44 Special Taps 45 Country Guitar 46 Super Mute-ron 47 Vocal EQ & Comp Parametric EQ~EQ-Compressor 37 Feedback Phaser Phaser - DDL⁄PitchShifter 48 VCF-Distort 1~Guitar Amp 3 36 Get Rappified Tunable Spkr 1⁄Tunable Spkr 1 EQ-Tremolo-DDL~Lar
Section 6 — Presets 2-Unit ROM Presets 50 3.6 sec Delay 2U 3.
Section 6 — Presets 75 Delay & Reverb 1 88 MultiTap Delay~Large Plate 76 Delay & Reverb 2 EQ-Compressor~De-esser 89 EQ-DDL-withLFO~Large Plate 77 TempoDly & Plate TempoDly & Hall 90 RotSpkr & Plate 91 RotSpkr & Hall 92 Chorus-DDL-Pan 93 Sparkles & Verbs 94 Backing Vox-Lush 95 Backing Vox-Rock 96 Ducker & EQ 97 KeyedExpander&EQ Keyed Expander~Parametric EQ 87 Owed to Acadia Large Plate~EQ-Panner-DDL 98 Ducker / Gate~Parametric EQ 86 FtSwitchLoop DDL 3.
Section 6 — Presets 4-Unit RAM Presets 00 Crystal Cave EQ-Compressor~Flanger+PitchShift-DDL⁄NonLin Reverb1 01 Canyon Echo Small Plate~Small Plate ~PitchShifter~Dual Delay 02 Underwater Verb Small Plate~NonLin Reverb1~Hall Rev~EQ-Vibrato-DDL 03 PhaseFlange Verb Large Plate~Flanger~EQ-Panner-DDL~Phaser - DDL 04 MassiveVerb 1 Large Plate+Hall Reverb+Large Plate+Hall Reverb 05 MassiveVerb 2 Small Plate+Small Plate +Hall Reverb~Small Room Rev 06 Rhythm Verb Small Plate+NonLin Reverb1+MultiTap
Section 6 — Presets 25 Rockabilly Gtr 1 Guitar Amp 3~Tunable Spkr 1~Dual Delay~EQ-Chor-DDL 26 Fast Tremolo Amp EQ-Compressr~Guitar Amp1~EQ-Tremolo-DDL~DualDelay 27 Metal Rhythm Gtr Guitar Amp 1~PitchShift-DDL~Small Plate~Dual Delay 28 Wah Lead Guitar VCF-Distort 1~Guitar Amp1~SpkrCabinet +LrgRoomRev 29 SuperFunk Guitar VCF-Distort 1~Dual Delay~Tunable Spkr 1~PitchShifter 30 Big Acoustic Gtr EQ-Compresr~EQ-Chor-DDL+RotatingSpkr~LrgRoomRev 31 NY Studio Gtr 38 EQ-Compressor~Phaser - DDL~D
Section 6 — Presets 4-Unit ROM Presets 50 String Section Parametric EQ~Hall Reverb~MultiTap Delay~8 Vce Chorus 51 Quartet Chamber Parametric EQ~Large Room Rev~Dual Delay+PitchShifter 52 MassiveVerb 3 Hall Reverb+Lrg Plate+Lrg Room Rev+Sml Room Rev 53 MassiveVerb 4 Large Plate+Hall Reverb+Small Plate+NonLin Reverb1 54 Mega-Kick Verb EQ-Compressor~ParamEQ~NonLinRev1 ~EQ-Compressor 55 Mega-Snare Verb EQ-Compressor~ParamEQ~LargePlate~EQ-Compressor 56 Mega-Toms Verb EQ-Compressor~ParamEQ~Non
