Applied Research and Technology (ART) Quadra-Fx Owner's Manual

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TABLE OF CONTENTS

Introduction .....................................................................................................................................................................1

Quick Start Instructions .................................................................................................................................................2

Quick Setup ...............................................................................................................................................................2

With a Mixer ...............................................................................................................................................................2

Straight into an Amp ..................................................................................................................................................3

In an Amp’s Effects Loop ...........................................................................................................................................3

Try It Out ....................................................................................................................................................................4

Selecting Presets .......................................................................................................................................................4

Installation .......................................................................................................................................................................5

AC Power Hookup .....................................................................................................................................................5

Audio Connections .....................................................................................................................................................5

Safety Precautions .....................................................................................................................................................5

Quadra/FX Front Panel Controls and Indicators .........................................................................................................6

Rotary Encoder/Switch ..............................................................................................................................................6

Power .........................................................................................................................................................................6

Routing Button ...........................................................................................................................................................6

Engine Button ............................................................................................................................................................7

Effects Button .............................................................................................................................................................7

Class Button ...............................................................................................................................................................7

Parameter Button .......................................................................................................................................................8

MIDI Button ................................................................................................................................................................8

Store Button ...............................................................................................................................................................8

Bypass Button ............................................................................................................................................................8

Smart Meter LEDs .....................................................................................................................................................9

Numerical Display (Preset / Value) Window ..............................................................................................................9

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Special Key Combinations: .......................................................................................................................................9

Restoring Presets to Original Factory Settings ...................................................................................................9

Dry Kill and Global Mix ......................................................................................................................................10

Setting Dry Kill and Global Mix .........................................................................................................................11

MIDI Dump ........................................................................................................................................................12

Quadra/FX Rear Panel Controls and Connections ...................................................................................................13

Power Jack Input .....................................................................................................................................................13

MIDI In & MIDI Out ..................................................................................................................................................13

Outputs #1–4 ...........................................................................................................................................................13

Output Level Switch ................................................................................................................................................14

Inputs #1–4 ................................................................................................................... ...........................................14

Input Level Switch ...................................................................................................................................................14

Tutorial .......................................................................................................................................................................... 15

Introduction ..............................................................................................................................................................15

Creating From Scratch ............................................................................................................................................16

Just Editing ..............................................................................................................................................................18

Faster Editing ....................................................................................................................................................19

MIDI ......................................................................................................................................................................... 20

Editing MIDI Parameters ...................................................................................................................................21

Advanced Application Notes ...................................................................................................................................24

The Smart Encoder ...........................................................................................................................................24

Smart Encoder Use ...........................................................................................................................................25

Using a Default Smart Encoder Function in Preset Mode ................................................................................25

Using the Smart Encoder while Editing Reverb, Delay, and Rotary Effects ....................................................26

The Quadra/FX’s Adjustable Parameters ..................................................................................................................27

Description Of Routings and Engines .....................................................................................................................27

Description of Classes .............................................................................................................................................28

Description of Effects and Their Parameters ..........................................................................................................29

Common Parameters ........................................................................................................................................29

Chamber Reverb ...............................................................................................................................................31

Room Reverb ....................................................................................................................................................31

Hall Reverb .......................................................................................................................................................31

Plate Reverb .....................................................................................................................................................31

Digital Delay ......................................................................................................................................................36

Pitch Transposer ...............................................................................................................................................39

Chorus ...............................................................................................................................................................42

Flanger .............................................................................................................................................................. 45

Phaser ............................................................................................................................................................... 48

Rotary ................................................................................................................................................................51

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Tremolo ..............................................................................................................................................................54

Panner ...............................................................................................................................................................57

MIDI Parameters ......................................................................................................................................................60

Channel Number ...............................................................................................................................................60

MIDI Map ...........................................................................................................................................................60

Controllers #1–4 ................................................................................................................................................61

Reference ......................................................................................................................................................................63

Quadra/FX Factory Preset List ................................................................................................................................63

LFO Shapes .............................................................................................................................................................65

MIDI Controllers and Numbers ................................................................................................................................67

MIDI Implementation in the Quadra/FX ...................................................................................................................68

Warranty Information ...............................................................................................................................................70

Service .....................................................................................................................................................................70

Quadra/FX Specifications ........................................................................................................................................72

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INTRODUCTION

Thank you for purchasing a Quadra/FX and congratulations! You n ow own one of the most sophistic ated pieces of
audio signal-processing technology available. The Quadra/FX uses state-of-the-art DSP techniques com bined with
A R T’s proprietary Dynamic Engine A llocation (DEA™) software to give you control over a multitude of brand new,
stunning effects algorithms – many of which have never been heard before. The Quadra/FX is the world’s first

affordable

access to all of its features.

four-channel multi-effects processor and its straightforward user interface quickly and easily gives you

FEATURES:

• Four discrete inputs, outputs, and audio processing channels

• 20 bit A/D – D/A converters on all four inputs and outputs

• 46.875 kHz sample rate

• Radically new effect algorithms: reverb, rotary, phaser, flanger, chorus, panner, pitch shift, tremolo, and delay

• Six algorithmic variations of each effect

• Dynamic effects with parameters that change in response to the input signal level

• A R T’s proprietary Dynamic Engine Allocation (DEA™)

• Performance MIDI™ real-time control

• Fully programmable

• Designed and manufactured in the USA

Fill in the following information for your reference:

Date of purchase ___________________

Purchased from ___________________

Serial number ___________________

415–5004–101

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QUICK START INSTRUCTIONS

You’ve unpacked your Quadra/F X and you ’re in a hurr y to get it up and running. You pro bab ly would rather play with it
than read the manual. Fair enough. First, ch eck out the basics, outline d here, just to get your Qua dra/FX on-line. It
should take only a cou ple of m inutes f or you to rea d through th is sectio n and then you’ll be r ead y to f ire up your ne w
unit. Later, when you want to get into more of the details, check out the rest of the manual.

QUICK SETUP:

Plug the AC adapter into the back of the Quadra/FX and then into a wall socket.

Make sure that both the Input Level an d Out put Level switches (on the b ac k of the unit) are fully out. You may
need to depress these switches later, after the other setup steps are done.

NOTE: For all input and output connections, always use high quality, shielded cables.

WITH A MIXER:

Connect two cords with ¼” plugs between your mixer’s auxiliary sends and the Quadra/FX’s Inputs #1 and #2.
For a mixer with a mono send, use on ly Input #1. Connect Outputs #1 and #2 to two input cha nnels or the
returns on your mixer.

The Quadra/FX can be used as two separate, stereo effect-processors. Inputs and Outputs #3 and #4
correspond to the Qua dra/FX’s second ster eo engine. Again, if your mixer has a m ono send, use on ly Input
#3.

The Quadra/FX can e ven be used as f our completely independent, mono ef fect-processors. As you would
expect, Inputs #1–4 correspond with Outputs #1–4.

IMPORTANT: If you are patched in a send/return fashion and mixing an instrument’s dry (unprocessed) signal
with processed sound f rom the Quadra/FX (on se parate faders), you wil l want to remove all dr y signal from
the Quadra/FX’s internal mix buss (signal path). T his allows th e dry signal to onl y appear once at the mixing

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board and not additionally at the Quadra/FX’s faders. One way to do this is to set EACH preset’s Mix
parameter to 100%. This would be a tedious process! Fortunately, there is a special Quadra/FX function
called Dry Kill that will conveni ently turn of f the dry signa l path inside t he unit. Each pr eset’s Mix value is still
retained, even though all dry sound is eliminated. To enable Dry Kill, press and hold the Bypass and

Parameter buttons, th en rele ase th em both. T urn the Enc oder unti l the D ispla y reads :
off). Now press any key to return to the presets. For more information on Dry Kill, see page 10.

STRAIGHT INTO AN AMP:

If you’re patching the Quadra/FX into an instrument amplifier or stereo monitor amplifier, use one cord
between the instrum ent and the Q uadra/F X’s In put #1. R un a second cor d from Output #1 to the am p’s input.

2))

(the dry sound is

If the amp has stereo input capabilities, or if you’re using two amps, connect another cord between the
Quadra/FX’s Output #2 and the amplifier’s other input. You can also plug a second output from your
instrument (or the output from another instrument) into the Quadra/FX’s Input #2. Don’t forget that the
Quadra/FX can also be used as two sep ar ate , s tereo processors, or even as f our separ at e, mono processors.
Imagine the Power!

IN AN AMP’S EFFECTS LOOP:

If you’re patching the Quadra/FX into a guitar (or other instrument) amplifier’s mono effects loop, use one cord
between the amp’s effects send jack and the Qua dra/F X’s In put #1. R un a s econ d cord f rom Output #1 t o th e
amp’s Effects Return jack. (If the amp has stereo returns, use another cord to connect the Quadra/FX’s

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Output #2 to the am p’s other ef fects return jack .) Again, do n’t for get that the Qu adra/FX has the po wer to act
as two separate, stereo processors or four separate, mono processors.

TRY IT OUT:

Turn on your amp or mixer and monitor amplifier.

Make sure that your mixer’s or amp’s send le vel control is turned up a nd that a signal is being sent to the
Quadra/FX. Watch the Smart Meter on the fr ont of the u n it. M ost of the r ed lights (LEDs) should be on , ex c ept
for the +6 LED, which should only glow when a r eally loud, instantaneous signal reaches the unit. If the +6
LED glows constantl y, turn down the send level from your mixer or instrument. If only a few Sm art Meter
LEDs glow, either turn up your mixer’s s end level, or press in t he Input Level switch on the back of the unit
and then adjust the send level accordingly.

Now raise the return le vel on your m ixer or am p. You shoul d be hearin g the Qu adra/FX’s eff ect. If not, c heck
your connections and your monitor amp. Make sure that the Quadra/FX’s Bypass button hasn’t been

accidentally push ed; if it has , the front pa nel Displa y will read
the front panel Bypass button. If the Quadra/FX ’s level seems too high, pr ess in the Output Level switch on
the back of the unit.

