DB4 FX descriptions – V2 release
DLY (Delay)
Delay times are BPM Conscious and displayed as beat fraction which is locked to the BPM detector on each channel. 8ms
mode9—delay time can be manipulated, overriding the BPM detector.
Tap control—The BPM engine can be manually driven by a 8tap9 beat.
Two filter modes 8Bandpass filter9 mode and 8Hi/Lo cut9. These filter sections are pre regen path. So the filters can be
used in conjunction with regen delays to create filtered delays (space Echo sound fx).
Bandpass filter delay names end with -Q, the non-Q versions use 8Hi/Lo cut9 mode.
FX
Dry/wet
Expression
FX Adjust/Screen Scroller
Time
Massif-Q
bandpass
delay
Full Dry +
Wet
amount
Regen
feedback
Bandpass center Freq.
Ultrawide bandwidth 4.7 octaves
Beat fraction and delay ms mode.
LR delays ganged
Fat-Q
bandpass
delay
Wet/Dry
balance
Regen
feedback
Bandpass center Freq.
Wide bandwidth 3.2 octaves
Beat fraction and delay ms mode.
LR delays ganged
Thin-Q
bandpass
delay
Wet/Dry
balance
Regen
feedback
Bandpass center Freq.
Narrow bandwidth 0.25 octaves
Beat fraction and delay ms mode.
LR delays ganged
Sweep
Lo/hi cut
filter delay
Wet/Dry
balance
Regen
feedback
Lo and Hi Cut filter Freq
Min: LF only delay
Mid: full range
Max: HF only delay
Beat fraction and delay ms mode.
LR delays ganged
PingPong
Lo/hi cut
filter delay
Wet/Dry
balance
Regen
feedback
Lo and Hi Cut filter Freq
Min: LF only delay
Mid: full range
Max: HF only delay.
Beat fraction and delay ms mode.
Right delay is half of left delay creating
a ping pong LR delay.
Scatter
Lo/hi cut
filter delay
Wet/Dry
balance
Regen
feedback
Lo and Hi Cut filter Freq
Min: LF only delay
Mid: full range
Max: HF only delay
Beat fraction and delay ms mode.
Right delay time is 3/4 left delay time,
creating an 8off beat9 delay on right.
Two new FX variants added – Saturator and Infrabass. New FX chain design options allows user to
position key elements (EQ, Fader, etc.) in the channel signal path
There are 5 FX types or groups. Each FX type contains many different FX variants.
Types are; DLY (Delays), RVB (Reverbs), RES (Resonators), MOD (Modulators) and DMG (Damage).
RVB (Reverb)
There are 4 acoustic reverb models. Plate, Hall, Room and EMT emulation. Each of these models create different
early/late reflections and spectral decay patterns to create accurate models of these sound spaces and reverbs. All use
common controls for ease of use for the DJ.
Common
controls for
all Verbs
Dry/wet rotary
Control balance
between dry and wet
levels
Expression
LF cut
Essential control for
DJ using Reverb.
Gives the ability to
wind the LF energy
in and out of the
verb.
FX Adjust/Screen Scroller
HF decay
Controls the HF decay pattern
of the verb.
Closely connected to reverb
size.
Time
Decay time
This is BPM conscious
and is displayed in beat
fraction.
EMT250
Mid 709s, classic plate still stands the test of time. EMT is great on mixed programme and creates space
around music without destroying intelligibility and instrument voices – that9s why it9s great for DJ music.
LF cut—not on original but essential for DJ LF control. HF decay time/pattern—similar to lever 3 on original.
Decay 0.1 to 4.5 seconds. We have fixed predelay, optimal for mixed percussive programme.
Hall 480
Classic Hall from the USA. Deep rich mid-range decay, well behaved with LF programme. It has a wide
stereo field and artificial decay pattern that sounds great. Not an accurate model of a real Hall. On full
decay creates large space without crowding the instruments.
Set Expression Control (LF cut) low to maintain the rich LF decay. Decay 0.1 to 10 seconds.
NxtDoor
Accurate reproduction of sound next door. Fully wet gives the impression of the sound in the next room.
Keep expression setting low to produce 8Next Door9. For best results run in non KS mode as continuous fully
wet sound is critical.
Slap Rev
Slap reverb short decay pattern. Aggressive short bright reverb with echo. HF decay time/pattern - leave on
max for full effect. Reflection and decay is dense but configured to create a slow build in reflection early
decay energy. Great on HF percussive material.
Arena
Models the sound field of an Arena. Huge late reflections and complex decay field. Also sounds interesting
on short decay times due to the complex reflections. Decay 0.1 to 10 seconds.
