20 M32C DIGITAL RACK MIXER User Manual 21 M32C DIGITAL RACK MIXER User Manual
Mood Filter
The Mood Filter uses an LFO generator and an auto-envelope generator to control
a VCF (voltage-controlled lter), as well as a side chain function where the
channel B signal controls the envelope of channel A. When applied to electronic
instruments, the Mood Filter can be used to emulate the natural sound of
acoustic instruments. (Inspired by the MiniMoog)
This lter can be modulated with the signal’s envelope using the ENV MOD
(withpositive and negative amounts), ATTACK and RELEASE knobs, or the LFO
can modulate the lter. The WAVE knob selects between 7 di erent wave forms
– triangular, sine, saw plus, saw minus, ramp, square, and random. The PHASE
can be o set by up to 180 degrees. The SPEED knob adjusts the rate of the LFO
and the DEPTH adjusts the amount of LFO modulation. Adjust the resonance of
the lter until self-oscillation with the RESO(nance) knob. BASE adjusts the range
of the lter from 20 Hz to 15 kHz. The MODE switch selects between low pass
(LP), high-pass (HP), band-pass (BP) and Notch. Use the MIX knob to blend the
e ected signal with the dry sound. With the 4 POLE switch engaged, therewill
be a steeper slope than the OFF (2 pole) setting. The DRIVE knob adjusts the
level and can also introduce an overdrive e ect (as with real analogue lters)
ifpushed hard. In Sidechain mode, only the left input signal is processed and
fed to both outputs. The envelope of the right input signal can be used as a
modulationsource.
Delay + Chamber
Here we have combined Delay and Chamber reverb, so a single device can provide
a variety of delay settings, plus add just the right type and amount of reverb to
the selected signal. This device only uses one FX slot. (The Reverb is Inspired by
the Lexicon PCM 70)
Use the BALANCE knob to adjust the ratio between delay and reverb.
Lowfrequencies can be excluded with the LO CUT knob, and the MIX adjusts
how much of the e ect is added to the signal. The TIME knob adjusts the delay
time for the left channel delay, and the PATTERN sets the delay ratio for the
right channel delay. Adjust the FEEDBACK and trim some high frequencies with
the FEED HC (high-cut) knob. The XFEED knob allows you to send the delay
sound to the reverb e ect, so instead of running completely parallel, the reverb
e ects the echos to a selected degree. The PREDELAY knob determines the
hesitation before the reverb a ects the signal. The DECAY knob adjusts how
quickly the reverb fades. The SIZE controls how large or small the simulated
space is (room,cathedral, etc.). The DAMPING knob determines the decay of high
frequencies within the reverb tail.
Chorus + Chamber
Taking up only one FX slot, the Chorus + Chamber e ect combines the shimmer
and doubling characteristics of a studio-grade Chorus with the sweet sound of a
traditional Chamber reverb. (Reverb is Inspired by the Lexicon PCM 70)
The BALANCE knob adjusts the balance between chorus and reverb. Low
frequencies can be excluded with the LO CUT knob, and the MIX knob adjusts
how much of the e ect is added to the signal. SPEED, DELAY and DEPTH adjust
the rate, delay, and modulation depth of the chorus. The LFO PHASE between left
and right channel can be o set by up to 180 degrees, and WAVE adjusts the LFO
waveform from a sine wave to triangular wave. The PREDELAY knob determines
the hesitation before the reverb a ects the signal. The DECAY knob adjusts how
quickly the reverb fades. The SIZE controls how large or small the simulated
space is (room, cathedral, etc.). The DAMPING knob determines the decay of high
frequencies within the reverb tail.
Flanger + Chamber
Add the mind-bending, lter-sweeping e ect of a state-of-the-art Flanger to
the elegant sweetening of a traditional Chamber reverb—all in one FX slot.