SELECTING PRESETS:

The Quadra/FX is in
to the right of the Display) to any preset you desire. For a list of the presets arranged accord ing to number
and type, see page 63. Editing effects will be covered later in this manual.

NOTE: The Quadra/FX can hand le up to two stereo cha nnels and up to four m ono channels, depend ing on
how a preset is internally “routed.” Some of the factor y presets may use a ro uting scheme (Disc rete 4, Twin
Stereo, Cascade, or Ster eo) that is dif fer ent fr om how your rig is curr entl y configur ed. You m a y not hear what
you would expect to hear. For instanc e, you may be set up to only monitor stereo out puts (#1 and #2), and
you may be listening to a Factory Preset that creates four separate flangers in a Discrete 4 routing (four
effects with separate inputs and outputs ). Obviously, you will not hear all four flangers becaus e you are not
listening to Outputs #3 and #4. You will onl y hear the two f langers at Outputs #1 and #2. Unm atched r outing

Preset mode

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when it is powered up. Selec t a preset b y turning the R otary Encoder ( just

To turn Bypass eith er off or on, press

schemes, however, can still produce creative results. For example, in the previous setup situation, the
Discrete 4 flanger preset would yield a stereo flanger, but with completel y independent (unlinked) left and
right channel sweep widths a nd rates! When is the last tim e you eas ily creat ed THAT effec t? The Quadra/FX
has many sim ilarly unique sounds and featur es, all of which will be c overed in the rest of this manual. For
your reference, m ore inform ation on the conce pt of routings can be found on page 27 and a list of all factor y
presets and their routings begins on page 63.

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INSTALLATION

The Quadra/FX m ay be used in a variet y of setups including with mix er channe l ins erts, m ixers with rev erb send and
return facilities, an d in the effec ts loop of an instrum ent or P.A. amplif ier. Self-contain ed in an all-ste el, single-heig ht
19” rack-mount enclosure, the Qu adra/FX is designed f or continuous profess ional use. Because the unit is compact
and lightweight, mounting locat ion is not c ritical. However , for greater r eliab ility we recom m end that you not place the
Quadra/FX on top of power amps, tube equipment, or other sources of heat.

AC POWER HOOKUP

The Quadra/FX has an external power supply designed to operate at 110 VAC @ 50 to 60 Hz. Units
manufactured for use outside the United States of America have bee n modified to comply with the required
electrical specif ications.
or damaged, contact A R T Customer Service for replacement.

Only use the adapter that came with the Quadra/FX.

AUDIO CONNECTIONS

All audio connecti ons to and from the Quadra /FX are ¼” unbalanc ed TS (Tip = Hot, Sleeve = Ground). W e
recommend using only high-quality shielded cables equipped with high-quality connectors.

SAFETY PRECAUTIONS

Warning:

personnel. Do not remove the metal covers; there are no user-serviceable parts inside. Only use the
Quadra/FX power adapter that came with this unit or one obtained from A R T’s Customer Service
Department.

To avoid the risk of shock or f ire, do not ex pose this uni t to m oistur e. Ref er all s ervic ing to qual ified

If the adapter becom es lost

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QUADRA/FX FRONT PANEL CONTROLS & INDICATORS

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ROTARY ENCODER / SWITCH

The Rotary Encoder is used to change values or presets. Depending on the Quadra/FX’s
programming m ode, it may also be pressed to change menus. See th e tutorials beginning on
page 15 for more information on how to use the rotary Encoder/Switch.

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POWER

The Power switch turns the unit on an d off. The Num erical Displa y Window and vari ous LEDs illum inate when
power is on. If the unit does not turn on when the switch is tog gle d, c h ec k the AC power cord and adapter. Als o,
make sure the outlet t hat it is plugged into is “ live,” by plugging in an other piece of equipm ent that you kno w
works (try plugging into a nother outlet, too). If the outlet is good but the Quadra /FX does not turn on, consu lt
your dealer or A R T Customer Service.

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ROUTING BUTTON

Routings control the way that sound is processed through the Quadra/FX and how
each Input feeds each O utput. Press the Routing button and us e the Enc oder to scroll
through the four internal, audio routings: Discrete 4, Twin Stereo, Cascade, and
Stereo. (For a description and diagram of each routing, see page 27.) The currently
selected routing LED will flash. Pres s the Encoder or t he Engine bu tton to ena ble your
changes. BE CAREFUL WHEN CHANGING ROUT INGS. Once a Routing change is
enabled, the Quadra/FX reconfigures its internal architecture and loads in default
effects; the preset’s former effects, class, and parameter values are all replaced.

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ENGINE BUTTON

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EFFECTS BUTTON

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The Quadra/FX contains up to four aud io signal processors, or engines . Pressing this
button and turning the Encoder will select an engine for editing (the selected engine
LED will flash). Depending on the current r outing, one or more engine LEDs may flash.
Press the Engine button again to return to Preset mode. For more information on
engines, see page 27.

Press the Effects button a nd t urn the Encod er to p ick an eff ect algor ithm for
the currently selected engine (the selected effect LED will flash). Twelve
effect families are available: Chamber, Room, Hall, Plate, Delay, Pitch,
Chorus, Flanger, Phaser, Rotar y, Tremolo, and Panner. Since P anner and
Rotary are stereo effects, they are not available in Discrete 4 (mono)
routing. Press the Enc oder or the C lass button to loa d the sel ected ef fec t. If

CLASS BUTTON

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you instead press the Effects button, you wil l return to P res et m ode with t he
previous effect still loaded. For more information on effects, see page 29.

Press the Class button and turn the Encoder to scroll through six algorithmic
variations, or classes, of the current effect. With twelve effect families and six
variations of each family, the Quadra/FX contains 72 different signal-processing
algorithms. The s ix c lass c hoices ar e V oc al , Inst rument, Concert, Gated, Ambience,
and Dynamic. Each effec t variation is optim ized for a particular t ype of use, based
on its name; these are only suggestions. Sometimes the best results can be
obtained by choosing unconventional classes for an application. As you turn the
Encoder, you will imm ediately hear the sou nd of each class. P lease no te that som e
Ambient classes use s tereo algorithms that are not available in Dis crete 4 (mono)
routing. For more information on classes, see page 28. Press the Class button
again to return to Preset mode.

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PARAMETER BUTTON

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MIDI BUTTON

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When you press the Parameter button, the LEDs for all available
parameters of the current engine’s effect are lit. The currently selected
parameter LED flashes and its value is displayed in the Preset / Value
window. Turn the Enc oder to select a dif ferent parameter. Pres sing either
the Encoder or Parameter button will allow you to change the selected
parameter’s value with the Encoder. Press the Encoder again to repeat the
parameter selection process. If you press the Parameter button instead,
you will return to Preset m ode. For more information on parameters, see
page 29.

The Quadra/FX has t hree types of progr ammable MIDI parameter s: channel,
program change, and continuous controller mappings (four mappings per
engine or engine gr oup). To select a parameter, press the MIDI button a nd
then turn the Encoder to the left an d right. W atch the Sm art Meter LEDs (and
the text to the left of them) to determine which parameter was chosen. To ed it
the selected parameter’s value, press and then turn the Encoder. The four
MIDI controller assignments have two associated values and will require a
second Encoder press to access the s econd value. Pr ess the Encoder again
to repeat the MIDI parameter selection process. Press the MIDI button to
return to Preset mode or any of the oth er front-panel buttons to perfor m their
usual function. See pages 20 and 60 for more information on the MIDI button.

STORE BUTTON

+

The Quadra/FX contains 100 memory locations. When you press the Store button, the Display flashes the
current preset num ber. You can select any preset num ber to overwrite by turning the Enc oder. Press Store
again and the current preset will be saved to the location you selected. If you press any button other than
Store, the save command will be ab orted. See page 18 i n the Tutorial sec tion for m ore information on s toring
presets.

BYPASS BUTTON

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When the Bypass switch is pressed, processed sound is blocked from reaching the outputs, leaving only the dry
(unprocessed) signal. Engines or complete presets can be bypassed, and when engaged, the front panel

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Display shows
disengage this mode. When Bypass is pressed in Preset mode, all engines are bypassed. W hen Bypass is
engaged while editing an engine, only the current engine is bypassed. For more information on bypassing
separate engines, see the end of the tutorial that starts on page 15.

SMART METER LEDS

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for a bypassed engine and

The six LEDs of the Sm art Meter serve two purpos es: to show selected MI DI
parameters (use the tex t on the left) and to show the l evel of signal entering
the Quadra/FX (use t he text on the right). MIDI inform ation is only displayed

-,

for a bypassed preset. Press Bypass again to

when the MIDI button is pressed (see
the Smart Meter displays the input signal level for either the current engine
(while editing) or all engines combined (when in Preset mode).

To optimize the levels entering the Quadra/FX, watch the +6 LED. If it is
constantly lit, the dig ital pr ocess or is getting too much input level and m a y clip;
turn down the signal going to the Quadra/FX. For maximum dynamic range,
the Smart Meter LEDs should be lit most of the t ime, with the +6 LED brief ly
flashing on transients (high-energy bursts, such as loud snare drum hits).

NUMERICAL DISPLAY (PRESET / VALUE) WINDOW

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The Display shows 3 alphanumeric characters that correspond to the preset
currently in use or an edited parameter’s value.

MIDI button

, above). At all other times,

NOTE: The rest of the LEDs on the front pane l show the s tatus of other Q uadra/FX p arameters . Consult the tutor ials
starting on page 15 for a thorough explanation of the Quadra/FX’s operation.

SPECIAL KEY COMBINATIONS:

Restoring Presets to Original Factory Settings

The Quadra/FX can overwrite all stored presets with orig inal factory settings . The process is ca lled a Factory
Reset.

IMPORTANT: Only do this if you want to restore all of the settings to their factory values; it erases all
customized presets.

