33
Reverb EQ
Displayed as: LoPass HiPass
Initial values: 74 and 0
Range of adjustment: 0 to 127 0 to 127
These two parameters basically constitute a simple LF/HF EQ section for the reverb
envelope itself. The effects differ from those of the Damping parameters: LoPass and
HiPass are simple filters for the overall reverberation (not the initial note) while
LP Damp and HP Damp are coefficients defining how the reverb algorithm itself
operates.
Global FX page:
The default menu display is shown below:
FX GLOBAL 1/9
WetLevel 127 H
DryLevel 127
Routing Parallel
The parameters available on the Global FX page affect all three time-domain FX
processors (Chorus, Delay and Reverb).
Wet and Dry Levels
Displayed as: WetLevel DryLevel
Initial values: 127 and 127
Range of adjustment: 0 to 127 0 to 127
The terms “wet” and “dry” as applied to FX processors respectively refer to the untreated
signal, i.e., the input to the processors, and the treated signal, i.e., the output of the
processors. It is normal to mix these together and the default parameter values (both 127)
create a full-level, equal mix. By reducing DryLevel, the treated signal will predominate,
which can produce some unusual and interesting effects with reverb and delay. With
WetLevel at zero, no processing effect will be audible.
analogue and digital
analogue
dry
wet
analogue
digital
Overview
voices
voice sum
effects
outputs
FX Routing
Displayed as: Routing
Initial value: Parallel
Range of adjustment: Parallel, D->R->C, D->C->R, R->D->C, R->C->D,
C->D->R, C->R->D
When using more than one of the three time-domain effects (Chorus, Delay and Reverb)
simultaneously, the overall effect will differ depending on the order of processing. For
example, if Delay precedes Reverb, each echo added to notes by the Delay processor will
initiate its own reverb envelope. If Delay follows Reverb, the Delay processor will attempt
to generate a multiplicity of fresh reverb envelopes as repeats. Routing allows you to
arrange the three time-domain processors in series in any order, or to configure them to
process sounds in parallel, i.e., simultaneously, with the outputs being blended together. In
parallel (the default configuration), the overall result is subtly different from any of the series
configurations.
FX Modulation Matrix pages:
Right-paging above FX Menu Page 8 opens the four FX Modulation Matrix pages. The
FX Modulation Matrix is effectively an extension of Peaks’ main Modulation Matrix, but is
devoted solely to using various Peak sources to modulate FX parameters. It provides four
“slots” each with two inputs, so you can simultaneously modulate up to four different FX
parameters from up to eight separate sources. It is set up in the same manner as the main
Modulation Matrix. The four pages are identical, and each allows one slot to be configured.
The default menu display for Slot 1 is shown below:
:sA [FxSlot 1] sB:
Fx Destin Dist Lev
:HDirect : Direct
Depth +0
As with the main Modulation Matrix, each slot has two inputs, A and B, which allows each
destination FX parameter to be modulated by two different sources. The three buttons to
the left of the OLED display select Rows 2, 3 or 4 for adjustment, but note that the Row 2
button toggles source selection between slot inputs A and B. Source A is displayed on the
left of Row 2 and Source B on the right: in the default display shown above, both are set to
Direct (no modulation selected).
FX Modulation Source
Displayed as: :s A and :s B
Initial values: Direct
Range of adjustment: see table at page 39 for list of available sources
FX Modulation Destination
Displayed as: FX Destin
Initial values: Dist Lev
Range of adjustment: see table at page 40 for list of available
destinations
FX Modulation Depth
Displayed as: Depth
Initial values: 0
Range of adjustment: -64 to +63
The Depth parameter sets “how much” control is being applied to the Destination – i.e.,
the parameter being modulated by the selected source(s). If both Source A and Source B
are active in the slot in question, Depth controls their combined effect.
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