RackExtra FX Models

SMR Reverb

SMR Live is a Spatial Modelling Reverberator featuring 4 fully configurable complex spatial models Classic, Hall, Room and EMT. Each of these models use different reflection and decay algorithms to provide natural sound spaces ideal for Live sound.

Classic Emulates high quality plates. Shape tailors the reflection pattern. Min position for fast attack, mid position for rounded early reflections, and max position for separated early and late reflection patterns. Adjusting shape/size/predelay with decay can result in some great Hall reverbs. Small size settings not very useful in live sound applications.

Hall Emulates a real Hall reflection model. No shape control, reflections are controlled with Size, Source diffusion and Ref detail with rich deep decay spectrum.

Room Accurately emulates a characteristic complex room reflection pattern.

EMT Classic plate emulation. A great plate with good tonal balance for live use. Decay setting around 2 seconds is typical.

The SMR primary controls essential for live mixing are always visible:

LF Cut - 0 to 400Hz, 24dB/octave high pass filter to cut low frequencies of the input signal to the reverb.

HF Cut - 2kHz to 20kHz, 24dB/octave low pass filter to cut high frequencies of the input signal to the reverb.

Predelay - The time it takes before the reverb reflections and decay are heard.

Decay Time - Broad spectrum decay control. The time it takes for the reflections to decay to 60dB below the level of the direct sound is known as the RT60, an important measurement of reverb in a room.

HF Decay - Frequency at which the high frequency decay attenuation starts.

HF Slope - The attenuation slope of the high frequency decay. HF Decay and Slope are both essential for high frequency decay spectrum adjustment in a live space. Setting HF Decay and Slope low creates a natural sounding decay. Setting HF Decay and Slope high creates a dramatic decay.

In addition, there are 5 pages of scrollable ‘Expert’ pages for the Reverb which allow precision control:

Page 1 - Reflections - Source Diffusion, Size, Shape, Ref Detail.

Dedicated to reflection control. Keep source diffusion and detail low to help intelligibility. Small sizes are not typical for live applications. ‘Shape’ is only available in the Plate model.

Page 2 - Echoes - Echo1, Echo1 level, Echo2, Echo2 level.

Dedicated page for user defined echo reflections. You can insert main reflections to create Echo reverb sounds. Echo1 goes to left Echo 2 goes right. Echoes may be layered over the reverb.

Page 3 - Decay Texture - Body Diffusion, Tail diffusion, Mod depth, Mod speed.

Separate body and tail diffusion controls can help prevent metallic decay through too much diffusion. Modulation depth and speed increase reverb density and add chorusing, effective on percussive program but not as useful on piano and vocal.

Page 4 - Decay Spectrum - LF decay, LF XOver, Colour, Colour Freq.

Separate LF decay control with crossover frequency and decay time, useful for live work. Colour is a tuneable element in the decay. High Freq colour settings can enhance ambience, although it can sound metallic with some programme.

Page 5 - Reflection/decay level - Reflection level, decay level.

These controls are dedicated to balancing reflection and decay to improve intelligibility.

Preset Name is displayed in the simulated LCD window. Touch and scroll using the screen Rotary for live update. This is a way of live auditioning all library presets for this module (factory, user and USB). You can also select and recall a particular preset using the Library window.

Stereo Tap Delay

Provides a clean digital delay with a maximum delay time of 2.7 seconds. One of the key features of the stereo tap delay is the ability to synchronise the delay times to note intervals based on the effects beats per minute value. The delay has two modes of operation:

BPM mode -Delay time is determined by the selected beats per minute and corresponding note value. Standard, dotted and triplet intervals are selectable via the interval selection wheel from whole to 16th intervals.

MS mode - Delay time is set directly in milliseconds. The unit offers control over input and feedback filters, delay width and switchable Scatter/Ping-Pong modes.

Note: The Stereo Tap Delay can also be locked to the global tap tempo. Global rate can be manually entered or tapped in using the screen of any delay FX locked to global tap tempo, or by tapping a SoftKey assigned as Global Tap Tempo.

Input filter HP frequency – Sets the frequency of the high pass filter on the input to the delay. This cuts low frequencies.

