Channel FX

The Delay is used to simulate echo effects and can also be employed as a sound design tool. The effect signal can be additionally applied to a specific frequency spectrum by means of two integrated filters.

TIME: The time value determines the delay time in milliseconds. SYNC: This function allows the "coupling" of the Time to a defined time value ( Normal, Dotted, Triplets).

For example, with T16, the time function works in dotted sixteenths.

FEEDBACK: Determines how much the output signal is sent back to the input. DAMPING: Sets a low-pass filter over the applied signal - the knob determines the frequency up to which the signal is passed. THINNING: Sets a high-pass filter over the applied signal - the knob determines the frequency at which the signal is passed through. SPREAD: Determines how much the applied signal moves in the stereo image.

• 0% = Normal Delay
• 50% = Mono Delay
• 100% = Ping-Pong Delay

DRY: Defines, how much amount from the original signal is audible. WET: Defines, how much amount from the effected signal is audible.

A saturator emulates tape saturation or tape overload of a tape machine.

By overdriving the signal one thereby ads harmonic distortions, which can lead to beautiful, similar-sounding results.

DRIVE: Controls the signal at the input of the saturator. This allows the signal to be overdriven and "distorted". QUALITY: Determines the quality of the effect algorithm. TYPE: About the Type function can be selected from different algorithms. MIX: This control determines how much of the effect of the signal is "mixed in". ROLL-OFF: Lowering the high frequency components from 30,000 Hz to 20 Hz. OUTPUT: Controls the output level of the effect.

With the Cabinet you can choose from five different Cabinet emulations:

• Twin
• 1960B
• Solo412
• AC30
• ES212

The Compressor lowers the level of the input when it exceeds the threshold. The amount of attenuation is determined by the Attenuation / Ratio and input level. When the input level goes above the threshold, attenuation is added gradually to reduce distortion.

The compressor’s attack time determines how fast the compression is applied – this way you can sculpture the attack of your instruments, making them softer or more aggressive.

The release time determines the time it takes the compressor to decrease the applied gain reduction. Depending on the length of the release time you can minimize the "sonic body" of an instrument in comparison to the attack sound, or you can apply extremely short release times to emphasize it.

ATTACK: Sets the time the compressor needs to increase the gain reduction to reach the level determined by the ratio. (0 – 300 ms). RELEASE: The 'release phase' is the period when the compressor decreases gain reduction to the level determined by threshold and ratio (or to zero, once the level has fallen below the threshold). (0 – 3000 ms). CHARACTER: With this function you can suppress unpleasant peaks in the sonic image of the effect. THRESHOLD: The level above which the signal is reduced. A low threshold means that a larger portion of the signal will be processed. RATIO: The ratio determines the input/output ratio for signals above the threshold. For example, a 3:1 ratio means that a signal overshooting the threshold by 3 dB will leave the compressor 1 dB above the threshold (1:1 to 60:1). SOFT KNEE: With the Soft Knee function you can slow down the compressor usage.

The full ratio will only apply as soon as there is a clearly exceedance of the threshold- this leads to a smoother transition.

MAKE-UP: Automatically compensates for gain loss in the compression based on the current threshold, ratio and attack settings. SIDE-CHAIN: This activates / deactivates the side chain.

The Expander serves to "expand" the dynamics.

Silent signals are made quieter by using a threshold (to suppress noise in quiet areas, for example) and loud signals are made louder.

This effect thus causes the opposite benefit of the compressor.

An expander works much like a gate, except that it cuts away the signal below the threshold, but only lowers the expander (at least at a low ratio).

ATTACK: Determines how fast the signal will be processed at the set ratio after it suppresses the threshold. RELEASE: Sets the amount of time it takes for the processed signal to return to the ineffective state after falling below the threshold again. CHARACTER: This can suppress unpleasant peaks in the sonic image of the effect. THRESHOLD: This is the threshold below the signal is reduced. RATIO: The ratio determines how much the signal is reduced by the threshold - a high ratio equals a noise gate. SOFT KNEE: When using the Soft Knee function, the use of the expander slows down in the threshold area, the effect is thereby somewhat weakened. MAKE-UP: Serves to raise the signal above the threshold additionally. SIDE-CHAIN: This activates / deactivates the side chain.

The Limiter maximizes the apparent volume within the available dynamic range by reducing the distance between average program levels and their associated peaks.

Just the right amount of maximization will make your signal seem loud without ever exceeding the available dynamic range, whereas too much limiting will make your signal sound "flat" and unnatural.

ATTACK: Determines how fast the signal will be processed at the set ratio after it suppresses the threshold. Values: 0-300 ms. RELEASE: Controls how long it takes for the limiter to recover from attenuating the signal after it has dropped below the threshold. Values:0–3000 ms. CHARACTER: With this function you can suppress unpleasant peaks in the sonic image of the effect. THRESHOLD: Threshold sets the point at which the limiter starts to affect the input signal. Lowering the threshold setting has the effect of raising the output gain of the signal. The average level of the signal is increased while the limiter assures that the signal will not exceed the ceiling level. SOFT KNEE: With the Soft Knee function you can slow down the compressor usage.