Kickbox
Creates box sound, ideal on percussive LF. Dark sounding Decay spectrum - decay on max creates a
chamber. Decay 0.1 to 10 seconds.
Chamber
Chamber sound is a 8boxy9 enclosed sound space, rich in lower mid decay. Decay 0.1 to 10 seconds.
HallMasif
Bright Massive Hall sound space. Complex reflections in decay energy. Creates long decay tails with HF
energy not crowding other instruments. Decay 0.1 to 10 seconds.
Hall Big
Realistic and accurate raw Hall sound, not tailored for sonic quality. Contains raw flutter echoes from a real
Hall. Can also create a great kick sound on short decay setting. Decay 0.1 to 10 seconds.
Hall Echo
Derived from a bright Hall vocal reverb. Rich in mid and HF echo. Can be difficult with percussive material.
Decay 0.1 to 10 seconds.
Hall Sml
Small Hall. Can sound artificial - great for mid frequency range percussive sounds. Decay 0.1 to 4.5
seconds. Caution, too much LF energy can create too much echo.
Hall HF
Very bright artificial Hall. Good for space around percussive sounds without any other frequency
colouration. Decay 0.1 to 10 seconds.
Room Big
Accurate model of the local reflections and decay in a medium to large room. Decay 0.1 to 6 seconds.
RoomSml
Accurate model of the local reflections in a small room. Decay 0.1 to 3 seconds.
Sml Vox
Small bright space derived from a vocal reverb. Does contain bright echo. Decay 0.1 to 3 seconds
Plt Gold
Model of a Gold Plate Reverb, smooth even and rich decay pattern. Soft build and decay. Predelay 20ms,
Decay 0.1 to 10 seconds.
Plt Snare
Plate Reverb suited to snare. Noticeable predelay 40ms. Creates nice space around snare. Decay 0.1 to 10
seconds.
Plt HF
HF Vocal Plate Reverb. Very long predelay 90ms. Very rich in HF energy. Decay 0.1 to 10 seconds.
On percussive sounds the long predelay can create an undesirable slap echo.
Plt Vox
Great mid range Vocal Plate. Noticeable 60ms predelay. Decay 0.1 to 10 seconds.
On percussive sounds the long predelay can create an undesirable slap echo.
Res (Resonator) – beat conscious resonators&.
This FX group is based on various gated resonator algorithms. The resonator envelope is divided into predelay, attack,
sustain and decay phases. The total time period of the envelope is controlled by the channel BPM engine. The BPM
conscious beat fraction 8Time9 controls the resonator time envelope—creating BPM conscious resonator sounds.
The resonator also comprises of a filter section configurable as bandpass or Hi and Lo cut filter.
The filter control is the same as the Delay FX. Bandpass variant names have a suffix-Q, otherwise a Hi and Lo cut filter. The
FX Adjust/Screen Scroller adjusts either the bandpass centre frequency or the Hi and Lo cut filter frequency.
FX
Dry/wet
rotary
Expression control
FX Adjust/Screen
Scroller
Time
Reverse-Q
Variable Attack
Resonator,
creates 8build9 in
resonator energy,
- ultimately
producing
8reverse sound9
Control
balance
between
dry and
wet levels
Predelay time for resonator time
trigger. Min 0, Mid 75, Max 170ms
Creates space between resonator and
source. This control is intentionally not
coupled with the BPM to allow the user
to fine tune. Excessive predelay can
destroy beat sync in track.
Bandpass center
frequency
Variable bandwidth, mid
position 1.7 octaves
Attack time
This is BPM conscious
and displayed as beat
fraction.
Power-Q
Variable Sustain
Resonator,
controls the
power in
resonator energy.
Control
balance
between
dry and
wet levels
Predelay time for resonator time
trigger. Min 0, Mid 75, Max 170ms
Creates space between resonator and
source. This control is intentionally not
coupled with the BPM to allow the user
to fine tune. Excessive predelay can
destroy beat sync in track.
Bandpass center
frequency
Variable bandwidth, mid
position 1.7 octaves
Sustain time
This is BPM conscious
and displayed as beat
fraction.
Decay-Q
Variable Decay
Resonator,
controls the
decay of the
resonator tail.
Control
balance
between
dry and
wet levels
Predelay time for resonator time
trigger. Min 0, Mid 75, Max 170ms
Creates space between resonator and
source. This control is intentionally not
coupled with the BPM to allow the user
to fine tune. Excessive predelay can
destroy beat sync in track.
Bandpass center
frequency
Variable bandwidth, mid
position 1.7 octaves
Decay time
This is BPM conscious
and displayed as beat
fraction.