(Reverbis Inspired by the Lexicon PCM 70)
The BALANCE knob adjusts the ratio between anger and reverb. Low
frequencies can be excluded with the LO CUT knob, and the MIX knob adjusts
how much of the e ect is added to the signal. SPEED, DELAY and DEPTH adjust
the rate, delay, and modulation depth of the anger. FEEDback can be adjusted
with positive and negative amounts. The PHASE can be o set by up to 180
degrees. The PREDELAY knob determines the hesitation before the reverb a ects
the signal. The DECAY knob adjusts how quickly the reverb fades. The SIZE
controls how large or small the simulated space is (room, cathedral, etc.). The
DAMPING knob determines the decay of high frequencies within the reverb tail.
Delay + Chorus
This combination e ect merges a user-de nable Delay (echo) with a studio-
quality Chorus sure to fatten up even the “skinniest” track. Uses only one FX slot.
(Inspired by the TC Electronic D-Two)
The TIME knob adjusts the delay time, and the PATTERN knob sets the delay ratio
for the right channel and negative values activate a cross feedback between
the two channels. The FEEDHC knob adjusts the delay high-cut frequency,
whilethe FEEDBACK knob adjusts the number of repeats. The X-FEED knob allows
you to send the delay sound to the chorus e ect. The BALANCE knob adjusts
the ratio between delay and chorus. SPEED, DELAY and DEPTH adjust the rate,
delay,andmodulation depth of the chorus. The right channel LFO PHASE can be
o set by up to 180 degrees, and WAVE adjusts the chorus character by shaping
the LFO waveform from sine wave to triangular wave. Use the MIX knob to blend
the e ected signal with the “dry” sound.
Delay + Flanger
This handy dynamic duo blends the “woosh” of soaring jet planes with classic
Delay, and can be adjusted from mild to wild. This combination e ect only takes
up one FX slot. (Inspired by the TC Electronic D-Two)
The TIME knob adjusts the delay time, and the PATTERN knob sets the delay ratio
for the right channel and negative values activate a cross feedback between
the two channels. The FEEDHC knob adjusts the delay high-cut frequency,
whilethe FEEDBACK knob adjusts the number of repeats. The X-FEED knob
allows you to send the delay sound to the anger e ect. The BALANCE knob
adjusts the ratio between delay and anger. SPEED, DELAY and DEPTH adjust the
rate, delay, andmodulation depth of the anger. The right channel LFO PHASE
can be o set by up to 180 degrees, and FEED (positive and negative amounts)
adjuststhe feedback e ect. Use the MIX knob to blend the e ected signal with
the “dry”sound.
Dual / Stereo GEQ
These are standard graphic equalizers that provide 31 bands of adjustment
between 20 Hz and 20 kHz. A master volume slider compensates for changes in
volume caused by the equalization. A maximum boost or cut of 15 dB is available
for each band.
Dual / Stereo TruEQ
The TruEQ incorporates a special algorithm that compensates for the gain
adjustment overlapping e ect that adjacent frequency bands have on one
another. On a standard EQ, when neighboring bands are boosted together,
theresulting e ect is magni ed beyond what is visible from the positioning of
thesliders.
Graphic equalizer without frequency response correction.
This compensated EQ will produce an adjustment that is identical to the actual
positioning of the sliders.
Graphic equalizer with frequency response correction.
Rhythm Delay
The Rhythm Delay provides 4 stages of delay with independently adjustable gain
and rate, allowing unique syncopation to be created in the layered repeats.
TIME BASE sets the master delay time, which is also the delay time for the rst
stage. GAIN BASE sets the gain for the rst stage. SPREAD positions the rst delay
stage in the stereo eld. A global FEEDBACK, LO and HI CUT adjustment are also
available. FACTOR A, B and C adjust the delay rate relative to the global TIME BASE
setting for the 2nd, 3rd and 4th stages respectively. Each stage also has its own
GAIN adjustment. MONO activates a mono mix of both channels for the delay
input. X-FEED indicates that stereo cross-feedback of the delays is active.
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