The full ratio will only apply as soon as there is a clearly exceedance of the threshold- this leads to a smoother transition.

MAKE-UP: Useful to compensate for possible volume losses due to compression. SIDE-CHAIN: This activates / deactivates the side chain.

The Noisegate serves to suppress quiet / disturbing signals. Silent signals are stopped by a threshold (for example, to suppress noise in quiet areas). This effect thus causes the opposite benefit of the limiter.

ATTACK: Determines how long the gate takes until it is fully open after it reaches the threshold. RELEASE: Determines the time it takes to close the gate after it has fallen below the threshold. The release function allows the signal that has passed through the open gate to be gradually frayed. CHARACTER: This can suppress unpleasant peaks in the sonic image of the effect. THRESHOLD: This is the threshold below which the gate closes and the signal stops. SOFT KNEE: When using the Soft Knee function, the use of the gate slows down in the threshold range, the effect is thereby somewhat weakened.

This can make opening and closing the gate much more natural.

MAKE-UP: Serves to raise the signal above the threshold additionally. SIDE-CHAIN: This function activates / deactivates the side chain.

The Bandpass Filter allows signals between two specific frequencies to pass.

FREQUENCY: This determines the frequency at which the filter is used. RESONANCE: Determines the bandwidth of the slope of the curve.

The Equalizer is used to reduce or boost a specific frequency range.

Depending on the type of curve,you can also reduce the whole frequency spectrum below (High Pass) or above (Low Pass) the adjusted frequency.

TYPE: Defines the type of curve for the equalizer. GAIN: Adjusts the gain factor of the filter belt between -24 dB and +24 dB. FREQUENCY: Choose the frequency for the filter belt. Q(-Factor): The Q Factor defines the bandwidth of the curve.

The four high pass filters work with an ascending curve steepness.They pass the signal above the cutoff.

CUTOFF: This determines the frequency at which the filter starts. RESONANCE: Determines the bandwidth of the curve drop (peak).

The four low-pass filters work with an ascending curve steepness.They pass the signal below the cutoff.

CUTOFF: This determines the frequency at which the filter starts. RESONANCE: Determines the bandwidth of the curve drop (peak).

The three notch filters work with an ascending curve steepness.

CUTOFF: This determines the frequency at which the filter is used. RESONANCE: Determines the bandwidth of the corner drop.

This filter type is working softer and more pleasant than conventional filter types. A high-pass filter, two low-pass filter, a notch filter and a peak filter are available.

FREQUENCY: This determines the frequency at which the filter starts. RESONANCE: Determines the bandwidth of the slope of the curve (peak).

With the N1 you can find specific resonances and lower them. FREQUENCY: This determines the frequency at which the filter is used. RESONANCE: Determines the bandwidth of the slope of the curve.

With the peak filter,targeted resonances can be lowered and raised. GAIN: Gain can be used to lower or boost the volume of the selected frequency range. FREQUENCY: This determines the frequency at which the filter is used. RESONANCE: Determines the bandwidth of the slope of the curve.

The Auto Gain is a powerful stereo enhancement tool which can be used as a versatile modulator as well.It lets you modulate the left/right stereo signal.

AMOUNT: This determines the amount of LFO modulation applied to the input signal. SPREAD: Determines how much the applied signal moves in the stereo image. PHASE: Sets the offset of the waveforms between the left and right channels. At 180 degrees, the LFOs are out of phase. RATE: Determines the LFO frequency in Hertz. SYNC: This feature allows you to "link" the rate to a defined time value (Normal, Dotted, Triplets). For example, N16 means that the rate works in sixteenths (1/16). SHAPE: Determines the waveform of the working LFO.

8 different waveforms are available.

The Chorus - Flanger is a chorus effect, combined with a flanger. The input signal splits into two delay lines and they get mixed together. They interfere with the original signal and the resulting interference "moves" through the varying delay.

DELAY: This determines the time offset between the two parallel delay lines. DEPTH: Determines how much the signal is affected by the flanger effect. This is done by changing the amplitude of the LFO. RATE: This sets the speed at which the flanger operates. The rate is determined by the oscillation speed of the flanger. SPREAD: Determines how much the applied signal moves in the stereo image SHAPE: Determines the waveform of the working LFO. FEEDBACK: With the feedback function, the effect can be influenced even more (so-called "ringing"). This effect comes into effect by sending part of the output signal back to the input. DAMPING: Sets a low-pass filter over the applied signal - the knob determines the frequency up to the point where the signal is passing through. DRY: Defines, how much amount from the original signal is audible. WET: Defines, how much amount from the effected signal is audible. QUALITY: Determines the quality of the effect algorithm. SYNC: This feature allows you to "link" the rate to a defined time value (Normal, Dotted, Triplets). For example, N16 means that the rate works in sixteenths (1/16). INVERT FEEDBACK: This turns the feedback phase. INVERT WET: This will rotate the phase of the effect signal.