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If you have made som e favorite progr ams, either s croll throu gh their param eters and write them down, or use
the MIDI Dump f eature to off-load your pr esets to a MIDI stor age device before im plementing a factor y reset.
(See page 12 for information on the Quadra/FX’s MIDI Dump.)

To restore all presets to their fact ory sett ings, s tart f rom Pres et mode and follo w thes e steps in or der: 1) Press
and hold the Bypass button. 2) Pr ess a nd hol d the Ro uting button. 3) Pres s an d hold the Ef fec ts button. When

you release all three bu ttons, the Displa y will flash
to perform a Factor y Reset (you’ll see
Store, or if Bypass is not pres sed again within 10 sec onds, the Quadra/FX will exit from Factory Reset mode

(with your former presets still intact). You will then return to Preset mode.

Dry Kill and Global Mix

Dry Kill and Global Mix are two related functions that allow you to qu ickly alter the ratio of wet (processed) an d
dry (unprocessed) sou nd coming out of the unit. Normall y, the Mix par ameter sets the ratio of wet and dry
sound for each preset, but by usi ng Dry Kill or Global Mix, you can c hange these settings for all presets at
once.

Dry Kill

mix buss. One application for Dry Kill is when you are using the Quadra/FX with a mixer. In a typical m ixing
situation, a channel’s fader controls the level of th e instrum ent patched into it. To add proc essing, a port ion of
the channel’s signal is often s ent to an effect processor and the output of the pr oc ess or is patch ed into another
channel. Now two faders control the over all sound; the first fader s till controls the instrum ent’s level (all dr y)

is used to remove the unprocessed (dr y) part of each preset’s signa l from the Quadra/FX’s interna l

.

. 4) Press Bypass again t o conf irm that you reall y want

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in the Display). If any other button is pressed exce pt Power and

and the second one co ntrols the processed sound ’s level (a mix of wet and dry signal). As you can see, dry
signal appears at b oth faders and can result in an unbal anced mix of sounds. This is particularly not iceable
when using a flanger, phaser, or chorus since these effects are s trongest with an equal mix of wet an d dry
parts. Also, too much dry signal can result in a diluted sound. By using Dry Kill to remove all dry signal from the
effects processor ’s output, each fader will onl y control one part of the sound a nd you will be able to blend th e
two easily.

NOTE: If you are plugging directly into the Quadra/FX and just listening to your instrument through the
Quadra/FX's outputs, do not set Dry Kill; use each preset’s Mix parameter to balance your sounds.

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NOTE: With Dry Kill active, a preset’s Mix parameter now sets the level of all sound coming out of the
Quadra/FX. For example, with a Mix setting of 0, no sound will come out of the unit (in other words, zero
percent of the wet signal is allowed to pass).

Global Mix is a function sim ilar to Dry Kill, though it doesn’t necessaril y remove the dry part of the sound.
Global Mix is a s imple way to set every preset ’s Mix parameter to a certa in va lue. F or ex ample, if Global M ix is
set to 50%, each preset’s Mix value will becom e 50% (half dr y and half wet). T his functio n is usef ul when you
want to quickl y auditio n all pres ets at the s am e Mix le vel. T he chan ge isn’t per m anent; as soon as you tur n of f
Global Mix, all presets will return to their originally stored Mix level. You can even change and resave a
preset’s Mix level with Global Mix active. Yo u will hear any Mix changes as you are m aking and savin g them,
but as soon as you s witch to a different preset or back to the changed one, the Globa l Mix value will again
override the settin g that you just made. Of course, when you turn Global Mix of f, the saved Mix value will be
the one that you hear.

Here’s a trick to quickly set sever al preset’s Mix p arameter to a ne w value: Set Globa l Mix to whatever v alue
you desire, call up e ach of the presets you wish to cha nge and individually s ave them (just pr ess the Store
button twice). You don’t have to edit anything! When you turn Global Mix off , the newly-saved presets will ha ve
their Mix values set to whatever Global Mix was originally set to. All other presets will remain unchanged.

Setting Dry Kill and Global Mix:

To adjust Dry Kill or Global Mix, start from Preset mode, press and hold the Bypass button, press the
Parameter button, and then release them both. Turning the Encoder now scrolls the Display through these

choices:
(Global Mix is on and set to this perc entage). Changing Dry Kill or Global Mix takes effect immediatel y and
does not have to be saved. To exit Global Mix mode, press any key except Power, Store, and Bypass, or
simply press the Encoder.

2

(normal operation of Pr eset’s Mix parameter),

2))

(Dry Kill—dr y sound is off), and!–

!!

NOTE: The Dry Kill s tate is retain ed when turning the Quadra/FX on a nd off. The Global Mix state, ho wever, is
not retained; the unit defaults to each preset’s stored Mix level when turning power on.

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MIDI Dump

By performing a MIDI Dump, you can save all of the Quadra/FX’s presets to an exter nal device capable of
recording MIDI data. You can even directly transfer the presets f rom one Quadra/FX to another one with a
MIDI cable.

To perform a MIDI Dum p, start from Preset mode, press an d hold the Bypass button, and then pres s MIDI.
Release both buttons. It may take a few seconds to transm it the data. Since each preset has a stored MIDI
mapping, there is no separate MIDI Program Table (MPT) to dump.

NOTE: Individual presets cannot b e dumped, but can be rec eived if you have edit ing software that is ab le to
send them.

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QUADRA/FX REAR PANEL CONTROLS & CONNECTIONS

Despite the Quadra/FX ’s soph is tic at io n, i t is e as y to inter f ac e th e un it wit h ot her equ i pment. All inputs an d outputs are
located on the rear panel. Standard ¼” inputs and outputs make patching simple.

Note: For best audio quality, always use high-quality cables.

The Quadra/FX is d es ign ed f or l ine level or instrument op erati on. We don’t recom m end p lug gin g microphones direct l y
into the processor. Ins tead, either use a pr eamp, a mixer, or an am p’s preamp section to f irst boost the mic’s level ,
then use the effect s loop output or re verb send. Hi gh signal le vel from a pream p or ef fects loop assures an optim um
signal-to-noise ratio in the Quadra/FX, keeping hiss and distortion to a minimum.

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POWER JACK INPUT

An external AC adapt er powers the Quadra/FX . Plug the adapter into this jack and then into a power out let.
Use only the adapter that came with the Quadra/FX. If the adapter ever becomes damaged, immediately
discontinue use.

%

MIDI IN & MIDI OUT

Use the MIDI In jack for receiving program change, continuous controller, note, and system exclusive
messages. It enables you to “talk” to the Quadra/FX from an external source such as an X-11, an X-15
Ultrafoot, an outboard sequencer, or a computer equipped with MIDI ports and associated software.

Use the MIDI Out jack for performing a MIDI data dump. It connects to any external device capable of
recording MIDI data and al lo ws th e Qua dr a/F X to off-load the contents of its memory. The MIDI Out jack does
not act as a MIDI Thru, so the Quadra/FX should be placed at the end of your MIDI chain.

&

OUTPUTS #1–4

All four Outputs are sing le-ended (unb alanced) ¼” jac ks with low im pedance. The use of each output jac k is
determined by a preset ’s intern al routi ng. For exam ple, Casc ade and Stereo Ro utings d o not use Ou tputs #3

- 13 -

and #4. For more inf orm ation on th e dif fer ent conf igurations of the Qua dra/FX ’s i nputs and out puts, see pa ge
27 and the tutorial starting on page 15.

OUTPUT LEVEL SWITCH

'

The Output Level switch is used for matc hing the Quadra/FX’s output lev el to your system. Matched sign al
levels are important for controlling the amount of distortion present in the final signal. Too little signal results in
a disproportionate amount of noise, while too much signal sounds distorted and gritty. The Output Level
switch has two pos itions: in (instrum ent level) and out (line le vel). Be sure to c heck your other equipment’s
manual for hints on setting its appropriate input levels.

NOTE: The Output switch’s setting is global, meaning that it affects the Quadr a/FX’s output lev el, regardless
of which preset is engaged.

INPUTS #1–4

(

All Inputs are single-ended (unbalanced) ¼’ jacks with high impedance. The use of each input jack is
determined by a preset ’s internal routing. F or example, Cascade a nd Stereo Routings d o not use Inpu ts #3
and #4. For more inf orm ation on th e dif fer ent conf igurations of the Qua dra/FX ’s i nputs and out puts, see pa ge
27 and the tutorial starting on page 15.

If any Input (except #1) does not have a plug inserted, it will automaticall y take its signal from the closest,
lower-numbered, input jack that has a plug inserted. For ex ample, if a ¼” plug is only inserted int o Input #1,
then Inputs #2, #3, and #4 will also use the signal from Input #1.

INPUT LEVEL SWITCH

)

The Input Level switc h is s im ilar to t he Ou tput Le vel s witc h, b ut is used f or m atching th e lev el of the incom ing
signal to the Quadra/FX. The Input Level switch has two positions: in (instrument level) and out (line level). Be
sure to check your other equipment’s manual for hints on setting its appropriate output levels.

NOTE: Like the Output Level switch, the Input Level’s setting is global, meaning that it affects the
Quadra/FX’s input level, regardless of which preset is engaged.

- 14 -

TUTORIAL

The best way to under stand the Qua dra/FX is to jus t jump in a nd edit som e presets. It d oesn’t take lo ng and
you’ll see how eas y editing is due to the Qua dra/FX’s intuitive layout. This section consists of four tutoria ls:

Creating From Scratch, Just Editing, MIDI

check out the section entitled
each effect’s parameters and ranges.

