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EFFECTS MENU 769
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): Selectable as a simple delay with freely adjustable
delay time or synched to the sequencer tempo with a musical raster. In case of higher
feedback values, a reduction of the damping frequency is required to provide natural
echo sound.
 Stereo Delay (msec & tempo sync): Features two models, just like mono delay.
Repetitions may take place on separate channels (feedback controller to the right: dual
delay) or in ping-pong mode (controller to the left), in which case the signal alternates
between the sides.
 Chorus: Produces a typical "floating/shimmering sound" via modulated detuning of a
signal to "thicken" the sound or spread it across the stereo field. Detuning is achieved
via a short delay, the length of which may be varied via the modulation. This produces
the so-called "Doppler" effect and broadens the signal.
 Flanger: Similar in terms of the algorithm that is applied to chorus, but different in that
the delay time is significantly lower and delay works via repetitions (feedback). The
flanger sounds more cutting and up-front than 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"). When mixed into the original, 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 reverb
produces the 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.
 Vintage Plate Reverb: The algorithms used in this type of reverb are quite similar to the
ones that popular hardware effects units back in the 80s used to emulate that certain
dense space of reverb plates. The resulting sound is correspondingly "wide", spacial and
responds very directly, with immediate dispersion and no single echoes. Modulation of
the reverb tail is also possible here, to minimize the typical ringing of the underlying
metal-plate model.
 LoFi: Depending on its setting, this algorithm adds grit to the sound or a certain
measure of signal destruction. Turn down the internal sample rate as much as you like to
steal a few bits from the sound's resolution. Definitely an unconventional method...
 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" simply, effectively, and quite
musically controls the volume via the input level, the set compression level, the
compression ratio, and the response responses (attack and release).
 3-B
and EQ: This sound controller works like a conventional mixer with a controller for
the bass, the highs, and two controllers for the variable mids. This adds the final polish
to your sound.