With Phaser, one signal part remains untouched and a second part is sent through several all-pass filters.

STAGES: This determines the number of stages (All-Pass Filter) that are passed through by the signal. LOWER FREQUENCY: Lowers the low frequencies (adjustable from 20-20,000 Hz). UPPER FREQUENCY: Lowers high frequencies (adjustable from 20-20,000 Hz). RATE: This sets up the speed at which the phaser works. The rate is determined by the oscillation speed of the effect. SYNC: This feature allows you to "link" the rate to a defined time value (Normal, Dotted, Triplets). SPREAD: Determines how much the applied signal moves in the stereo image. SHAPE: Determines the waveform of the working LFO. FEEDBACK: Determines how much the output signal is sent back to the input. INVERT FEEDBACK: This will rotate the phase of the feedback effect signal. DAMPING: Sets a low-pass filter over the applied signal - the knob determines the frequency up to which the signal is passed. DRY: Defines, how much amount from the original signal is audible. WET: Defines, how much amount from the effected signal is audible. INVERT WET: This will rotate the phase of the wet effect signal.

The legendary Rotary uses the Doppler Effect, which is triggered by rotation. This creates acoustic beats, which can be manipulated in the further course. With slow rotation, you can achieve a chorus-like effect, while a fast turn creates a tremolo-like sound.

CHARACTER: Changes some mixing and filter params, essentially making the sound more "speaker" like. CROSS-OVER: Defines the crossover frequency between low/high speaker. SPEED: Speed of the rotating speakers. DEPTH: Pitch Depth.Essentially, the size of the Leslie cabinet. LOW MIC ANGLE: Defines the angle of the low microphone. HIGH MIC ANGLE: Defines the angle of the high microphone. HIGH THROB: Defines how much of volume modulation should occur for high speaker. LOW THROB: Defines how much of volume modulation should occur for low speaker. DRIVE: Drive/Distortion of speakers.

In a Plate Reverb, vibrations are generated with a metal plate. With the help of a transducer, the information is recorded and results in a two-dimensional reverb. DECAY: Defines the duration, until the sound reflections of the signal lose energy and fade away. DAMPING: Sets a low-pass filter over the applied signal - the knob adjusts, about how much amount (in dB) the filter should drop the signal. DRY/WET: Determines the mixing ratio between the original (Dry) and the effect signal (Wet).

The Room Reverb can be used to create virtual spaces and reverberation. Unlike the Plate Reverb, the Room Reverb is three-dimensional.

PREDELAY: Determines the amount of time (in milliseconds) between the unprocessed signal and the onset of the algorithmic reverb. ER SIZE: Sets the duration of the first reflections. ER CROSS: Determines the distribution of the first reflections in the stereo image. DECAY: Decay time, in seconds. SIZE: Sets the room size of the algorithm. LOWPASS: Adds a low pass filter. Values in Hz. DAMPING: Attenuation of high frequencies in the feedback path. Values in Hz. EARLY: Determines the volume of the first reflections. LATE: Determines the volume of the late reflections. DRY: Defines, how much amount from the original signal is audible. WET: Defines, how much amount from the effected signal is audible.

WIDTH: Adjust the width of the signal. (0-2) SHUFFLE FREQUENCY: Adjust frequency amount. (80-1400 Hz).
Choose a frequency between 600 and 700 Hz for classic stereo monitoring.
Higher frequencies may be better if the playback is aimed at loudspeakers often used in portable playback devices like laptops, where the stereo speakers are very close.
If you used stereo microphone techniques where the microphones are spaced apart by perhaps 20 or 30 centimeters for your source file, lower frequencies will be useful. SHUFFLE AMOUNT: Adjust shuffle amount. (0-1). Shuffle increases the stereo width at low frequencies which can be adjusted with the SHUFFLE FREQUENCY knob.

PHASE INVERT: Turns the phases of the input signal. CHANNEL SWAP: Swaps the left and right channels in the stereo image.

A very useful tool for stage positioning of instruments, featuring real-time audio angular analysis. By collapsing the stereo image of an audio signal, you will not lose any of its information (which happens with "ordinary" balance faders that simply lower the volume of one side of the signal).

CENTER: Shows panning center, in %. WIDTH: Determines the width of the stereo signal. 100% means full stereo width of the source. BALANCE: Applies the settings of the assigned parameters in%. GAIN: Balance Gain. Balance is commonly done by adjusting gain alone. PHASE INVERT: Turns the phases of the input signal. PAN LAW: Determines how the signal level is affected by panning. Without compensation, the combined loudness of the left and the right signal will be higher if a channel is panned to the center than if it is panned to one side. The Pan Law allows for attenuation of the signal when it is panned to the center. – The optimum value depends a lot on the input source.

Adjustable from 0 to6 dB (0 dB actually turns off constant power panning).

Sample Delay is a useful tool for creating an artificial time offset of the signal (in samples).