Tronic-Q
Resonator in rich
harmonic 8tone9
mode.
Control
balance
between
dry and
wet levels
Oscillator frequency
Resonator operates in rich harmonic
oscillation. Expression controls the
fundamental frequency of the
harmonics, creating a unique sound.
Bandpass center
frequency
Variable bandwidth, mid
position 1.7 octaves
Sustain time
This is BPM conscious
and displayed as beat
fraction.
Gritter
Grainy distorted,
low density
resonator.
Control
balance
between
dry and
wet levels
Predelay time for resonator time
trigger. Min 0, Mid 75, Max 170ms
Creates space between resonator and
source. This control is intentionally not
coupled with the BPM to allow the user
to fine tune. Excessive predelay can
destroy beat sync in track.
Lo and Hi Cut filter Freq
Min: LF resonator
Mid: full range
Max: HF resonator
Sustain time
This is BPM conscious
and displayed as beat
fraction.
Resonator driven into
distortion to create a
grainy sound.
Reverse
Variable Attack
Resonator,
creates 8build9 in
resonator energy,
- ultimately
producing
8reverse sound9
Control
balance
between
dry and
wet levels
Predelay time for resonator time
trigger. Min 0, Mid 75, Max 170ms
Creates space between resonator and
source. This control is intentionally not
coupled with the BPM to allow the user
to fine tune. Excessive predelay can
destroy beat sync in track.
Lo and Hi Cut filter Freq
Min: LF resonator
Mid: full range
Max: HF resonator
Attack time
This is BPM conscious
and displayed as beat
fraction.
Power
Variable Sustain
Resonator,
controls the
power in
resonator energy.
Control
balance
between
dry and
wet levels
Predelay time for resonator time
trigger. Min 0, Mid 75, Max 170ms
Creates space between resonator and
source. This control is intentionally not
coupled with the BPM to allow the user
to fine tune. Excessive predelay can
destroy beat sync in track.
Lo and Hi Cut filter Freq
Min: LF resonator
Mid: full range
Max: HF resonator
Sustain time
This is BPM conscious
and displayed as beat
fraction.
Decay
Variable Decay
Resonator,
controls the
decay of the
resonator tail.
Control
balance
between
dry and
wet levels
Predelay time for resonator time
trigger. Min 0, Mid 75, Max 170ms
Creates space between resonator and
source. This control is intentionally not
coupled with the BPM to allow the user
to fine tune. Excessive predelay can
destroy beat sync in track.
Lo and Hi Cut filter Freq
Min: LF resonator
Mid: full range
Max: HF resonator
Decay time
This is BPM conscious
and displayed as beat
fraction.
Tronic
Resonator in rich
harmonic 8tone9
mode.
Control
balance
between
dry and
wet levels
Oscillator frequency
Resonator operates in rich harmonic
oscillation. Expression controls the
fundamental frequency of the
harmonics, creating a unique sound.
Lo and Hi Cut filter Freq
Min: LF resonator
Mid: full range
Max: HF resonator
Sustain time
This is BPM conscious
and displayed as beat
fraction.
MOD (Modulators) - This groups comprises of a Rotary speaker, Flangers, Phasers and a Ring-Modulator.
The rotary speaker is driven by a cross-over so the user can determine what spectrum goes through the rotary speaker.
Classically leave the LF stationary and rotary the HF energy.
There are 3 very different Flanger models. A Hard Mono Flanger with triangular LFO, tuned purely in the flange zone. Soft
Flange using split phase LFO between left/right for stereo enhancement. Classic Flanger uses sine wave LFO, with bandlimiting in parts of the circuit to recreate the classic sound.
The Phaser models are based on 3, 6, and 12 stage variants with various LFO configurations and analogue circuit
emulations. Some of the most harmonically rich sounds of the 12 stage can be created with depth at minimum, then
manual expression sweeping around 11 o9clock. Or chill out with a mild 3 stage.
FX
Dry/wet
rotary
Expression control
FX Adjust/Screen
Scroller
Time
RotaryXO
Rotary speaker with cross-over
Intensity of
Rotary speaker
Dry - off
Wet - on
Depth of front to back
rotation (proximity to
speaker)
Expression minimum:
Rotary speaker is distant
and has a low depth of
front to back rotation.
Expression maximum:
Rotary speaker in
immediate proximity
(surrounding the listener)
with a high depth of
rotation.
XO (cross-over) frequency
Spectrum of signal that is
rotary panned.
Min: 100Hz, most audio is
rotary panned.
Mid: 1kHz and above is
rotary panned.
Max: 20kHz, minimal audio
spectrum is rotary panned.
