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Table Of Contents
EFFECTS MENU 585
A complete flange effect will definitely require feedback: the flange portion is returned to the
input to increase the effect. People often talk of the "Jet effect" as it resembles a jet on
take-off.
CORVEX Parameters
Delay/Modulation section
Time: Here you can specify the delay
time and fundamentally set if you want to
have a chorus or flanger sound. With the
flanger, delay times are usually between 1
– 10 ms, as, with these times, the typical
comb filter artefacts usually lie within the
audible frequency area (Frequency = 1 /
delay in ms). For a chorus, values of 20 -
40 ms are normal.
Wars of attrition are fought about what the actual correct delay times are. However, we
don't advise you to strictly conform to such standards. Just let your ear decide.
Voices: Use this to set how many internal voices the effect should contain. Two to max.
eight delay units can be activated here. With more than two voices the sound becomes
fuller and fatter. Uneven voices (1, 3, 5, 7) are assigned to the left channel, even voices (2,
4, 6, 8) to the right. The subsequent elements like the filter and diffusion unit also count as
part of these voices/delay units. For this reason, you should note that an increase in the
number of voices leads to increased CPU strain.
Span: The time of each delay unit activated by 'voices' can be shifted using this controller.
Example: With the 'time' potentiometer you can set 10 ms and select four voices. "span" at
50% would mean that voice 2 would be delayed by 15ms, voice 3 by 20ms and voice 4 by
25ms. You can, for example, break up the resonance by increasing the "span" value at
high feedback rates or break apart the sound field at large stereo width.
Modulation depth. The depth or intensity can be adjusted here using the small fader
below "time". Here, you'll see one of the most important properties of these three effects:
the small fader on the lower row on the front plate is seen as having the same value. They
are basically modulation targets. If, like in this case, the modulation target of the LFO is the
"time" fader, you have set the depth of the pitch shift.
At max, the amplitude is at its largest, in the minimum position the effect remains static.