Input filter LP frequency – Sets the frequency of the low pass filter on the input to the delay. This cuts high frequencies.

BPM / MS mode –Switches between Beats Per Minute and Milliseconds mode. In BPM mode the BPM and note selection wheels are displayed allowing delay times to be set as an interval of a selected BPM.

Interval Selection Wheel – Determines the delay time to be set in synchronisation with the chosen BPM. The values range from whole dotted intervals to 16th triplet notes. When an interval is not available due to the BPM being too low, the interval will grey out and not be selectable.

MS time window (in MS mode) – Allows the delay time to be set directly in milliseconds.

Link – Links the left and right delay times.

Local / Global Tap – Locks the delay time to the global tap tempo allowing global synchronisation across the console or locally to this effect unit.

Fractional / Notation display – Choose to display either fractions or notation representation of the selected interval on the selection wheel.

Feedback filter frequency – Selects the frequency of the filter in the feedback path of the delay unit.

Feedback filter slope – Selects the slope of the feedback filter. A larger slope provides greater feedback attenuation.

Scatter mode – Modifies the delay pattern between Ping-Pong and scattered. Scatter off creates classic Ping-Pong delays. Scatter on reconfigures the regen path giving one delay on the shortest side and regen on the longest side replacing Ping-Pong bounce with some interesting delay patterns. For example, an echo on one side and a regen echo pattern on the other.

Feedback – Controls the amount of the feedback in the delay. A larger amount increases the number of audible repeats.

Width – Controls the stereo imaging of the delay unit, from focussed mono sounding to panned wide stereo delays.

Preset Name is displayed. Touch and scroll using the screen Rotary for live update. This is a way of live auditioning all library presets for this module (factory, user and USB). You can also select and recall a particular preset using the Library window.

Bucket Brigade Delay

This is an emulation of a vintage analogue delay unit that used a 'bucket brigade device' (BBD) chip for the delay. This was a discrete analogue time delay line where the stored analogue signal was moved along a series of capacitance sections one step at each clock cycle, similar to a line of people passing buckets of water.

Unlike the analogue equivalent, the GLD Bucket Brigade benefits from long delay lines (up to 2.7 seconds) but maintains the signal degradation expected from such a device. The level of signal degradation is switchable via a ‘DIST’ (distortion) control which switches between different nonlinearities in the feedback path. Note that even in its cleanest mode the Bucket Brigade delay will degrade and band limit the signal.

The delay has two modes of operation:

BPM mode - The delay interval is determined by the selected beats per minute and corresponding note value. Standard, dotted and triplet intervals are selectable via the interval selection wheel from whole to 16th intervals.

MS mode - The delay interval is set directly in milliseconds. The stereo beat delay can also be locked to the global tap tempo. There are controls for both input and feedback filters, with the latter having individual slope parameters.

Note: The Bucket Brigade Delay can also be locked to the global tap tempo. Global rate can be manually entered or tapped in using the screen of any delay FX locked to global tap tempo, or by tapping a SoftKey assigned as Global Tap Tempo.

Input filter HP frequency – Sets the frequency of the high-pass filter on the input to the delay. This cuts low frequencies.

Input filter LP frequency – Sets the frequency of the low pass filter on the input to the delay. This cuts high frequencies.

Width – Controls the stereo imaging of the delay unit, from focussed mono sounding to panned wide stereo delays.

BPM/MS mode – Switches between Beats Per Minute and Milliseconds mode. In BPM mode the BPM and note selection wheels are displayed allowing delay times to be set as an interval of a selected BPM.

BPM window (in BPM mode)– Touch and use the rotary to select the BPM that the note values are synchronised from.

MS time window (in MS mode) – Allows the delay time to be set directly in milliseconds.

Link – Links the left and right delay times.

Local / Global Tap – Locks the delay time to the global tap tempo allowing global synchronisation across the console or locally to this effect unit.

Fractional / Notation display – Choose to display either fractions or notation representation of the selected interval on the selection wheel.

Low Damp Filter frequency – Selects the frequency of the low damp filter in the feedback path of the delay unit.

