User Manual

38 Auxiliary Envelopes 4 & 5 Dave Smith Instruments
LP Freq: 0…127—(In the delay filter tab in the display) Sets the
cutoff frequency of the low-pass lter in the feedback path. A low-pass
setting of 127 results in no ltering. Use the low-pass lter to create
natural-sounding echoes and analog tape echo effects.
HP Freq: 0…127—(In the delay filter tab in the display) Sets the
cutoff frequency of the high-pass lter in the feedback path. A high-pass
lter setting of 127 equals maximum ltering. User the highpass lter to
create interesting ange effects and unnatural sounding echoes.
Pan: -64…+63—(In the delay filter tab in the display) Allows you to
pan the output of a delay anywhere in the stereo eld. This is very useful
in creating a rich stereo image as well as for ping-pong echo effects.
Delay Pan is also a modulation destination. That is, the stereo pan position of
the delayed signal can be modulated using an LFO or any mod source in the modula-
tion matrix. Use this to create auto-panning effects.
Buffer Length: Long, Short— (In the delay filter tab of Delay 4 only)
Choose Short, for shorter delays, chorus, or ange type effects. Choose
Long for longer repeat delays and when modulating delay times for
analog delay-style detuning effects.
Creating Reverb and Modulation-Based Effects
As previously noted, you can use the Pro 2’s delays to create not only
simple delays but also anging and chorus effects, and simple reverbs.
Reverb
A reverb is effectively multiple delays of a source signal as it moves through
a space and bounces off of various surfaces. You can simulate small to
medium sized rooms, spring, and plate reverb effects by using the four delay
paths, feedback paths, and amounts. Try setting each of the delay times to
different time settings between 30 and 70. Set the amounts and feedbacks to
different values and listen to how the sound changes. Altering the values of
the above parameters will “sculpt” the sound of the reverberation.