Section 6 — Presets 75 Jimi's Wawa 88 Vibes FX Chain VCF-Distort 1~TunableSpkr 1~Dual Delay~EQ-Chor-DDL Param EQ~EQ-Tremolo-DDL+Hall Reverb~8 Voice Chorus 76 89 Ballad Lead Gtr EQ-Compressor~Guitar Amp 1~Dual Delay~Hall Reverb 77 Jazzy Rhythm Gtr Choir FX Chain Parametric EQ~8 Voice Chorus~Dual Delay+Hall Reverb 90 Crystal Tines Parametric EQ~EQ-Compressor~PitchShifter~Small Plate Parametric EQ~8 Voice Chorus~MultiTapDelay+Hall Rev 78 91 Crystal Guitar Param EQ~EQ-Compressor~8VoiceChor
Section 6 — Presets Config RAM Presets 00 MonoInVocalSetup EQ-Compressor~PitchShifter~Large Plate+MultiTap Delay 01 StereoVocalSetup EQ-Compressor~PitchShift-DDL~Dual Delay~Large Plate 02 Rock Gtr Setup GuitarAmp1~TunableSpkr1~DualDelay~Small Room Rev 03 Stereo In Keybds Param EQ~8 Voice Chorus+LargePlate~8 Voice Chorus 04 PitchSwept Chain PitchShifter⁄Hall Reverb~EQ-Vibrato-DDL~Phaser - DDL 05 Lead Vox BG Vox PitchShift-DDL~Large Plate PitchShifter+NonLin Reverb1 06 Drums Vocals NonLi
Section 6 — Presets 25 LeadGtr Vocals Guitar Amp 1~Small Plate Large Plate~PitchShifter 26 CleanGtr Vocals 38 Phase Hrmo Vrb Phaser-DDL PitchShifter SmallRoomRev+SmallRoomRev 39 Comp EQ VocalFX Parametric EQ~8 Voice Chorus Large Plate~PitchShifter EQ-Compressor Parametric EQ PitchShifter+PitchShifter 27 40 E.
Section 6 — Presets Config ROM Presets 50 64 Select 4U Psets EQ-Compressor~PitchShifter~Large Plate+MultiTap Delay 51 Select 2U Psets EQ-DDL-withLFO~Large Plate 52 No Effect+No Effect Select 1U Psets Small Room Rev No Effect 53 No Effect No Effect 1 Src: Mono In No Effect~No Effect~No Effect~No Effect 54 1 Src: Stereo In No Effect~No Effect~No Effect~No Effect 55 2 Src: Stereo In No Effect~No Effect 56 No Effect~No Effect 2 Src: Mono In No Effect~No Effect 57 No Effect~No Effect 3 Src
Section 6 — Presets 75 4 In-line FX 88 Tempo Delay Phaser-DDL Large Plate EQ-Flanger-DDL 76 4 Regenerators 8 Voice Chorus Flanger Phaser - DDL PitchShift-DDL 77 4 Fast Gates EQ-Compresr EQ-Compresr EQ-Compresr EQ-Compresr 78 4 Loudness EQ's Parametric EQ Parametric EQ Parametric EQ Parametric EQ 79 4 Mono DDLs Tempo Delay MultiTap Delay Tempo Delay Dual Delay 80 Large Halls Large Plate Large Plate Large Plate Large Plate 81 Oil Drums Wood Rooms Small Plate Small Plate Small Plate Small
Section 6 — Presets 200 ENSONIQ DP/4+ Reference Manual
Appendix Appendix DP/4+ MIDI Implementation The DP/4+ features extensive MIDI (Musical Instrument Digital Interface) implementation. For normal applications, you will find all the information you need regarding the DP/4+’s MIDI functions in this manual. You can also refer to the MIDI Implementation Chart on the next page for a summary of the DP/4+ MIDI implementation.