High Damp Filter frequency – Selects the frequency of the high damp filter in the feedback path of the delay unit.

Feedback filter slope – Selects the slope of the feedback filter. To filter more or less of the feedback path.

Feedback – Controls the amount of the feedback in the delay. A larger amount increases the number of audible repeats.

Dist – Changes the distortion characteristic of the feedback path allowing for more or less signal degradation.

Echo

This emulates the classic tape echo. It faithfully models the many non-linear attributes of the original hardware. These include frequency warping as the repeat rate is adjusted (essentially changing the tape speed), non-linearity and harmonic content at extreme intensity levels, and various other idiosyncrasies associated with motor speed inaccuracies, tape drift and wow. The Echo also emulates saturation and high frequency characteristics of the record head on tape, found on the original hardware. The Echo allows for 7 different ‘modes’, each of which activates certain read heads on the tape. There are 3 read heads in total which are a fixed distance apart; by changing the repeat rate it is possible to vary the delay time at each of the heads. The shortest delays can be found with mode 1 and the longest with mode 3. Modes 4-7 are a combination of read heads which can lead to complex repeat patterns and a greater risk of instability. The Echo will accept stereo input however it only has a mono output.

Input Gain - Can boost or cut up to 15dB of gain on the echo input.

Noise – Turns the analogue noise emulation on or off.

Mode Selector – Switches between the ‘read heads’ of the tape machine allowing for different lengths of echo. 1-3 selects a single read head; 4 – 7 selects a combination of multiple heads for a multi layered echo.

Note Be aware that when multiple heads are selected there is a greater chance for instability and self-oscillation which can result in large output levels. For normal use it is advised to use modes 1-3 to prevent excessive feedback.

Bass – Can cut or boost low frequency content in the feedback path of the echo. The centre position provides a bypassed response.

Treble – Can cut or boost high frequency content in the feedback path of the echo. The centre position provides a bypassed response.

Repeat Rate – Controls the echo time by adjusting the artificial motor speed of the tape. A quicker rate means a shorter echo. For the longest echo select mode 3 and set the repeat rate to the far left.

Intensity - Controls the intensity of the feedback path in the echo. More intensity results in more repeats. When intensity is set beyond 75% the unit is capable of self-oscillation and with external input will grow and evolve, however this can result in loud output levels which need to be monitored. When multiple read heads are selected (modes 4-7) added intensity causes even more instability and care should be taken to avoid clipping.

Echo Volume - Allows for a cut or boost of 15dB of gain on the echo output.

Gated Verb

An accurate emulation of the classic 80’s Gated Reverb plus two other variants called ‘Panned’ and ‘Powerbox’. The user interface gives instant access to Lo-cut Hi-cut decay spectrum filters and the gate envelope controls - predelay, attack, hold and release.

We depart from the 80’s and provide a visual representation of the gate time domain envelope helping the engineer ‘see the time envelope of the gate’. Also included are mono, stereo and wide imaging options and decay diffusion control.

Lo cut Decay Filter - 20Hz – 6kHz, 24dB/octave Hi Pass Filter to control the decay spectrum.

Hi cut Decay Filter - 400Hz – 20kHz, 12dB/octave Low Pass Filter to control the decay spectrum.

Time domain Gate envelope controls:

Predelay - 0 - 170ms adjustable pre-delay of gate opening (prior to attack starting).

Attack - Time period for gate to open.

Hold - Time period that the gate remains fully open.

Release - Time period for gate closing.

Maximum gate open time (attack + hold + release) = 500ms.

Models:

Classic nonlinear - Emulates the faithful 80’s classic gated reverb.

Panner - Rapid panning between L and R in the reverb. Short time movement FX.

Powerbox - Max power in gated energy. Not as de-correlated as classic non-linear.

Mono/Stereo/Wide - Option to switch between mono, stereo and wide stereo field output.

Diffusion - Minimum diffusion for ‘clear’ low diffusion in the reverb decay. Maximum diffusion for ‘rich’ highly diffused reverb.