Speed of
rotation
BPM
concious
Flnge Hrd
LFO: Triangular, LR in-phase.
Hard intense flanger
Intensity/Regen
Dry: flanger off
Wet: full regen
LFO Depth - modulation
depth of flanger
Min: minimum depth
Max: maximum depth
Stereo width - enhances
stereo width – high settings
can destroy intensity of
flanger.
Set low for full effect
LFO Speed
BPM
conscious
Flnge Sft
LFO: Inverted-sine rectified.
LR Split-phase.
Soft Spatial flanger
Intensity/Regen
Dry: flanger off
Wet: full regen
LFO Depth - modulation
depth of flanger
Min: minimum depth
Max: maximum depth
Stereo width - enhances
stereo width – high settings
can destroy intensity of
flanger.
LFO Speed
BPM
conscious
Flnge Old
LFO: Sine Wave, LR in-phase.
Smooth with range limits
recreating classic flanger sound.
Intensity/Regen
Dry: flanger off
Wet: full regen
LFO Depth - modulation
depth of flanger
Min: minimum depth
Max: maximum depth
Stereo width - enhances
stereo width – high settings
can destroy intensity of
flanger.
LFO Speed
BPM
conscious
Phase V6
6 stage classic Phaser
LFO: Triangular, LR in-phase.
Classic clean 6 stage sounding
phaser.
Intensity
Dry: phaser off
Wet: full regen
Frequency Offset
Sets frequency range in
which Phaser operates.
LFO Depth
Modulation depth of
Phaser
LFO Speed
BPM
conscious
Phase R6
6 stage Phaser
LFO: Rectified, LR in-phase.
LFO in rectified mode creating a
more aggressive sound at end
stop of the phasing region.
Intensity
Dry: phaser off
Wet: full regen
Frequency Offset
Sets frequency range in
which Phaser operates.
LFO Depth
Modulation depth of
Phaser
LFO Speed
BPM
conscious
Phase D12
Classic 12 stage Phaser
LFO: Rectified, LR in-phase
Contains accurate emulation of a
classic analogue circuit. Creating
rich non-linear harmonics in
phasing region.
Intensity
Dry: phaser off
Wet: full
regen/feedback
Frequency Offset
With scroller depth set
low, sweep around 11
o9clock for the classic 8M
sound9, rich mid-range
harmonics.
LFO Depth – modulation
depth of phaser
Set low, this FX is best used in
manual sweep using the
expression 8offset9 around 11
o9clock position.
LFO Speed
BPM
conscious
Phazer
Mild 3-stage Phaser
LFO: Rectified, LR in-phase
creates light, hazy/trippy
modulation.
Intensity
Dry: phazer off
Wet: full
regen/feedback
Frequency Offset
Sets frequency range in
which Phaser operates.
LFO Depth
Modulation depth of
Phaser
LFO Speed
BPM
conscious
RingMod
LFO: Triangular, LR in-phase
High metallic modulated
resonance
Intensity
Dry: off
Wet: maximum
intensity/feedb
ack
Frequency Offset
Sets frequency range in
which Modulator
operates.
Stereo width
Enhances stereo width
High settings can destroy
intensity of modulator.
Speed
Modulation
speed
DMG (Damage) - FX grid bar/beat pattern control. Time control 8FX grid9 algorithm on selected FX. A collection of
distortion, drive, harmonic modifiers and AM choppers&.
FX
Dry/wet
rotary
Expression control
FX Adjust/Screen
Scroller
Time
Distortion
Rich distortion with LF sensitivity
and hi-cut control.
Intensity
Dry Signal /
Fully Wet
distortion
Hi-cut frequency
Min: 600Hz, dark LF distortion
Mid: 2kHz,
Max: 20kHz full bandwidth hi
tone distortion.
HF cut of distortion harmonics.
LF sensitivity
Min: -6dB
Mid: 0dB
Max: +6dB
Create LF growl in distortion
Beat
fraction
-/continuously
on.
1/64 to 4/1
<stutter=
style
Overdrive
Soft Overdrive with LF sensitivity
and hi-cut control. Creates
fattening of sound particularly
LF.
Intensity
Dry Signal /
Fully Wet
overdrive
Hi-cut frequency
Min: 600Hz
Mid: 2kHz
Max: 20kHz
HF cut of overdrive harmonics.
LF sensitivity
Min: -6dB
Mid: 0dB
Max: +6dB
Emphasises LF fat overdrive
sound.
Not used
Saturator
Versatile distorter with high HF
content. Can add warmth with
Dry/Wet at low settings, to
sizzling, hard HF lead distortion,
rich in harmonics at high setting.
