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6.2.3 Combinations of effect algorithms |
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| Tiny Room |
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| Small Room | Classic room simulation featuring various | ||||||
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| Medium Room | room sizes from bathroom to cathedral | |||||||
PHASER & DELAY: Phaser and delay combined. |
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| Large Room |
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FLANGER & DELAY: Here the input signal is delayed and |
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| Ultra Room | Special effect transforming guitar signals | |||||||
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processed with a pronounced |
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| Small Spring |
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effective for highlighting single notes, but can also be used to |
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| Medium Spring | ||||||||
make solos more interesting. |
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| Short Ambience | Simulates the early reflections of a | |||||||
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CHORUS & DELAY: This algorithm combines signal delay with |
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| Long Ambience | reverbless room | |||||||
the popular chorus effect. |
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CHORUS & COMP: Incredible sustain effects can be produced |
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with the compressor. This is especially useful for sustaining |
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individual guitar notes. Combined with chorus, it can make the |
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audio signal extremely dense. |
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| 7.1 Tuning your guitar | ||
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6.2.4 Special effects |
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of all the standard guitar notes. For the | ||||||||||||
COMPRESSOR: A compressor limits the dynamic range of the | frequency of 220 Hz. When you plug your guitar into the | |||||||||||
device and play an open string, the tuner will recognize and | ||||||||||||
audio material, thus producing audible and creative sound effects. | ||||||||||||
display the note. Since the tuner uses an | ||||||||||||
Pronounced use of the compressor (using the EFFECTS control) | ||||||||||||
it can also recognize | ||||||||||||
allows you to compress the overall dynamic range of the material. | ||||||||||||
the display. |
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AUTO WAH: The legendary |
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mainly to Jimi Hendrix. Describing it is certainly more difficult than |
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actually slightly out of tune. This is shown by at least one of the | ||||||||||||
simply listening to Hendrix using it on Voodoo Chile. In American | ||||||||||||
four LEDs at the foot of the display lighting up. In certain cases | ||||||||||||
funk music of the ’70s you can hear | ||||||||||||
even two of the LEDs may light up, which indicates that the pitch | ||||||||||||
variety of applications. The | ||||||||||||
of the note played lies between the pitches represented by the | ||||||||||||
automatically depending on the signal’s magnitude, rather than | ||||||||||||
two LEDs. When the circular tuner LED in the middle lights up, | ||||||||||||
being controlled by the position of a pedal. | ||||||||||||
this means the note played is in tune. | ||||||||||||
TREMOLO: Simulates the classic Fender Tremolo. It has | ||||||||||||
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returned to popularity with |
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ROTARY: This is the quintessential simulation of the classic |
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organ effect normally produced by speakers rotating at slow or |
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change the preset reference pitch “A”. For clarity’s sake, let’s | ||||||||||||
fast speed in an extremely heavy speaker cabinet. This effect | ||||||||||||
look at this in more detail. | ||||||||||||
uses the physical principle of the Doppler effect to modulate the | ||||||||||||
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sound. |
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NOISE GATE: Noise gates are used to remove or reduce | time. For example, the tuning forks used by Bach, Händel or | |||||||||||
Mozart were 415, 420 or 421 Hz (oscillations per second). Today’s | ||||||||||||
noise or other interference. Guitar signals in particular are very | ||||||||||||
orchestras tune to “A” at 444 Hz, and the Berlin Philharmonic | ||||||||||||
sensitive to interference. Not only do guitarists often use high- | ||||||||||||
Orchestra lead the field with their own concert pitch “A” at | ||||||||||||
gain settings but guitar | ||||||||||||
447 Hz. |
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ference. This can be painfully apparent during breaks in the |
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music. And how does a noise gate work? It simply mutes the |
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signal during breaks, eliminating any interference at the same |
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programmed at 440 Hz. If you are going to play with a big orchestra | ||||||||||||
time. | ||||||||||||
tuning their instruments to a reference pitch of 444 Hz, you will | ||||||||||||
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| need a function that allows you to change your reference pitch. | ||||||
6.3 The separate reverb effect | To activate this function, switch on the tuner by pressing the | |||||||||||
TUNER button and switch to EDIT mode by pressing the two | ||||||||||||
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The reverb effect is independent of the | arrow buttons simultaneously. The display will show “40”, which | |||||||||||
and can be added to the mix signal at any time. To edit the | means 440 Hz. Use the arrow buttons to raise or lower the | |||||||||||
REVERB function, press button D in EDIT mode (pressing the | reference pitch by up to 15 Hz. The display always shows the | |||||||||||
two arrow buttons simultaneously) and use the two arrow | last two digits as the first digit is always 4. For example, if you | |||||||||||
buttons to select one of the nine different reverb types available: | start with a reference pitch of 440 Hz and press the | |||||||||||
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| arrow three times, the display will read 43, i.e. 443 Hz. To quit | ||||||
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| EDIT mode, press either the TUNER or the TAP button. Any | ||||||
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| changes will be stored automatically. The tones for the other | ||||||
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| strings on your guitar will automatically be adjusted to the new | ||||||
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| reference pitch. |
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7. TUNER | 15 |