Appendix MODEL: DP/4+ Function… MIDI Implementation Chart Version: 1.0 Transmitted Recognized 1, 2, 3, 4, 5, 6 * 1, 2, 3, 4, 5, 6 * 1-16 1-16 Default 3 3 Messages Altered X X X X True Voice X 0-127 Modulation Source Note ON X O Modulation Source Note OFF X X After Key X O Touch Channel X O X O Modulation Source 0-127 If Control-7 is received on Control channel= Modulation Source. If Control-7 is recieved on Unit channel= algorithm volume control.
Glossary ? There are a few terms that you may be unfamiliar with, and need to be understood before you can unlock the DP/4+’s full potential as a programmable effects processor. This section defines these terms.
Glossary Algorithm A control program for the digital signal processor (the basic signal processing building block in the DP/4+). The word “effect” could be used instead of algorithm, but some algorithms can produce several sonic effects simultaneously. Each algorithm has a set of parameters that control the effect(s) it produces. The values of these parameters are saved with the algorithm in presets. Each DP/4+ algorithm has a three letter abbreviation which helps to identify it in Select mode.
Glossary Chorusing An audio effect that takes place when a source signal is pitch modulated and mixed with the original source signal. These modulations create phasing characteristics that make the source signal sound wider/bigger. Usually delays of 10-30 milliseconds will create pleasant choruses. Compression Ratio The amount by which a signal is compressed.
Glossary Digital Delay Line (DDL) An algorithm that causes source signals to be moved later in time relative to the original signal. These “delayed” signals are used to create a myriad of audio effects, such as echo and reverb. Dual Mono A term used in the DP/4+ to describe one signal routing option. Two inputs are treated as separate mono signals rather than as a stereo pair. This option processes the two input sources as two discrete mono outputs.
Glossary Feedback 2 A two-unit signal routing option in the DP/4+ as shown below. The A and B units are in series; the output of the B unit is mixed back into the input of the A unit: Dry + A Dry + Wet B + Feedback Feedback 2 The feedback amount is available among the config parameters. In Feedback 2, the wet/dry mix of the B unit combines the output of A with the output of B. When B is set to full dry (0), the output mix of A is heard. Filter A device that attenuates selected frequencies.
Glossary LFO An LFO (Low Frequency Oscillator) generates very low frequency waves, below the audio spectrum, which can be used to control vibrato, tremolo, and many other effects. Limiter A device that will prevent a source signal from going above a pre-set level (threshold). A limiter can be thought of as a compressor with an infinite compression ratio. MIDI Musical Instrument Digital Interface. A communication protocol for musical instruments.
Glossary Pre-emphasis This is a noise reduction technique commonly used to control noise in tape recorders. Hiss is most objectionable in the higher frequencies of a signal. Pre-emphasis boosts the treble going into the effect, and a de-emphasis circuit cuts the treble (by an equal negative amount) to its original signal — while at the same time removing hiss from the frequencies where it is most objectionable.
Glossary Q Another term for resonance. In the DP/4+, this is a bandwidth control that determines the width of the resonant peak at the center of the frequency band. This is equal to the cutoff frequency divided by the bandwidth. By raising the Q, you can produce a narrower bandwidth. Regeneration A signal routing in which some of the output is mixed back into the input. The feedback of a delay line is also called regeneration.