Introduction

The Quadra/FX contains f our D SP eng ines and f our separ ate i nput an d outp ut channe ls. Typically, an engine
processes one individua l channel of audio, but e ngines can be grouped into a stereo pair. Tw o stereo pairs
can even be run in ser ies to create multiple effects. F urthermore, it is possible to com bine the processing
power of all four engines to create a “super charged” ultra-stereo processor. Engines are automatically
distributed among the channels with our proprietary Dynamic Engine Allocation (DEA) technology. DEA
allows for the following creative signal-routing options:

:

Discrete 4 (mono)

, and

Advanced Application Notes

The Quadra/FX’s Adjustable Parameters

In Discrete 4 routing, each engine se parately processes one

. After you finish the tutorials,

, on page 27, for a complete list of

Twin Stereo

channel of sound and is just like having four mono effect­processors. Inputs and Outputs #1–4 correspond to Engines
#1–4.

Twin Stereo routing contains two effect-processors with two
linked engines each. The result is two true-stereo processors.
Each channel rem ains independent, but the effect parameters of
each group are linked to create stereo processing. Inputs,
Outputs, and Engines #1 and #2 correspond to the first
processor, while Inputs, Outputs, and Engines #3 and #4
correspond to the second processor.

- 15 -

Cascade

Stereo

Cascade routing also h as two proces sors with t wo linked
engines, but the output of the first processor is fed into
the second one. In this routing, you have two stacked,
true-stereo effects. Only Inputs and Outputs #1 and #2
are used. Engines #1 and #2 ar e linked and control the
first processor, and Engines #3 and #4 are linked and
control the second processor.

Stereo routing is the most powerful routing type. It uses all
four engines in an ultra-stereo group with enormous
horsepower. Only Inputs and Outputs #1 and #2 are used, and
all four engines are linked into one powerful processor.

NOTE: See page 27 for more information on the Quadra/FX’s versatile routing configurations.

TUTORIAL 1: CREATING FROM SCRATCH

Routing:

By editing any preset’s routing , you are essentially bui lding a new pres et from scratc h.
When routings are changed, the Quadra/FX reconfigures its internal architecture and
loads in default effects. T he preset’s f ormer eff ects, clas s, and param eter valu es are all
replaced.

Start from Preset m ode and turn the Enc oder to sel ect an y pres et. Mak e s ure that you h ave c hosen a pres et
with a routing that can be monitored in your setup, otherwise, you will not h ear the changes that you are
making.

Press the Routing button and turn the Enco der to select one of the four routing choices: Discrete 4, Twin
Stereo, Cascade, or Stereo. You will notice that all Routing LEDs are lit and the currently selected one is
flashing. The Preset / Value D ispla y is blank . Also, no tice that all or m ost Ef fect LEDs are lit. T his s hows you
the available effects for each routing. Se lect a new routing and press th e Engine button. You must pr ess the

- 16 -

Engine button to enable routing changes. If you press any other button instead, the old routing will be
restored.

NOTE: Panner and Rotary are stereo effects and are not available in Discrete 4 (mono) routing.

Engine:

It should now sound like different eff ect algorithms are proces sing the audio enter ing the
Quadra/FX; these are the default effects for the routing that you chose. To change an
effect, you must f irst selec t its engine or engi ne gr oup. If you c hose Stere o Rout ing, there
is only one available engine group and it is automatically selected for you. To select a

different engine when using an y of the other rout ings, turn the Enc oder. All Eng ine LEDs
are lit and the curren tly selected engine or eng ine group is flashing. Aga in, to review how the engines relate to the
inputs and outputs, see the beginning of this tutorial, or page 27.

Effects:

Class:

Parameter:

Press the Effects button to edit the selected engine’s effect. All available
Effect and Class LEDs are lit (more on Classes below) and the currently
selected Effect LED is flashing. T o s elect a different ef f ec t, turn the Encoder
and then press the Class button to load it. If you press any other button
instead, the old effect will be restored.

Notice that when you load an effect, the Concert Clas s is automatically select ed for
you (its LED is flashing). Classes are effect variations and are named after the
applications the y are optim ized for : Vocal, Ins trum ent, Concert, G ated, Am bient, and
Dynamic. (See page 28 for a d esc ription of all eff ect class es.) T o change the curr ent
class, turn the Encoder. You can immediately hear the sound differences of each
class and the LEDs of all editable parameters become lit.

If you wish to change the value of an y of the effect’s parameter s, press the
Parameter button and use the Encoder to scroll through your choices. All
available parameter LEDs remain lit, but now the currently selected
parameter is flas hing and its value is shown in the Preset / Valu e Display.
When you have chosen the parameter that you want to edit, press the

- 17 -

Store:

Parameter button again. All Parameter LEDs go out except for the one that was flashing (the one you
selected). Turning t he Encoder wil l now change the parameter’s valu e, as can be seen in the Preset / Value
Display.

If you wish to change the value of another param eter , press the Par ameter button twice; the first pres s retur ns
the unit to Preset mode and the second press puts the unit back in Parameter Edit m ode (just like in the
previous paragraph). If you wish t o change routi ng, engine, eff ect, or class, sim ply press their corr esponding
buttons and turn the Encoder as before.

At this point, you may wish to store your changes. First, press the Store button. All front
panel lights wil l go out except for the Preset / Val ue Display, which is flashing the current pres et number.
Next, use the Encoder to select the preset number that you want to overwrite. You don’t have to turn the
Encoder to overwrite the current preset. When you are read y, press the Stor e button again to confirm the
operation. If you press any button other than Store, the save command will be aborted. After a preset is

stored, the Display reads “
changes presets.

If you don’t wish to save your edits, you can always return to Prese t m ode by pressin g the button underne ath
the field that you are currently editing. If you do this, however, the changes that you have just made will not be
permanently stored in memory (although you will still hear them until the preset is changed).

IMPORTANT: At any time while editing, you can press Bypass to eit her engage or dise ngage bypass f or the
current engine (you ’ll see
can also be pressed in Preset mode (

regardless of which ones were already in this state.

(

-,

TUTORIAL 2: JUST EDITING

Editing an existing preset is ver y similar t o creating a pr eset from scratch, exc ept that you do no t change the
routing. Although both proced ures are similar, this s ection illustrates a f ew minor points and sh ows an even
easier way to perform both operations.

” and the Quadra/FX goes to Preset mode, where turning the Encoder

in the Display). You can even s ave presets with b ypassed engines. Bypass

-,

in the Display), and all engines will become bypassed,

NOTE: When routings are change d, the Quadra/FX reconfigures its internal archit ecture and lo ads in default
effects. The preset’s former eff ects, class , and parameter v alues are all replace d.

some values of an existing preset, be sure not to change routings.

From Preset mode, us e th e Enc od er to f in d a pres et tha t you would like to modify. Notice all of the front- pan el
information that is d isplayed when you are au ditioning presets. O n the right side, the Preset / Value Displa y
shows the current preset number and just to the left of the Display, the Smart Meter reacts to the input level of

- 18 -

If you just want to tweak

all active inputs. (For more infor mation on the Smart Meter, see page 9.) T he LED to the far left shows the
current preset’s routing. Make sure the selected preset ’s r out ing is on e th at c an be monitored with your setup.
(See page 27 for more information on routings, engines, and connections.)

All the rest of the lights on the Quadra/FX seem to change at fix ed periods . This is because th e front pa nel is
sequentially showing you the s tate of all available engines. W atch the Engine LEDs. An Engine or Engin e
group lights along with its corresponding Effect and Class LEDs. A few seconds later, the next Engine or
Engine group will light along with its cor responding Effect and Clas s LEDs. In Preset mode, th e Quadra/FX
will repeatedly scroll through each engine’s configuration. If any or all of a preset’s engines are bypassed, you

will see
engines (regardless of whether they were separately bypassed) will become bypassed and you will see

-,

By watching the engine lights change, fin d the engine of an effect that you want to modif y. Press the En gine
button and turn the Encoder until the correct eng in e LED is flas hin g. As in t he las t tu tor ial, when you press the
Engine button, all Engin e LEDs l ight a nd the c urrent l y selected one , or gr oup, flash. Al so, al l a vaila ble eff ects
in the current routing turn on and the Display becomes blank.

-,

in the Display.

Faster Editing:

After you have selected an engine, press the Encoder button once and watch the lights change. Now, all
Engine LEDs go out except for the selected one(s ), a ll a v ai lab le Ef f ec t LEDs are lit and the current Effec t LED

in the Displa y when its configuration is dis played. If Bypass is pres sed from Preset mode, all

In the previous tutorial, you learned how to edit Routing, Engine, Effects, Class, and
Parameter by using th eir correspo nding buttons . It is also p ossible to do m ost editing with t he

Encoder alone.

is flashing. All available Class LEDs are on. By pressing the Encoder button, you shifted the editing point from
Engine to Effects; this is exactly the same result as pressing the Effects button. You can now turn the
Encoder to change the effect or jus t leave it on the stored one. Press the Encoder a second t ime to switch
from editing Eff ects to editin g Class . Now the LE Ds show the current rout ing, en gine, effec t, and a ll av ailable
classes and parameters, and the selected class is flashing.

Turn the Encoder to change the class or leave it on the current one. As you would expect, pressing the
Encoder now switches from editing Class to editing Parameters. You can turn the Encoder to select any
available param eter. As you scr oll thro ugh the param eters , notic e that t he Dis pla y changes to sh ow you each
one’s value. If you wish to edit a value, press the Encoder again. Just like in th e first tutorial, all Param eter
LEDs go out except for the one you are editing and the Display shows you the adjustable parameter’s value.

If you wish to edit another parameter, simply press the Encoder. Turning the Encoder selects parameters
again. After you have chosen another one, press the Encoder and turn it to change values. Repeat this

- 19 -

procedure to edit as many parameters as you want. When you are done, you can s a ve the pr es et by pressing
Store, selecting a preset number to overwrite, and pressing Store again to confirm.

After you’ve edited one en gine’s param eter s, you m a y wish to edit anot her eng ine’s . Sim ply press th e Engine
button, turn the encoder to select a different one , and press the Encod er (three times) until you are back in
the Parameter edit area. You could also select an engine and just press the Parameter button. The front­panel buttons are an easy way to j ump around a preset. Ho wever, if you ever change the routing or effect,
you still have to register the changes by either pressing the Encoder or the next button to the right. For
example, after selecting a diff erent effect, you will not enter the c hange until you either press the Encoder or
the Class button. If you press the Parameter button instead, you will abort the effect change.

