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Table Of Contents
570 EFFECTS MENU
- Exciter
Amplifies the low and high frequency ranges by frequency-dependent saturation. The
control elements mix the saturated part with the original ("mix in") as common with
traditional exciters. Due to the additional harmonics created during saturation the exciter
circuit sound very different than a conventional EQ. For instance, you can "refresh" the
highs in a way impossible for conventional EQs, for instance, because important spectral
ranges are missing. Despite the immense sound possibilities you should use the exciter
carefully as the ear tends to tire out when listening to signals created this way and due to
the high energy density.
- Cab simulation
With these sound control networks we are leaving the "official" EQ settings. The
loudspeaker simulations (cabinets) imitate the sound of classic case/speaker combinations
as common with guitar and bass players. In line with the "analogue by design theory" of
am-phibia a high circuit activity. An armada of non-linear amplifier stages, filter circuits for
frequency-response changes and complex phase-shifting operate in am-phibia. The
reason why we are using this process, is best explained by having a closer listen to the
loudspeaker sounds. First of all we have the sound of the loudspeaker which sounds
differently depending on the level and has a characteristic frequency response, but is also
dependent on its environment. This speaker emits direct sound at its front, while the back
of the cone swings in the opposite direction so that the waves enter the cabinet phase-
inverted. More sound-altering characteristics occur here: The sound is directed at the
enclosure, partially absorbed (e.g. by insulation material), partially reflected and mixed with
the direct sound. Resonance effects, such as bass reflex openings, static waves, return
effects on the speaker and so on, are also apparent here. For the speaker models we have
added properties of typical models, such as bass reflex tubes, to the signal transit time,
and thus achieve a "typical" sound on the one hand, and a kind of life of its own on the
other, which would not be achievable with impulse responses. The distortion created by
the modelled loudspeakers at higher levels, is also an important aspect in regard to the
whole process being highly interactive.