MX

248 Audio effects
www.magix.com
Effects units may be selectively operated one behind the other (serial) or
parallel. Switching may be changed via the mode switch.
The following algorithms & effects are available:
 Mono delay (msec & tempo sync): Possibly a simple delay with free selection
of delay time or synched to the sequencer tempo with a musical raster. In
case of high feedback values, a reduction of the damping frequency is
required to provide naturalness to echoes.
 Stereo delay (msec & tempo sync): Like mono delay; features two models.
Repetitions may take place on separate channels (feedback controller to the
right: dual delay) or in ping-pong mode (controller to the left), whereby the
signal alternates between the sides.
 Chorus: Produces a typical "floating/shimmering sound" by modulated
detuning of a signal to "thicken up" its sound or spread it across the stereo
field. Detuning is achieved by a short delay, the length of which can be varied
by the modulation. This produces the so-called "Doppler" effect and broadens
the signal.
 Flanger: Algorithmically similar to chorus, but different in that the delay time is
significantly lower and delay works with repetitions (feedback). A flanger
sounds more "cutting" and up-front than a chorus.
 Phaser: A modulation effect just like chorus & flanger, but in this case no
detuning takes place. Filter components periodically alter the signal's "phase
response" (principle of the "phase shifter"). Characteristic notches are
produced in the frequency spectrum response (comb filter effects).
 Room reverb/hall reverb: Reverb offers realistic simulation of realistic
reverberation. Room creates the impression of a small to mid-sized recording
room, while Hall produces the sound impression of a concert hall. A particular
is that both effects algorithms provide a modulation parameter, which may
remove possible resonance at low dosages and can produce a soft chorus
effect at higher values.
 LoFi: This algorithm gives the sound a little bit of "grit", or a certain measure of
signal destruction depending on its setting. Turn down the internal sample rate
as much as you like to steal a few bits from the sound's resolution. This is
definitely unconventional...
 Vintage compressor: Ideal for thickening up the signal a little. The algorithm
emulates an older popular circuit design that is similar to studio legends like
the Urei 1176 or simple compressor pedals. A so-called "FET building block"
controls the volume via the input level simply, effectively, and quite musically,
as well as the set compression ratio and the attack and release.
 3-band EQ: This sound controller works like a conventional mixer with
controller for bass, highs, and two controllers for the (variable) mids. This adds
the final polish to your sound.