As you can see, the Encoder can be used to move you further d own the hierarchy of a preset (f rom left to
right on the front panel). If you wish to jump backwards (or jump forwards), use the front-panel buttons.
Pressing the Encoder, however, ca nnot access MIDI parameters, but that proc ess is explained in the next
tutorial.

TUTORIAL 3: MIDI

The Quadra/FX has three types of programmable MIDI parameters: channel, program change, and
continuous controller mappings.

Channel Number:

The MIDI channel num ber is the c hanne l on which t he Qu adra/FX wil l recei ve and tr ansm it all MI DI data. T he
Quadra/FX’s MIDI channel is global to the whole un it, regardless of which preset, ro uting, engine, or effect it
is set from. Its new value is automatically saved when changed.

MIDI Map:

Each preset contains a M IDI map value that determ ines which MIDI program c hange number will recall the
preset. Normally, a received MIDI progr am change value of 1 would recall Quadra/FX preset #1, a program
change value of 2 would reca ll Quadra/FX preset #2, and so on. MIDI mapping allows you to change this
ordering. Each preset contains only one MIDI map value, but it can be set and updated from within any
engine. Changes to a preset’s MIDI map need to be saved with the preset.

Controllers 1–4:

The Quadra/FX’s cont inuous con troller mappin gs are extrem ely flexibl e and add a gre at deal of power to the
unit. Each engine (or engine group) can have up to four MIDI controllers assigned to change parameter
values. Discrete 4 routing, whic h has four separate en gines, can ha ve up to 16 MIDI controll er mappings p er
preset! Controller m appings can, for exam ple, make a synthes izer’s m odulation wheel cha nge re verb tim e, a
footswitch bypass a n effect, or ev en allow ke yboard notes to s pin up the rotar y effect. Chan ges to a prese t’s
controller mappings need to be saved with the preset.

- 20 -

Editing MIDI Parameters:

routing and which engine’s M IDI parameters you are current ly editing. Also, notice that al l parameter LEDs
are off.

NOTE: While editing MIDI param eters, you can always return to Preset mode by pressing the MIDI button
again. Pressing any of the other buttons will perform their usual functions.

If you turn the Encoder, you will scroll through six MIDI options: MIDI map, the four controller as signments,
and channel (turn the Encoder to the left ). Both the Smart Met er LEDs and the Displa y change to show you
the current parameter and its corresponding value.

To edit the Quadra/FX’s MID I param eters, pres s the MID I button. No tice t hat al l
of the Smart Meter LEDs are lit and its MIDI Map/-18 LED is flashing. The
Smart Meter is no l onger sh owing au dio leve l. Inst ead, its LE Ds ( along with the
text to the left) indicate which MIDI parameter is selected for editing. Also,
notice that Routing and Engine LEDs are on to remind you of the preset’s

Setting the MIDI Channel:

To set the Quadra/FX ’s MIDI channel, t urn the Encoder to the left until the Channel LED f lashes, then pres s
the Encoder. Now all of the Smart Meter LEDs have gon e out except for Channel and the Dis play shows a

number from  to, or
and transmit MIDI data on. T urn th e Encoder to c hange valu es. If you sel ect
data on all 16 MIDI channels, but it will only send out data on Channel 1. The MIDI channel is autom atically

saved whenever it is changed, so when you are done, press the Encoder to edit a different MIDI parameter.

Setting the MIDI Map:

To change the MIDI map of the current preset, tur n the Encoder until the MIDI m ap LED flashes and then
press the Encoder. All the Smart Meter LEDs have gone out except for MIDI m ap. Now when you turn the
Encoder, the value in the Display c hanges to show the incoming pro gram change num ber that will recall the

current preset. It can be set to any value from  to
conveniently set the MIDI m ap by sending an external MIDI pro gram change message on the Qu adra/FX’s
MIDI channel. The Qu adra/FX will no t inter nall y chang e patches when this happens ; it jus t sets the MIDI Map
value to the patch change number that it receives.

%%

, for Omni m ode. This value is the MIDI chann el that the Quadra/FX will rece i ve

%%

, the Quadra/FX will recei ve

6

, or

2))

. While at this location, you can also

An incoming program change message can only be set to recall one Quadra/FX preset. If the program
change number you selec ted is a lready being used by another pr es et, t he D is pl a y will warn you by alternating
between the selected program change number and the other preset’s number. You can tell the two apart
because the decim al point to t he far righ t of the pr eset num ber is li t. If you cho ose to s tore th e cur rent pr eset
with the already-used program change number, the Quadra/FX will replace the other preset’s MIDI map with a

value of

2))

.

- 21 -

NOTE: MIDI map can be set and changed from within any engine and it, along with the MIDI controller
assignments (see the next section), need to be saved with the preset.

Setting MIDI Controllers:

Press the Encoder again to switch back to the parameter selec tion mode, where tur ning the Encoder s crolls
through the six MIDI options. T o map a MIDI controller to on e of the engine’s param eters, turn the Encoder
until one, two, three, or four of the LEDs above the MIDI map LED are flashing:

Controller Assignment #1 Controller Assignment #2 Controller Assignment #3 Controller Assignment #4

These four LEDs cor respond to this e ngine’s (or engi ne group’s) f our available contr oller assignm ents. Each
engine or engine group can have up to four controller assignments that can modify any of the current engine’s
parameters. Consequent ly, presets in Twin Stereo and Cascade ro utings (with two separ ate engine groups)
can have up to 8 MIDI c ontroller assignm ents and Discrete 4 pr esets (with four se parate engines) c an have
up to 16 MIDI controller assignm ents. Notice again that one or m ore engine LEDs are on to rem ind you of
which engine, or engine group, is currently being edited. If you wish to modify the controllers of different
engines, press the Engine button and sel ect another one b y turning th e Encod er. Then pr ess the MID I butto n
and turn the Encoder to select one of the four controller assignments of the new engine.

After selecting one of the assignments, look at the Parameter LEDs; they indicate which of the effect’s
parameters the MIDI c ontroller number (in t he Numeric Display) will control. Som etimes, multiple Parameter
LEDs may illuminate to indicate that special parameters are being controlled with MIDI (more on this below).

To edit the selected contr oller assignment, pr ess the Encoder. You’ll notice that t he Controller LED(s ) in the
Smart Meter will flash, as wil l o ne or more Parameter LEDs. T urn the Encoder to change the par ameter that a
received MIDI controller event will cha nge. You can select any of the effect’s param eters, plus the effect’s
Smart Encoder function(s) (for reverb, delay, and rotary effects) and Engine Bypass (for any effect).

SMART ENCODER
The Smart Encoder is a way to assign a front-panel Encoder press (in Preset mode) to perform real-time
tasks, such as tapping in new delay times or spinning up and down the rotary effect. In other words, the
Encoder is “smart” because you can change parameter values simply by pressing it (rather that scrolling
through a series of menus and numbers). For more information on using the Smart Encoder from Preset
mode, see the tutorial starting on page 24. These Smart Encoder
MIDI, in case you want to use their functionality but are not near the unit.

- 22 -

functions can also be triggered through

To assign MIDI to trigg er an engine’s Smart Encoder f unction, turn the Encoder until two Parameter LEDs
light. If only one Par am eter light goes o n at a t im e, it is bec ause t here is no Sm ar t Encod er func tion availa ble
for the effect of the current engine. Onl y reverb, delay, and rot ary effects use the Sm art Encoder. If you are
editing one of those effects, you will eventually see one or two the following patterns (depending on the effect)
as you turn the Encoder clockwise:

REVERB DELAY DELAY ROTARY

MIDI Control of MIDI Control of MIDI Control of MIDI Control of

the Reverb Impulse: Tap Delay Time Entry: Delay Repeat Hold: Rotary Speed Change:

It is important to remember that when assignin g a MIDI controller to a Smart Encoder function, the two lit
Parameter LEDs no longer refer to param eters, but instead refer to o ne of the four possible Smart Encoder
functions.

BYPASS
If you want to bypass the c urrent engine via MID I, turn the Encoder c lockwise until the o uter four corners of
the Parameter LEDs are lit:

After you have selected the control lable parameter , press the Encoder again. No w the Displa y is flashing. B y
turning the Encoder, you will select which continuous controller number will affect the previously selected

parameter. The available MIDI controllers are –

.

(aftertouch), and

,-

(pitch bend). Also, any external MIDI controller movement on the Quadra/FX’s

, 2

(note on pitch),

2))

(note off pitch),

MIDI channel will automatically set this value. See page 67 for more information on MIDI controllers.

Press the Encoder again to switch back to the parameter selec tion mode, where tur ning the Encoder s crolls
through the six MIDI o ptions. Now that you have edited one of the contr oller assignm ents, you may wish to
edit the remaining three or the assignments for other engines.

Finally, save your MIDI edits by saving the preset. Press Store, select a preset number to overwrite, and
press Store again to c onfirm the save. If you instead pres s any button other than Store, you will return to

- 23 -

Preset mode and the MI DI edits will not be saved, though they will rem ain active until you change presets.
MIDI Channel, however, is automatically saved each time it is updated.

TUTORIAL 4: ADVANCED APPLICATION NOTES

The Smart Encoder:

The Quadra/FX’s rev erb, delay, and rotar y effects have certa in parameters that c an be triggered with a press of the
front-panel Encoder. T hes e f unc ti ons a llo w you to audition a reverb’s soun d, tap in ne w de lay times, infinitely repeat a
delay, or spin the rotary effect up and d own. The s ections belo w list all a vailable Sm art Encoder f unctions, what they
do, and the different ways to access them .