Hypabass

A sub-harmonic synthesis unit used in the live sound environment to generate infra and sub bass spectrum from weaker bass programme. We initially emulated the American analog classic, but implementation in DSP gave us the ability to use more sophisticated techniques in the sub harmonic generator and filtering stages. The result is reduced distortion in the infra bass section and much better independent control of the infra and sub bass spectrum, essential for live PA use.

The module is stereo in stereo out (with software normalised mono input if source is mono). The stereo signal remains stereo throughout the signal path. There is no mono’ing to produce either the infra or sub bass path.

• BEWARE - Extreme care is needed. Driving high infra bass levels into insufficient speakers may lead to speaker equipment damage.

Operation

‘Hypabass’ is a sub harmonic synthesis module. An LF input de-emphasis/emphasis trim stage feeds the sub harmonic generator creating low distortion, low frequency spectrum below the source input spectrum. This sub harmonic spectrum is then band-split into Infra Bass (18-36Hz) and Sub Bass (36 Hz upwards). This allows Infra and Sub bass to have separate level controls, essential for controlling ‘Infra Bass’ and ‘Sub Bass’ preventing speaker equipment damage, and dealing with resonant acoustics or speaker resonance with exotic LF cabinet porting. Separate Infra Bass and Sub Bass meters are provided. Each are peak detected from both Left and Right signal paths and presented on one meter.

UPPER FREQ CUT - Controls the upper bandwidth of the sub bass harmonic spectrum. This setting depends greatly on the sub bass speaker equipment and the original bass content. Typically a low setting is common to prevent the generated sub bass upper harmonics clashing with the original bass content. Beyond mid position is only useful for Lost Fundamental mode.

LF INPUT BOOST - This filter stage provides emphasis on the input spectrum into the sub harmonic generator and can be used as a global ‘more or less’ control once everything else is setup.

INFRA BASS Mode - This is the default mode. Energy in the Infra and Sub bass spectral regions is synthesised from the input bass content. Using the independent level controls the engineer can balance Infra and Sub bass.

• Avoid infra bass damaging equipment or sub bass resonating. UPPER FREQ CUT needs to be kept low to prevent the generated sub bass upper harmonics clashing with the original bass content.

LOST FUNDAMENTAL Mode - These harmonics can be output to a mid-range driver to create apparent bass energy since these upper harmonics are musically related to the original bass content. Useful for increasing bass perception in music driving mid-range speaker systems. This turns the Infra bass section off and modifies the output spectrum to operate in the typical upper bass region. Using the Sub level and UPPER FREQ CUT the engineer can manipulate the output to contain harmonics that are above the input bass spectrum.

ADT Doubler

An Automatic Double Tracking module capable of creating short echo/chorusing, classic double tracking and ‘slapback’ tape delay loops.

The ADT is very effective in creating stereo double and quad tracked voices from a mono input. There is also a stereo width enhancer. The tracked voices can be auto panned in the stereo field. The ADT is perfect for creating classic doubling effects, thickening programme on stage or developing a stereo sound field without resorting to chorusing.

The module is stereo in, stereo out (with software normalised mono input if the source is mono). ADT will create a stereo field from a mono source.

Delay Separation - Min position for short delay separation producing Chorusing with Thickness set high. Mid position for classic doubling. ¾ position with thickness high for echo-chorusing. Max position with low thickness for tape loop and slapback Echo.

Thickness - Creates flutter modulation in delay voices. Very high settings can smear detail on some programme.

Double/Quad Track - Clear double tracking in the first position. Switch across for thicker quad tracking. With some programme Quad can get too thick and smear detail.

Wide - Extends the delay separation differences between Left and Right enhancing the stereo image.

Autopan - Automatically pans the chorus voices (wet signal only, not the dry signal). This is level modulation of the wet effect (not the dry signal) across the stereo field. It is not complete signal auto panning.

Depth - Determines the amount of movement across the stereo field. Use higher settings for a stronger effect.

Speed - Determines the speed of movement across the stereo field.

Chorus

Chorus derives from the late 80’s where different stereo field creation techniques influenced the sound of each chorusing unit.