Parameter Reference VanderPolFilter The parameters available for this algorithm are: 01 — Mix 02 — Volume 03 — VanderPol Filter HighPass Fc 04 — VanderPol Filter LowPass Fc 05 — Filter Gain 06 — Mod1 Source 07 — Mod1 Destination Parameter 08 — Mod1 Param Range Min 09 — Mod1 Param Range Max 10 — Mod2 Source 11 — Mod2 Destination Parameter 12 — Mod2 Param Range Min 13 — Mod2 Param Range Max VCF-Distort 1 The parameters available for this algorithm are: 01 — Mix 02 — Volume 03 — Distortion Level In 04 — Dist
Parameter Reference Edit Config Parameters System•MIDI Parameters 1 Source Config 00 01 02 03 04 05 06 • 00 01 02 03 04 05 06 07 08 09 10 — — — — — — — — — — — 1 Source Config AB Input Select AB Unit Routing CD Unit Routing AB - CD Routing AB (Config Dependent) CD (Config Dependent) Bypass Kill (Unit) A Bypass Kill (Unit) B Bypass Kill (Unit) C Bypass Kill (Unit) D 2 Source Config 00 01 02 03 04 05 06 07 08 09 10 — — — — — — — — — — — 2 Source Config AB Input Select CD Input Select AB Unit Routing
Specifications Specs Frequency response (wet and dry) = 2 Hz–18 KHz Signal-to-noise (“A” weighted) = at +4 dBu in to out = -90 dB output only = -100 dB at -10 dBV in to out = -90 dB output only = -95 dB THD + Noise (“A” weighted) = better than .0032% (-90 dB) at input levels of -12 dB and below Dynamic range = 96 dB IM distortion (SMPTE) = 0.05% Crosstalk between channels better than -80 dB (1 KHz) Input impedance = Rear Input = 18.6 KΩ Front Input (1/4”)= 910. KΩ Front Input (XLR)= 1.
Specifications II ENSONIQ DP/4+ Reference Manual
Index DP/4+ Index -10 dBV iv 1 Source Config 135, 174 1 Unit Preset 174 1-Unit RAM Presets 184 1-Unit ROM Presets 186 1/4” phone plug 7 2 conductor cord 9 2 Source Config 140 2 Unit preset 174 2-Unit RAM Presets 188 2-Unit ROM Presets 190 3 Source Config 142 3-prong grounded system 9 3.
Index Arrow Buttons 3 Articulation 128, 130 Ascending/descending delays 100 Attack 63, 68, 82, 105 Attack time 42, 48, 163 Attenuate Defined IV Attenuating 51 Attenuation 114, 125 Audible signal 90 Audio equipment 10 Audio inputs 23, 132 Audio isolation transformer 10 Audio signal 29 Audio signal processors 23, 132 Authorized ENSONIQ Dealer vi Authorized ENSONIQ Repair Station v, vi, 167 Auto-Load Preset 160 Auto-wah 122, 123, 124 Automatic 178 Automatic switching 8 B Backwards reverb 104 Backwards sound
Index Chorusing effect 53, 65, 102 Circuit 9 Classic rotating speaker sound 107 Cleaning the DP/4+ i Clipping 5, 41, 42, 47, 48, 52, 54, 56, 58, 60, 62, 70, 72, 81, 94, 110, 116, 118, 119 Clipping distortion 70 Coloration 91 Comb filter VII Common ground ii Comp Attack 39, 46, 51 Noise Gate Off Below 52 Noise Gate On Above 52, 81 Ratio 39, 45 Release 39, 46, 51 Compensated 9 Compression 39 Compression Ratio Defined V Compression ratios 45 Compressor 45, 51, 72, 80, V Defined V Gain 51 Ratio 51 Threshold 51