Available Smart
Encoder Functions:

REVERB

All Classes Reverb Impulse Decay, Special

DELAY

All Classes Delay Time Ta p Delay, Specia l Delay Time in milliseconds
Except Ambient

Repeat Hold Regen, Special

ROTARY

Instrument, Concert, Rotary Spin High/Low Pitch, Special
Gated, Ambient

Parameter
LEDs Lit:

Numeric
Display:

444

&

2))/2

/%2

Reverb

With reverb effects, the Smart Encoder can be used to trigger a
short, all-frequenc y burst f or testing a re verb’s sound. Use it to audit ion the qu alit y as well as d ecay tim e and
front-end characteristics of your reverb programs. Pressing the Encoder on this option will trigger the sound.

reverb audition impuls e

. A reverb impulse is a

Delay

With delay effects, the Smart Encoder can be used to tap in a new delay time or turn on the repeat hold
function.

- 24 -

To

tap

in a new delay time, press the Encoder at the desired tempo. The num ber of times that you press
doesn’t matter; the Q uadra /F X takes the average tempo. As you are t ap ping, you will hear the ne w de lay time
and see its value in the Display. Repeat this process as often as necessary.

Repeat Hold

sound will repeat, at the rate of the delay time, until you press the Encoder again. When Repeat Hold is
activated, no other sound is allowed to go into the delay, so you can solo o ver the repeated phrase without
cluttering it up.

infinitely loops the delayed sound. Play a phrase and then press the Encoder. The delayed

Rotary

The

Rotary Spin High/Low

rate (alternating with each Encoder press).

SMART ENCODER USE:

option allows the E ncoder to t oggle t he rotar y speed betwee n a high and low s pin

To use the Smart Encoder from Preset mode, select a preset that uses reverb, delay, or rotary

effects. Push and hol d the Bypass button, press the Encoder, a nd then release both buttons. You
are now in

and its associated Smart Encoder function(s). Notice that the preset’s Routing and current Engine
LEDs are lit, along with two Parameter LEDs. After you have viewed the Smar t Encoder function(s) for one
engine, turn the encod er f urther to acc ess the n ext en gine’s avai lable f unction( s). Re peat as necess ar y f or al l
of the engines or eng ine groups. If an engine co ntains an effect that doesn’t mak e use of a Sm art Encoder
function, it will be skipped as the Encoder is turned (the engine LED won’t light).

Once you have stopped on the Smart Encoder function that you want to use, simply press the Enc oder to
trigger its action. You can alwa ys switch “on th e f l y” to other Smart Encoder functions ; j us t turn the Encoder to
select a different en gine or function and then press the Encoder to tr igger it. Rep eat as often as necessar y.
To switch back to Preset mode, press any of the front-panel buttons except Power and Store.

Smart Encoder

mode. Turn the Encoder to scroll through each engine (or engine group)

Using a Default Smart Encoder Function in Preset Mode:

While using Sm art Encoder functions, you can select one of them to work whenever the Encoder is

pressed in Preset m ode (without having to enter Smar t Encoder mode). Just save the pr eset (by
pressing Store twice) after the desired Smart Encoder function is in view and it will become the

preset’s default func tion. No w whenever th e preset is loaded, pressin g the Encoder will autom aticall y

- 25 -

trigger the Smart Encoder’s stor ed action. Each preset can have one default function and it becomes active
as soon as the preset is loaded.

Whenever you enter Sm art Encod er m ode (b y pres sing B ypass and the Enc oder) , the def ault Sm art Enco der
function appears f irst (its Routing, Engi ne, and Param eter LEDs are lit) . To as sign a diff erent def ault f uncti on,
simply turn the Encod er to select another one and press Store twice. If you don’t want a ny default function

assigned, turn the Enc oder to the left until all engine li ghts are off (
Store twice. When no default function is assi gne d, n othing will happen when the Encoder is pressed af ter tha t
preset is loaded.



is in the Displa y) and then press

Using the Smart Encoder while Editing Reverb, Delay, and Rotary Effects:

You can even trigger a Smart Encod er function while editing reverb, d elay, and rotary effects. For

Reverb

audition the quality as well as decay time and front-end characteristics of your reverb programs

while editing their par ameters. To trigger an impulse, sim ply press and hold the Bypass button and

press the Encoder. As soon as the Encoder is pressed, the impulse will fire. Repeat as often as necessary.

While editing
Bypass button and pres s the Encoder a t the desired t empo. The Quadra/F X keeps a run ning average of the
time between all taps . As you are ta pping, you wil l hear the ne w delay time a nd if you were c urrently edit ing
the effect’s Delay or Si ze parameter, you will see its update d value in the Display. Repeat th is process to
change delay times as often as necessary.

effects, you can trigger a reverb impulse while changing any parameter. This helps to

delay

effects, you can us e the Encod er to tap in a n ew d ela y time. T o do s o, press and ho ld the

You can also change the rotar y eff ect’s spin rat e (to eith er lo w or hig h) with the Sm ar t Encoder . While editing
any rotary parameter , press and hold th e Bypass butt on and pres s the Encoder. If you were c urrently editi ng
the effect’s Pitch parameter, you will see its updated value in the Display.

- 26 -

THE QUADRA/FX’s ADJUSTABLE PARAMETERS

DESCRIPTION OF ROUTINGS AND ENGINES

The Quadra/FX contains four engines that can be routed in four different ways. Our proprietary Dynamic Engine
Allocation (DEA™) technology ensures that all DSP horsepower is effortlessly configured for your routing choice.
Press the Routing button and turn the Encoder to scroll through the f our routings: Disc rete 4, Twin Stereo, Cascade,
and Stereo.

Discrete 4:

This routing configures the Quadra/FX as four mono signal
processors. Each Input feeds its correspo nding O utput. However,
if any Input (except #1) does not hav e a jack inserted, it will take
its input from the closes t previous one that has a plug inserte d.
For example, if the un it is in Discrete 4 mode and ¼ inch plugs

will be fed from Input #1’s signal and En gines #3 and #4 will be f ed from Input #3’s s ignal. Similarl y, if just
Input #1 has a plug inserted, Engines #1, #2, #3, and #4 will all be fed from the signal at Input #1. This
scheme allows for some interesting process ing options. For insta nce, if Engines #1 a nd #2 receive material
only from Input #1 (o nly one inp ut jack inserted), a nd you are in Disc rete 4 r outing, you c an cr eate “ unlinked”
stereo effects such as flangers and choruses with different sweep widths and rates in the left and right
channels. You could even create digital delays and reverbs with similarly unrelated, though “stereo-ized,”
channels. Since En gines #3 an d # 4 ar e als o be ing f ed f r om the same Input (#1), you cou ld use those engines
for two more simultaneous effects. Remember that each engine still feeds its corresponding output jack,
regardless of where its input is taken from.

Twin Stereo:

are only inserted into Inputs #1 and #3, both Engines #1 and #2

This routing turns the Quadra/FX into two true-stereo processors.
Inputs #1 and #2 feed the first processor (consisting of grouped
Engines #1 and #2) a nd exit at Outputs #1 and #2, and In puts #3
and #4 feed the second processor (c onsisting of grouped Engines
#3 and #4) and exit at Outputs #3 and #4. The left and right
channels of each processor remain separate, but any modulated

parameter, such as the sweep rate of a panner, is linked f or the two
channels. With rever bs, howe ver, the left and r ight chan nels are c ross- coupled in tim e to realis tically em ula te
an acoustic space (t hey are NOT reduced to m ono). For a non-cr oss-coupled and com pletely independent,
stereo reverb (one that couldn’t exis t in the re al wor ld), c hoose Discr ete 4 rout ing an d put t wo i dentica l rev erb
programs in both Engine #1 and Engine #2.

- 27 -

Cascade:

Stereo:

This routing feeds the output of one stereo processor
(grouped Engines #1 and #2 ) into anot her (grouped E ngines
#3 and #4). It only uses Inputs and Outputs #1 and #2.
Inputs and Outputs #3 and #4 are disabled. As with Twin
Stereo, the left and r ight channels of each processor rem ain
separate, but any modulated parameter is linked.

This routing uses all four Engines in the Quadra/FX as one
“supercharged” stereo proc essor . Onl y Inputs a nd Ou tputs #1 and
#2 are used; the other two are disabled. The left and right
channels of the stereo processor remain separate, but any
modulated parameter is linked between them.

DESCRIPTION OF CLASSES

Each effect has six classes, or effect variations, which are grouped into the following categories: Vocal,
Instrument, Concert, Gated, Am bient, and Dynamic. In general, the cl ass name denotes the application f or
which it has been optim ized. The actual s ound variation de pends on each eff ect and is listed with the eff ect
descriptions beginning on page 31. The following are some class generalizations:

Vocal

to create smooth “ducking” effects, such as faded, level-dependant delays, choruses, and flangers. Vocal
reverbs enhance intelligibility and emphasize the breathy qualities often found in lead vocal tracks with a
balanced bandwidth.

Instrument

is controlled to give the effect a musical charac ter. Some parameters ar e also linked and optimized to help
create the “classic” sound and control action.

Concert

classes may work best on voic e-type track s. Most Vocal algor ithms use r amped dynam ics process ing

classes are used t o em ulate the soun d of instrum ents pl aying thro ugh v intage effects. Bandwidth

classes are particularly well suited for live and general studio situations. They have an extended
bandwidth and wider /deeper s weeps . On r everbs , Conc ert clas ses ha ve a f uller b ottom end and a m ore “ live”
character.

- 28 -

Gated classes contain an auxiliary gate to create “ducking” effects. On reverbs, this class allows for
forward/reverse gated reverb with no decay tail.

Ambient classes contain s ome st ereo specia l eff ects that are not availab le in Discrete 4 ( mono) routing. The
Ambient Delay sim ulates “mic. placement” or “ listener location” images and Ambient Rever b creates early­reflection spaces.