Chorus recreates the classics using 3 stereo-field emulations. These emulations can be switched in any combination creating many different stereo fields. All switches up gives no stereo enhancement.

The traditional Rate and Depth controls cover the centre panel. The LFO driving the modulator can be switched to sine or rectified shape. The auto-panning section pans the chorus voices giving stereo level shimmer, another classic modulator effect.

The module is stereo in, stereo out (with software normalised mono input if the source is mono).

Stereo Field emulations - All switches up turns all stereo enhancement off. There are 3 stereo field emulations each active with switch down. These create stereo fields from a mono input. The 3 emulation switches can be used in conjunction with each other creating many different stereo field sounds, just like a number of classic chorus effects. Be careful as all 3 selected together can sound muffled rather than more ‘stereo’ with certain programme.

LFO Split uses two separate LFO’s for left and right, creating a rich stereo image that varies with rate.

Wide pushes the left and right voices apart producing a very wide stereo image, but can sound phasey on some programme.

MultiVoice stereo field is created through multi-voice splits across left and right. It typically produces a thick stereo sound, but can sound muffled on some programme.

Rate - Min position for slow speed, best used with high depth settings for slow, deep chorus. Mid position for medium speed. Use with mid depth for classic chorus sounds. Max position for fast speed. Use with low depth settings for lively chorus.

Depth - Min position for small voice pitch variation. Useful with fast rates. Max position for large voice pitch variation. Can cause audible pitch change. Best with slow rate.

Sine/Rectified - modulator Switches between sine wave and rectified LFO modulator.

Pan Depth - Determines the amount of movement across the stereo field. Use higher settings for a stronger effect.

Speed - Determines the speed of movement across the stereo field.

Symphonic Chorus

A faithful emulation of the 80’s classic chorus effect. Simple to use and frequently requested. The unit has just two controls, Frequency and Depth, controlling the rate and delay range of the stereo modulator. The unit produces a rich, lively and wide chorus sound with a suggestion of very mild phasing / flanging.

Live engineers commonly use this unit for thickening vocals and strings and creating a spatial sound from a mono source. This has led to two factory presets ‘SymphonicVox’ and ‘SymphonyStrings’.

The module is stereo in, stereo out (with software normalised mono input if the source is mono).

Frequency - Adjusts the modulator speed. Minimum setting is a very slow modulation. Maximum is fast modulation. Like the original 80’s unit, the maximum frequency setting is extreme and should be used with shorter depth settings to avoid space ship sound effects. Typical settings are just left of mid position.

Depth - Adjusts the modulator delay depth. Minimum position is short delay depth producing subtle modulation. Some programme may be more prone to phasing/flange type sounds. Mid position is a typical delay depth setting creating tonal depth with rich chorusing. High settings of depth can sound extreme if the frequency is also set too high. Mid position is a typical starting point.

Flanger

Three classic flanger effect emulations – ‘Ambient’, ‘Vintage’ and ‘Wild’. During research of classic pedal flangers we found numerous LFO modulators and stereo splitting techniques. We implemented them all.

For classic deep flange set Stereo Split and Stereo Spread off, pick triangular modulation, Vintage type and adjust Depth and Regeneration. The Manual switch overrides the LFO, for manual flange sweeps, only found on few historic flangers.

The module is stereo in, stereo out (with software normalised mono input if the source is mono).

Stereo Split Uses two separate LFO’s for left and right, creating an enhanced stereo image with left and right flanging in different directions. Can sound very ‘psychedelic’. Enhanced Stereo Split can reduce the intensity of the flange zone.

Stereo Spread Creates an enhanced stereo image by offsetting left and right flange voices with dynamic delay. Can sound super wide stereo or phasey depending on programme. Enhanced Stereo Spread can reduce the intensity of the flange zone. With both Stereo Split and Spread off the stereo image is preserved. For classic deep traditional flange effect turn both Stereo Split and Spread off.

LFO Type selector:

Manual Speed control becomes a manual sweep control (LED goes green). Sine, Rectified sine, Inverted rectified sine, Triangular Shape of auto oscillation. Speed Ranges from off to fast modulation. The LED goes red when in auto mode, green when in Manual mode.