Index DelaySet 35 Density 91 Defined 91 Destination number 171 Detection sustain time 82 Detune 53 Detune Depth 79, 88, 115 Detune Rate 78, 87, 114 Detuning 79, 87, 114 Device 150 Device ID 178 Diagnostic parameters 167, 168 Diagram Input Configurations 19 Diffuse 68 Diffuser 91, 112 Diffusers 84, 86, 111, 113 Diffusion 1 - 68, 85, 78, 87, 104, 105, 112, 114 Diffusion 2 - 69, 78, 85, 87, 104, 106, 112, 114 Digital audio signal processing i Digital delay 43, 53, 55, 57, 95, 99 Digital Delay Line Defined VI
Index Envelope Attack 103 Follower 123, 125 Follower Attack 123, 125 Follower Release 123, 125 Follower to Post VCF 123, 125 Follower to Pre VCF 123, 124 Generator 63 Hold Time 103, 105 Levels 1 to 9 - 92 Release 103 Environment 87, 114 EPROMs 164 EQ 122, 124 Defined VI EQ - Flanger - DDL Signal Routing 55 EQ - Panner - DDL Signal Routing 57 EQ - Vibrato - DDL Signal Routing 61 EQ Gain 56 EQ Input Level Attenuation 94 EQ Input Level Trim 50, 52, 54, 56, 58, 60, 62, 81 EQ-Chorus-DDL 49 Signal Routing 49 EQ-
Index Foot Switch 2-L 155, 156, 163 Foot Switch 2-R 155, 156, 163 Foot Switches 12 Using to bypass/kill units 12 Foot Switches 1 and 2 168 Footsw 1-L 168 Footsw 1-R 168 Four parallel channels i Four-On-The-Floor 12 Fourth order 109 Frequencies 40, 41, 125 Frequency 46, 52, 54, 55, 56, 58, 60, 62, 64, 70, 73, 81, 83, 94, 95, 112, 118, 119, 127, 128 Frequency spectrum 128 Frequency transients iv Frequency-detection range 76 Front Panel Controls 2 Ftsw 1-L Toggle 12, 155 Ftsw 1-R Toggle 12, 155 Ftsw 2-L Toggl
Index Home stereo iv Home stereo system iv HOT MODS! 13 Housing assembly 14 Hum ii, 8, 9 Hysteresis 64, 75, 81, 83 Defined VII I ID number setting 178 Idiosyncrasies 126, 127 Impulse sounds 85, 87, 112, 114 Impulsive sounds 68 Increment Preset 156 Increment Song 156, 157 Increment/decrement 156 Independent mono signals 19 Industry standard chorus effect 49 Infinite delay 89 Infinity 39, 51, 63, 80, 82 Initialize RAM Presets 166 Injected 93 Input 1 - 2 Input 1 jack 7 Input Config Select 134 Input Configura
Index Line Conditioner iii Line Conditioning About iii Line cord ii List of Algorithms 28 List of MIDI Controller Names 153 Live surfaces 79 Long/Smoother 102 Loop 35 Loop/Muted 35 Loop/Record 35 Loop/Replay 35 Lossy 116, 118, 119 Low frequencies 123, 125 Low frequency decay 86, 113 Low frequency EQ.
Index Edit 3 Select 3 System•MIDI 3 Modern electrical devices ii Modifications 13 Modulation Control parameters 32 Defined VIII Response Rate 164 Sources 11, 154, 155 Wheel 155 Mono foot switch warning vi Mono foot switches 11, 13 Mono plug 13 Mono signal 8, 19, 108 Mounting Recommendation iii Multi-Effect Algorithm Defined VIII Multi-effects processor 135 Multi-outlet power strips iii Multi-processing i MultiTap 1 Level 89 MultiTap 1 Pan 89 MultiTap 1 Regen 89 MultiTap 1 Time 89 MultiTap 2 Level 89 MultiT
Index Rate 57 Right Delay Time 58 Right Echo Time 58 Sample & Hold Rate 58 Width 57 Panning 127 Panning effect 57 Parallel 24, 135, 136, 140 Parallel connection 23 Parallel Processing About i Defined VIII Parallel routing 24 Parameter Defined VIII Name 18 Number 17, 18, 146 Range 18 Settings 25 Wrap Feature 159 Parameters Algorithm 30 Parametric EQ 53, 94 Defined VIII Patch bay 8, 161 Peaks iii Peculiar v, 167 Pedal/CV Specs 4 Percussion 111 Phase delay 95 Phaser 95 Center 95 Defined VIII Delay Feedback 96
