User Manual

9-12
Effects and Effect Mode
Effects Overview
Effects Parameters
This section contains descriptions of the PC3A’s many eects parameters, and instructions on
how to use them. Read through this section to get a good general understanding of the
parameters.
The descriptions here do not include all of the parameters associated with every eect, and some
eects may not have some of the parameters described here for their category. A more complete
reference, with every eect and the meaning and range of every parameter, arranged in the order
they appear on the screen, can be found in the KSP8 Algorithm Reference Guide on the Kurzweil
website, www.kurzweil.com.
General Parameters
There are a number of parameters that are common to all or almost all eects, and we’ll deal with
those rst.
Wet/Dry balances the levels of the processed and unprocessed signals output from the eect. Wet
represents the processed signal, while dry represents the unprocessed signal. The range is 0%
wet (the signal is unprocessed) through 100% wet (no dry signal is present). Values between 0%
and 100% blend the two signals, for example, at 20% the output signal is 20% wet (processed) and
80% dry (unprocessed.) A setting of 50% wet means the dry and processed signals are roughly
equal in level. In some eects, separate Wet/Dry parameters are provided for the Left and Right
input channels. In some cases, this parameters can have negative values, which indicate that the
Wet signal is polarity-inverted.
When an eect with the Wet/Dry parameter is used in Chain that has been selected as an Aux
eect, Wet/Dry is automatically set to 100% wet and cannot be adjusted. This is because when
using an Aux eect, the dry signal is already eectively at 100% on the main audio bus (not
routed through the Aux eect.) In this case, turning up the Aux send level will blend the 100%
wet signal (from the Aux bus) with the dry signal on the main audio bus.
Out Gain sets the gain at the output of an eect.
In/Out enables or disables the eect. You can think of it as a Wet/Dry parameter with only two
positions: 100% (In) and 0% (Out).
HF Damping (high frequency damping) is the cuto (-3 dB) frequency of a 6dB/octave lowpass
lter that’s inserted before the processor. High frequencies above the set cuto frequency will be
ltered out. In the case of processors where multiple iterations of the signal are heard, such as in a
delay, each iteration of the signal will pass through the lter, and will therefore be duller.
XCouple (Cross Couple). In stereo eects, this controls how much of any signal being fed back is
going to the channel opposite to the one where it rst appeared. At 100%, all feedback from signals
at the left input goes to the right channel and vice versa, causing a “spreading” or in the case of
delay lines, a “ping-pong” eect. At 0%, fed-back signals stay with the channel they came in on.
A->B cfg (conguration). In combination eects that contain two (or more) components, the
order in which the signal passes through the two components can be changed with this
parameter. Combination eects are usually named with a “->”, as in 484 “Flange->Shaper”. For
example, 484 “Flange->Shaper” can be congured so the signal passes through the anger rst
and then the shaper, or through the shaper rst and then the anger. The cfg parameter
determines the conguration, and its value is context-sensitive—in this example, the choices
would be “Fl->Shp” and “Shp->Fl”.
A/Dry->B is also found in many combination eects, and controls the amount of signal that will
pass dry (unprocessed) through the rst component into the second component. Dierent
combination eects use dierent variations on this parameter, depending on the context. The
range is 0 to 100%.