Depth - Adjusts the flange zone depth. Min position operates in a tight flange zone. At max position the effect sweeps in and out of the flange zone creating a greater tonal change. High settings of Depth can sound extreme.

Regenerate - Produces feedback into the flanging delay line, making the flange more pronounced. Min position can result in no audible flange. Max position can sound too aggressive.

Emulation Types:

Ambient - HF rich, subtle flange, creating ambience. Great with overhead mics for a spatial sound.

Vintage - Creates a classic silky sound reminiscent of tape machine flanging. Regen control is well balanced LF and HF and the flanging does not get too aggressive.

Wild - An untameable, dramatic effect. The sound turns inside out.

MOO 12 Stage Phaser

A classic 12 stage emulation producing rich textured phasing with plenty of control. The user has control of number of stages, feed forward and feed back, and ‘zero’ depth manual mode – to manually sweep the Phaser using the offset control.

The classic characteristic sound is produced by careful emulation of the phase chain and operating frequency range around the offset control. Equally important is the emulation of harmonic signatures produced by the companded analogue delay lines producing rich harmonics adding thickness to the sound. The split/mono LFO switch toggles between in-phase intense phasing and split-phase mode - creating spatial rotary effects.

There are many different possibilities through varying the number of stages in the phase chain output or the feedback resonance path. Setup depends on the instrument applied to the unit. Lower numbers produce clean thin sounds. A higher numbers of stages produce a richer phasing sound.

Phasing Stages - Selects which point in the phase chain is taken as output. 6 stages produce a clean phase. However the classic rich sound is 12 stages.

Resonant Stages - Select which point of the phase chain is taken into the feedback ‘mix resonance’ circuit. 12 Stages is classic.

Mix Resonance - Controls the amount of feedback into the phase chain input. Classic sound around 5 - 8. Full resonance at 10.

LFO Rate - Variable between 0.1 to 10Hz

LFO Select switch - Sine / Rectified / Inverse Rectified / Linear(Triangular) are selectable. Classic unit uses Linear(Triangular). Slow Phasing sounds great with Sine. Rectified variants can create notches or phase spikes which can sound cool. Rectified variants are twice the speed.

LFO split switch ‘Mono’ setting configures the Left and Right Phase Chains to modulate in phase, the strongest effect. ‘Split Phase’ runs Left and Right not in Phase, creating a stereo swirl for added spatial rotary effect.

Depth - Controls the amount or depth of LFO modulation in the phase chain. Extreme settings can sound unnatural. Setting this control to minimum turns the LFO modulator off and relies on manual sweeping of the phase chain using the ‘offset’ control.

Offset - Shifts the operating frequency range of the Phaser. Maximum settings force the Phaser to operate in higher frequencies. Lower Offset settings allow lower frequency phase sweeps (more intense). In manual mode (Depth = 0) the user can adjust the phase sound with this control.

De-Esser

Based on the flagship iLive FX engine, the De-Esser emulates the classic Auto-Threshold circuit commonly found on high end hardware units. This produces a constant sibilance reduction regardless of signal level, resulting in a more natural De-Essing process. In comparison, threshold based De-Essing produces inconsistent reduction activity which can result in unnatural vocals.

De-Esser features an adjustable frequency point and a Listen button to allow monitoring of the sibilant region. The response of the De-Esser and the amount of reduction applied are adjustable to suit vocal programme.

The two channels are independent but their controls can be linked thanks to a latch switch.

Mode – A three position switch changing the EQ band type from Classic, Shelf and Band Pass.

Listen - A momentary switch used to monitor the left or right channel to listen to the ‘ess’ band to which the gain reduction will be applied. The Listen button is independent of the “Link” configuration so that even when Link is set, the left Listen monitors the left channel and the right Listen monitors the right channel.

Frequency - Adjusts the lower boundary of the region thought to contain sibilance. This will typically be around the 6kHz range. Adjust the value to capture the “ess” heard on the channel. The frequency is adjustable from 3kHz to 8kHz. Like many advanced De-Essers this is not a simple notch filter in Classic mode. Typically you need to set the frequency slightly lower than the centre frequency of the ‘ess’.