Index Pre-echo 79, 88, 115 Pre-echoes 93 Pre-emphasis 130 Defined IX Pre-EQ Fc 70, 72, 74 Pre-EQ Gain 70, 72, 75 Pre-EQ High Pass Cutoff 70, 123, 125 Pre-EQ Input Level Trim 70, 74 Pre-EQ Q 70, 72, 75 Pre-EQ1 Fc 41, 47 Pre-EQ1 Gain 41, 47 Pre-EQ1 Q 41, 47 Pre-EQ2 Fc 41, 47 Pre-EQ2 Gain 41, 47 Pre-EQ2 Q 41, 47 Pre-EQ3 Fc 41, 47 Pre-EQ3 Gain 41, 47 Pre-EQ3 Q 41, 47 Pre-EQHighPass Cutoff 41, 47, 74, 120 Pre-Trigger Memory 105 Preamp Gain 72 Preamp gains 42, 48, 70, 74 Predelay Time 78, 84, 86, 111, 114 PreEQ
Index Reinitialize How to v, 167 Reinitializing v, 167 Release 63, 82, 105 Release Time 68, 163 Remain in Select Config Mode 160 Reset 166 Resolution 164 Resonances 116 Resonant modes 78, 87, 114 Resonant peak 71, 73, 75, 94, 118, 119, 122, 124 Resources Additional vii Response time 130 Retrigger Threshold 68 Retriggering 67 Reverb Defined X Reverb diffusers 91 Reverb signal 93 Reverberation 86, 114 Reverse effect 103, 104 Reverse envelope 105 Reverse reverb 91, 103 Reverse Reverb 2 - 105 Reverse reverb en
Index Signal Routings 132 Signal spectrum 95 Signal-to-noise ratio 4, 5 Signal/Peak LEDs 2 Signed parameter 25 Silent signal 90 Sine Frequency 110 Sine wave 110 Sine wave frequency 110 Sine/Noise Gen 110 Sine/Noise Gen Balance 110 Sinusoid 110 Slapback 69, 104 Slapback Level 69, 104 Small Plate 111 Signal Routing 111 Small Room Rev 113 Signal Routing 113 Smart Parameter 162 Examples 162 Smear 68, 78, 85, 111, 112 Smears 114 Smooth transition 29 Smoother sound 87, 112 Smoothest sound 93 Soft reset v, 166 So
Index Synthesized stereo output 86, 113 Synthesizer 128, 150 Synthetic high harmonics 121 Synthetic stereo spread 108 Sys Ex Dump 165 How to send 176 Receiving 178 SysEx ID 158 SysEx Reception 158 Sysex transfer rate 178 System controllers 155 System Exclusive 165 System Exclusive (Sys-Ex) dumps 176 System Exclusive Device ID 178 System Exclusive dump v, 165, 167, 177 System Exclusive Dumps Listed 176 System exclusive ID 158 System Exclusive ID number 177 System Exclusive reception 178 System Global Parame
Index U Unassigned 155 Unassigned (Off) 156 Unbalanced 8, 9, 10 Unbalanced applications 10 Unbalanced Cable 9 Unbalanced Jack Defined X Unexpected Event v, 167 Unit Defined X Unit A Bypass 12 Unit B Bypass 12 Unit Button 173 Unit Buttons 3 Unit Bypass 152 Unit C Bypass 12 Unit Chan PrChgs Get 1U Psets 159 Unit Copied 174 Unit D Bypass 12 Unit Preset 22 Unit Preset Number 22 Unit Specific Parameters 146, 148 Unit-specific MIDI parameters 18 Units Swapped! 173 Universal editor librarian 158 Unnatural sustain
Index X XLR 2 Input Ground Loop 10 Ins and Outs 10 XLR cable 7 XLR Connector Defined X XLR to 1/4” cables 10 Z Zero crossing detection 97, 101 16 ENSONIQ DP/4+ Reference Manual
Song/Step Worksheet Feel free to copy this form and use it as a reference when creating programmable preset chains using the DP/4+’s Song feature.
MIDI Program Change Map Worksheet Feel free to copy this form and use it as a reference when creating programmable MIDI Program Change Maps on the DP/4+.