Intensity
Dry Signal /
Fully Wet
Saturation
Hi Frequency cut
Min: 600Hz
Mid: 2kHz
Max: 20kHz
HF cut of saturator harmonics.
LF Emphasis
Min: -6dB - Soft LF
Mid: 0dB
Max: +6dB – Hard LF
Works in conjunction with
Wet/Dry control to contour
the LF spectrum
Beat
fraction
-/continuously
on.
1/64 to 4/1
<stutter=
style
Bitbash
Bit reducer - 8 bit distortion9
Produces low bit 8quantiser9
distortion.
As intensity is wound up the bit
distortion verges into broadband
quantisation noise. This can be
filtered using the scroller and
expression filters.
Dry/wet
Dry Signal /
Fully Wet
bit reduced
signal
Hi-cut frequency
Min: 400Hz
Mid: 2.5kHz
Max: 14kHz
HF cut of low-bit quantiser
distortion
Lo-cut frequency
Min: 20Hz, full bandwidth
with high levels of LF bit
distortion
Mid: 400Hz, mid freq to
HF bit distortion
Max: 7kHz high freq bit
distortion
Time
8FX Grid9
beat/bar
pattern
control of
FX output
level
Bitbash 2
Bit reducer - 8 bit distortion9
Produces low bit 8quantiser9
distortion.
As intensity is wound up the bit
distortion verges into broadband
quantisation noise. This can be
filtered using the scroller and
expression filters.
Dry/wet
Dry Signal /
Fully Wet
bit reduced
signal
Hi-cut frequency
Min: 400Hz
Mid: 2.5kHz
Max: 14kHz
HF cut of low-bit quantiser
distortion
Lo-cut frequency
Min: 20Hz, full bandwidth
with high levels of LF bit
distortion
Mid: 400Hz, mid freq to
HF bit distortion
Max: 7kHz high freq bit
distortion
Time
Beat
fraction
-/continuously
on.
1/64 to 4/1
<stutter=
style
Fundmentl
LF Harmonic generator. Creates
harmonics purely from LF signal
energy.
Can be used to create phantom
LF energy that doesn9t exist - lost
fundamental useful on sound
systems lacking LF.
Also can be used to create strong
boxy LF as a sound FX.
Dry/wet
Dry Signal /
Fully Wet
harmonics
at full level
to output.
Harmonic Spectrum
Min: 90Hz
Mid: 120Hz
Max: 170Hz
Increases spectrum of harmonics to
output.
Input sensitivity
Reduces or increases
sensitivity of input material.
Not used
Infrabass
Low end enhancer that
synthesises infra bass energy one
octave below the bass spectrum.
Use with caution as it can create
considerable very low frequency
energy.
Use on bass light tracks to add a
new sub-bass line.
Dry/wet
Dry – Dry
signal only,
no Infrabass,
Mid –
maximum
Infrabass, full
dry signal
Fully Wet –
Maximum
Infrabass, dry
signal
attenuated by
40dB
Bass frequency
Min: 60Hz
Mid: 120Hz
Max: 160Hz
Sets the crossover frequency of the
Bass spectrum
Input sensitivity
Infra bass gain. Reduces or
increases the Infrabass level
Not used
Dicer
BPM level chopper, uses FX grid
to enable numerous beat/bar
patterns
Dry/wet
Dry Signal /
Fully Wet
chopped
output
Not used
Chop bar/beat time
position
Scroller moves the position of
the 8FX Grid9 chop pattern in
the beat/bar.
Time
8FX Grid9
beat/bar
pattern
control of
FX output
level
Slice ’n’ Dice
Distortion and Dicer in one FX.
The Dicer only chops the
distortion not the dry creating,
pulsed BPM conscious distortion
which you can mix with dry.
Dry/wet
Dry signal /
Fully Wet
chopped
distorted
output
Hi-cut frequency
Min: 600Hz, dark LF distortion
Mid: 2kHz,
Max: 20kHz full bandwidth hi tone
distortion.
HF cut of distortion harmonics.
Chop bar/beat time
position
Scroller moves the position of
the 8FX Grid9 chop pattern in
the beat/bar.
Time
8FX Grid9
beat/bar
pattern
control of FX
output level
Stutter
Beat fraction BPM conscious
Chopper.
Chopper time interval is even
mark space, the time interval of
the chopper is a beat fraction.
Dry/wet
Dry signal /
Fully wet -
chopped
output
Not used
Chop bar/beat time
position
Scroller moves the position of
the chopper pattern in the
beat/bar.
Time
Beat
fraction
1/4 to 1/1
create great
tremolo,
1/64 to 1/8
create
strobes
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