Reduction - Provides control over the amount of gain reduction applied to the selected frequency band. At “Min”, the De-Esser will not attenuate the band. At “Max” the De-Esser will attenuate the band by up to 24dB.

Response - Adjusts the speed with which the De-esser responds to the presence of ess/sibilance. Medium setting corresponds to the speed found on the iLive platform. Fast setting is much faster, and Slow is roughly half the response time of iLive. To avoid slight artefacts in vocal programme try using the Slow or Medium settings.

Link - Forces the left and right De-esser channels to be matched. If the two channels have different, non-zero settings and the link control is activated, the right channel settings will be set to match those of the left channel. If the link control is then de-activated, the right channel will then reassume the settings it had before the link was initially activated.

Dimension Chorus

A model of a classic chorus device based on bucket-brigade technology. The 4 modes offer varying degrees of density from subtle spatial chorus to heavy modulation, with mode ‘E’ extending beyond the capabilities of the original outboard unit.

Controls:

Mode - Mode 1 is the subtlest, producing the most natural of voices and a small stereo spread. Mode 2 increases the width of the voices. Mode 3 increases both the modulation speed and depth of the chorus giving a thicker sound. Mode 4 is the most extreme and it expands the voices to be both louder, faster and wider. Expanding on the original device, we have included mode ‘E’ which follows the progression of more intense chorusing. This produces quite an aggressive chorusing mode but still utilises the unit’s voice architecture.

Output – Set to Wet Only when using in a Send/Return configuration, or Dry+Wet when inserted on a channel, with the wet/dry control for that channel set to fully wet.

Transient Controller

This is an accurate model of the industry standard Transient Signal Processor.

Transient Signal Processors provide cut and boost of the attack and sustain envelopes of the input signal. This gives the sound engineer greater control over the transient behaviour of audio programme. The processor is auto-threshold which boosts or cuts specific parts of a signal envelope using auto attack and release times thus making control very simple. The unit has two independent linkable channels of processing, each with pre-gain and post-gain make-up and two optimised modes of operation.

Controls:

Attack – Sets the amount of gain applied to the attack portion of a transient. Allows up to 15dB boost or cut on the initial onset of a transient signal.

Sustain – Sets the amount of gain applied following a transient, boosting or cutting the sustain envelope of the signal. Allows up to 24dB of cut or boost. Changing the sustain gain on drums can help add or remove reverberation and can transform the tonal quality of the sound.

Pre Gain – Can boost or cut up to 15dB before processing.

Post Gain – Can boost or cut up to 15dB after processing.

In – switches the processor in and out. These are independent controls for each channel. The user interface greys out when the processor channel is out.

Metering – The unit provides signal and peak LED indicators for both input and output. The signal LED has three stages: Green for signal presence, yellow for nominal level above '0' and orange when approaching clipping.

Mode – The mode switch toggles between Transient and Continuous mode. If you hear unwanted artefacts then try changing the mode.

• Transient Mode - The default Transient Mode is designed to be used on percussive, transient material. Its automated attack and release reacts quickly meaning that even the sharpest of transients will be caught and processed with minimal distortion.

• Continuous Mode - Ideally suited for more steady state signals such as a bass or guitar. The unit responds much slower to transients and allows a smoother response.

Link – Links the two processing channels and changes the right channel parameters to match the left. When unlinked the right channel previous parameters are recalled. When linked, a common summed mono side chain is enabled for both channel 1 and 2.

HELP CENTRE

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SMR Reverb

Stereo Tap Delay

Bucket Brigade Delay

Echo

Gated Verb

Hypabass

ADT Doubler

Chorus

Symphonic Chorus

Flanger

MOO 12 Stage Phaser

De-Esser

Dimension Chorus

Transient Controller

HELP CENTRE

Search

SMR Reverb

Stereo Tap Delay

Bucket Brigade Delay

Echo

Gated Verb

Hypabass

ADT Doubler

Chorus

Symphonic Chorus

Flanger

MOO 12 Stage Phaser

De-Esser

Dimension Chorus

Transient Controller

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