Dynamic class es modif y certain parameters bas ed on the Quadra/F X’s input le vel. For exam ple, a Dynam ic
Reverb varies the algorithm ’s decay time in response to the input signal l evel. On swept effects, this clas s
produces triggered s weeps based on input level. T he Dynamic Pitch T ransposer creates a level dependent
pitch-glide effect, called

Whammit!.

DESCRIPTION OF EFFECTS AND THEIR PARAMETERS

Common Parameters

The following parameters are available in every effect and consist of Mix, Low EQ, and High EQ.

Mix

This parameter s ets the ratio of unprocessed (dry) sound to processed (wet) sound. Each
effect has a Mix contro l with a range from 0 to 100 (0 = all dry, 100 = all wet). Pushing th e
Bypass switch is the equivalent of turning the Mix control to 0. If Dry Kill is acti ve, the MIX
control will set the total output le vel of the Quadr a/FX. (For information on Dry Kill, see page

10.) For example, if Dry Kill is active and MIX is set to 0, no sound will com e from the unit. Conver sely, if Dry Kill is
active and MIX is set to 100, the highest effect output level is achieved.

Low EQ

Each effect has a user adjustable low equalization control that is inline with the processed (wet) signal. It has a
maximum bass boos t/cut amount of ±15 dB (in 1-d B steps) and is musicall y balanced with variable frequenc y points
and a constant slope. The boost characteristics of this curve favorably compensate for typical bass losses within
audio systems (see the graph on the next page).

- 29 -

Bass Control

20
15
10

5
0

-5

Boost (dB)

-10

-15

-20
10 100 1000 10000

Frequency in Hz (Log Scale)

High EQ

Each effect has a user adjustable high equalization control that is inline with the processed (wet) signal. It has a
variable slope with a maximum treble boost/cut amount of ±15 dB (in 1-dB steps).

Treble Control

20
15
10

5
0

-5

Boost (dB)

-10

-15

-20
100 1000 10000 100000

Frequency i n Hz (Log Scale)

- 30 -

CHAMBER REVERB

The Chamber Reverb simulates a reflective enclosure (perhaps made of
wood or concrete) with a sound source at one end and a microphone near the
other. By varying the Size parameter from small to large, you can simulate
spaces as small as a shower stall and as large as an elevator shaft. This

reverb is more reflective and has a more defined echo characteristic than Halls or Rooms.

ROOM REVERB

particularly useful for voiceovers. By sim ply varying one or t wo parameters , you can quick ly dial in just about
any post-production, film, or overdub treatment.

The Rooms in the Quadra/FX approximate the impulse responses of
different types of “real” rooms. At large Size settings, this algorithm
simulates a large room such as a ballroom or a nightclub. At mid to small
Size and Decay settings, tighter s paces ar e realist icall y simulated , m aking it

HALL REVERB

PLATE REVERB

density of plate re verbs allows them to be us ed at higher S ize settings for those “ really h uge space” sounds,

The Quadra/FX’s Hall algorithms emulate actual concert halls. They are
clean, open, and sit well in a m ix. Echo density starts out low and builds
over time to a lush, balanced decay. This algorithm is excellent on mixed or
orchestral material an d with long Decay set tings. The Hall’s im aging is big,
realistic, and allows for adding ambience without cluttering the sound.

The Plate algorithm s imulates a mechanic al plate reverberator. Before the
advent of digital reverbs, large metal plates were suspended in frames to
emulate reverberation. A plate reverb’s tone is distinctive; it’s dense and
smooth, with lots of highs an d lows. These algor ithms have a q uick density
build, which m akes them the idea l choice for percussive material. The thick

without any clatter. They shouldn’t nor mally be used at low Size settings unless Deca y is set very short or
unless you want an unnaturally dense, metallic type of special effect.

- 31 -

REVERB CLASSES:

Vocal

The Vocal Reverb class c an be us ed to sweeten and enhance the i nte ll ig ibi l it y or breathy qualities of a sound,

particularly a vocal track. Bandwidth on longer decays is tailored to keep voices balanced in the tail.

Instrument

The Instrument Reverb is tailored for most solo instruments to maintain their tonal quality. High frequency
decays are not limited and low frequencies are controlled to prevent muddiness.

Concert

The Concert Reverb has a neutral high frequenc y response with a low frequency deca y emphasis. It should
be used on sounds or mixes to simulate the “liveness” of a real acoustic location.

Gated

The Gated Reverb clas s simulates a gated rever b impulse without actual ly using a noise gate; the effect is
produced within the a lgorithm. Therefore, both loud an d soft sounds will benef it from the effect. T his class

Ambient

Dynamic

provides spaciousness without the clutter of a reverb decay tail.

Ambient Reverb is used to capture the ear ly-reflect ions that are p art of reverb erated sound. I t is excell ent for
creating close spaces, matching a dialogue to a room, and adding a sense of distance to close miking.
Though you can increase decay, the bandwidth is controlled to always unmask the early-reflections.

Dynamic Reverb uses input level to switch the Decay time from a minimum setting to a preset length. B y
dynamically changing the Dec ay time you can get both an uncluttered sound and a lush, long reverberatio n
that is controlled by input level. This class has a flat bandwidth and can be adjusted over a wide range.

- 32 -

REVERB

Vocal 0–255ms 5–50m 0–10 0.3–28s 0–31 0–9 0–41 0–32 Threshold

Instrument 0–255ms 5–50m 0–10 0.3–28s 0–31 0–9 0–41 0–32 Threshold

Concert 0–255ms 5–50m 0–10 0.3–28s 0–31 0–9 0–41 0–32 Threshold

Gated 0–255ms .05–.5s 0–10 0–31 0–9 0–32

Ambient 0–255ms 5–50m 0–10 0.3–28s 0–31 0–9 0–32

Dynamic 0–255ms 5–50m 0–10 0.3–28s 0–31 0–9 0–41 0–32 Threshold

Delay

(Predelay)

Size

(Size)

Regen

(Diffusion)

Decay

(Decay)

Shape

(Shape)

Pitch

(Motion)

Speed

(Ramp Rate)

Width

(Depth)

Special

(*see below)

REVERB PARAMETERS:

Delay: Sets the amount of dela y that occur s befor e the re ver ber ator ( c a lled predelay). It can be adjusted f r om 0 to

255 milliseconds in 1-m illisecond steps. Predelay is prim arily used to m aintain intelligibi lity by moving t he
start time of the rev erberant sound in relat ion to the dry signal. T ypical predelay values are from 0 to 35
milliseconds. Increas ing the pr edela y adds apparen t depth to t he im age, up to th e point where i t becom es
an obvious slap delay/reverb effect at 255 milliseconds.

Size: Sets the overall size of the reverberant space, from 5 to 50 meters. This single control affects multiple

components of the algorithm and should be adjusted first when buildi ng a total ly new reverb s ound. It a lso
has a greater effect on the perceived acoustic space than any other parameter.

Large Size settings create bigger spaces, longer delays bet ween reflections, lower runnin g echo density,
and lower tonal color ation. Small Size sett ings simulate tighter spac es that are smooth with a high echo
density. Small Sizes should on ly be used in c onjunction with short d ecay time s ettings or they m ay sound
tonal or metallic. When building a new sound, a value of 25 is a good starting point.

With the Gated class, Size is used to set the length of the gated reverb, from 50 to 500 milliseconds.

Regen: Controls the reverb’s diffusion (initial echo density and the rate at which echo density builds over tim e).

The range of Diff usion is from 0 to 10, with 8 working well for most m aterial. A low setting has littl e initial
density and a slow density build. Low setti ngs improve clarity and opennes s o n v ocals and pi ano tr acks. At
a setting of 10, the re verb starts with a re lativel y dense sound that alm ost im mediatel y builds to m aximum
density. Higher settings are usually the best choice with percussive material.

Decay: Sets the reverber ation decay time from .3 to 28 s econds. Reverberation tim e is usually qualified as the

time it takes the reverberated soun d to drop 60 dB in level. Depending on the chosen class, the so und’s
bass and treble components may have different decay rates. Typical Decay values range from
approximately 1 to 3 seconds. Shorter decays allow for “vocal ambience” treatments. Longer decays
(greater than 3 secon ds) are usually used for “bi gger than life” special ef fects. Both the Decay and Si ze
parameters should be used together to set the overall impression of the simulated space.

- 33 -

Shape: Controls extra early-reflection delays that are used to modify the reverb envelope’s contour. This

parameter’s range is from 0 to 31. Use Shape setti ngs from 0 to 6 to modify the in itial attack envelope.
With settings from 7 to 23, the attack enve lope sta ys constant, but spreads out in tim e. Settings abo ve 23
create longer delays and a reverse slap.

Use this control to f urther shape the front-e nd of your hall or t o create distant echo ef fects. Normally you
should set Delay, Size, Regen, Deca y, and Width bef ore you adjust Shape since its added dela ys are not
part of the main reverberator and should only be used for auxiliary reflections and special effects.

Pitch: Sets the movem ent of the reverberation tail. This c ontrol is used to help m ake long decay tim es sound

more natural. The contr ol’s rang e is from 0 to 9 and is norm ally set at 1, producing a ver y subtle eff ect. A
setting of 0 turns this control off . You can increase Pitch if long Dec ay times sound period ic. However, at
high settings, a perceived ‘wo bbling’ in the reverb tail may be noticed o n some instruments. Use c are in
applying this parameter.

Speed: On Vocal, Instrument, and Concert classes, the reverb can be gated in or out at a pr eset audio input

level. Speed sets ho w fast this “gating” occ urs. If set to 0, the g ating is almost ins tantaneous and as you
increase towards 21, t he gate “hold” time increases. As Speed is increased to 41, the ramp rate grows
until you get a slow, faded sound.

In the Dynamic class, Speed sets the time that it t akes the reverb to go from a minimum decay to the
preset decay time, depending on the audio level.

Width: Sets the listener’s positi on (depth) within the reverberant space . This parameter also varies the rat io of

early-reflections to later rever b. The Width control’s range is from 0 to 32. Low numbers correspond to
placing the microphone close to the sound source and creat e a sharp attack. Higher num bers emulate a
mic placed further back in the ha ll, with a slower , swelling attack . When used with per cussive mater ial on
the Plate reverb (at reasonable Deca y and Size settings), this control adjus ts the attack of the plate and
how well it sits in the mix.

Like Size, this param eter gives you cons iderable c ontrol o ver the re verb’s s ound. Norm ally you shoul d set
Size, Decay, and Regen first, and then adjust Width.

With the Gated class, this co ntrol sets the overal l envelope, f rom forward to re verse, of the gated reverb.
For an even stronger reverse reverb effect, also use Shape at a high setting.

Special: In Vocal, Instrument, and Concert classes , Special sets the audio input le vel (Threshold) that controls

the gating action of the ef fect. This param eter can be set in 1-dB increments, fr om 1 to 30 dB below full­scale. Normall y, when the in put signal is abov e the T hreshold se tting, re verberat ion is hear d. W ith signa ls
below the Threshold, r ever berati on is m uted. If the v alue in the D ispl ay is pr ece ded b y an r (), this gating
action is reversed; signals below the Threshold setting produce reverb and ones above it do not.

- 34 -

In the Dynamic Class, Special sets the Threshold t hat sw itches t he Dec ay tim e f rom a minim um setting to
the preset length. As with the above classes, Threshold can be set from 1 to 30 dB below unity gain.
Normally, when the input signal is below the Thres hold’s setting, the rever b’s decay time is as set. When
the signal is higher than the Threshold, the Deca y time is reduced. If the value in the D isplay is prece ded

by an r (), this function is reversed; a reduced Decay time occurs when the input signal is below the
Threshold level and becomes normal when the signal is above the Threshold.

A Threshold setting of

2))

is available to disengage all dynamics sensing.

- 35 -

DIGITAL DELAY

have dynamics sensing, whic h can use i nput lev el to switch the eff ect in and o ut or chang e the Regen value.
The Ambient class creates a special miked-speaker simulation.

DELAY CLASSES:

Vocal

The Vocal Delay is the traditional digital delay effect with the addition of dynamics sensing, which can be used
to fade the effect in and out when the Threshold (input level) setting is crossed. Threshold is set with the
Special parameter and Decay sets the effect’s fade time.

These algorithms delay a signal in time. The maximum delay length, per
channel, is 2.75 seconds for Stereo routing and 1.25 seconds for all other
routings. Up to twelve delay taps are available and can be equally and
unequally spaced within t he span of the dela y length. Some of these classes

Instrument

An Instrument Delay recreates the sound of the “classic” digital delay. Regeneration bandwidth is controlled to
produce the characteristic sound and to emphasize the most recent material.

Concert

The Concert Delay is full-featured with extended regeneration bandwidth.

Gated

The Gated Delay is the traditional digital delay eff ect with the addition of dynamics sens ing, which can be
used to duck the effect in and out depending on the Threshold setting. Threshold is set with the Special
parameter and Decay sets the effect’s ducking times.

Ambient

The Ambient Delay is a speciali zed multi-tap dela y system for c reating
stereo images. It can simulate close and far miking techniques. With
small Size settings, this algorithm emulates a close miked stereo
speaker cabinet. W ith large Si ze settin gs, you can r ealistical ly sim ulate

the miking of a wide speaker array, such as when recording a live

concert.

- 36 -

Dynamic

The Dynamic Delay uses input level to switch the Regen amount between its preset value and 0.

DELAY

Instrument 0–1250ms 0–1250ms -99 – [phone]

Concert 0–1250ms 0–1250ms -99 – [phone]

Gated 0–1250ms 0–1250ms -99 – [phone] Threshold

Ambient In feet, based

Dynamic 0–1250ms 0–1250ms -99– [phone] Threshold

Delay

(Delay Time
± 1 ms)

Vocal 0–1250ms 0–1250ms -99 – [phone] Threshold

on Size

Size

(Delay Time
± 50 ms)

2–112 ft.
(in Stereo)

Regen

(Regen)

Decay

(Fade
Time)

Shape Pitch Speed

(Shape)
(1–9 in Discrete 4)

1–18 0–2.2 ft.

Width

(Number
of Taps)

Special

(*see
below)

DELAY PARAMETERS:

Delay: Changes the delay time in

except Stereo, which has up to 2.75 seconds of delay. In the Ambient class, this parameter sets the
distance of the microphones to the sim ulated speaker cabinet. This contr ol is set in feet and its range is
based on the Size setting.

Size: Changes the dela y time in

±

1 millisecond steps. The total am ount of delay is 1.25 sec onds in all routings

±

50 millisecon d steps. In the Amb ient class, this parameter sets the si ze of the

simulated speaker cabinet, from 2 to 112 feet in Stereo routing and 2 to 52 feet in all other routings.

Regen: Sets the amount of delay feedback, from

-99% to +100%.

Negative numbers correspond to inverted

feedback.

Decay: In the Vocal class, this control sets the fade time of the effect after it

has been dynamic ally triggered. In the Dynamic class, Decay sets the
time that it takes the Regen parameter to switch between the preset
amount and a value of 0, depending on audio level. A graph of this
control’s action is on page 66.

Shape: This parameter sets the spacing, or shape, of the de lay taps. (See the

Shape Control table.) Discrete 4 (m ono) r outing us es th e f irs t 9 shapes

only.

In the Amb ien t class, this param eter sets
the horizontal and vertical positioning of
the “microphones” i n front of the sim ulated
speaker cabinet. See the Ambient Delay

Shape Control diagram. With values

Shape Control:

Level Spacing

1 flat linear
2 flat i ncreasing
3 flat decreasing
4 forward linear
5 forward increasing
6 forward decreasing
7 reverse linear
8 reverse increasing
9 reverse decreasing

–Stereo Ping-Pong Shapes –
10 f lat linear
11 f lat increasing
12 f lat decreasing
13 f or ward linear
14 f orward increasing
15 f or ward decreasing
16 rever s e linear
17 rever se increasing

18 rever s e decreasing
between 0 and 8, both m ics follow the shap e of the graph. W ith values
between 9 and 17, both mics follo w the sam e shape, but eac h one is is olat ed from the oppos ite s peak er. In

- 37 -

other words, the lef t microphone only pick s up sound from the lef t speaker and th e right microphon e only
picks up sound from the right speaker.

Pitch: (Not used.)

Speed: (Not used.)

Width: Sets the number of taps taken over the course of the delay length. You can have up to 12 taps in the

amplitude and tim e pattern set b y Shape. In the Am b ient class, this p arameter sets the dis tance between
the two microphones, from 0 to 2.2 feet.

Special:In Vocal and Gated classes, Special sets the audio in put level (T hreshold) that co ntrols the gat ing action

of the effect. This parameter can be set in 1-dB inc rements, from 1 to 30 dB belo w full-scale. Normally,
when the input signal is above the Threshold setting, delay is muted. With signals below the Threshold, the

delay is heard. If th e value in the Display is prec eded by an r (), this gating ac tion is reversed; signals
above the Threshold setting have delay and ones below do not.

In the Dynamic Class, Special sets the Threshold t hat switches t he Regen amount f rom the preset v alue
to 0. As with the above classes, Thr eshold can be set from 1 to 30 dB below unity gai n. Normally, when
the input signal is b elow the Thres hold’s setting, the d elay’s Regen am ount is as programm ed. When the
input is higher than the Threshold, t he Regen va lue becom es 0. If the val ue in the D ispla y is preceded b y
an r (), this functio n is reversed; th e Regen value is 0 when the inp ut signal is below the Thres hold and
becomes the set amount when the signal is above the Threshold.

A Threshold setting of

2))

is available to disengage all dynamics sensing.

- 38 -

PITCH TRANSPOSER

The Pitch Transposer (PT ) algorithm can change the bas e-pitch of a sound.
Each PT class contains an aux iliar y dig ital del ay that feeds back into the pitch
shift. This feature can c reate falling or rising pitch ef fects. Som e classes also
have dynamics sensing, which can use i nput level to switch the effect in and

PITCH CLASSES:

Vocal

The Vocal PT is the ult imate double track ing algorithm. T his class’ range of transposition is ±1.27 half steps
and its transport delay is extremely short, which is perfect for creating doubling or thickening effects. By taking
advantage of the short transport delay and setting a s mall amount of pitch shift with regeneration, you can
also create “barber pole” f lan gi ng ef f ec ts . This c lass c ontains two pitch transposers; eac h of whic h is sent to a
separate output. Of course, when used in Disc rete 4 (mono) routing, there is just one PT.

Instrument

The Instrument PT is optimized for guitar use and emulates the sound of the “classic” pitch transposer.
Bandwidth is controlled to help produce the characteristic sound.

Concert

The Concert PT is full-featured with extended bandwidth.

out or trigger the

Whammit!

effect (see

Dynamic

class).

Gated

Ambient

Dynamic

The Gated PT contains dynam ics sensing th at can fad e the transp osed so und in an d out depen ding on t he
Threshold setting. Threshold is set with the Special parameter and Decay sets the envelope release time.

The Ambient PT contains two pitch transposers. Each transposed channel is sent to a separate output.
When used in Discrete 4 routing, this class produces a brighter, one-channel version of the Concert PT.

The Dynamic PT uses dynamics sensing to trigger the W hammit! effect, which will smoothly glide up or
down to the desired transposition am ount. Special sets the Threshold f or triggering the effect and Dec ay
sets the glide rate.

- 39 -

PITCH

Vocal 0–1000ms 0–1000ms 0–99 1–4 ±1.27, -2.4 ±1.27, -2.4

Instrument 0–1000ms 0–1000ms 0–99 1–4 ±12.7, -24

Concert 0–1000ms 0–1000ms 0–99 1–4 ±12.7, -24

Gated 0–1000ms 0–1000ms 0–99 0–31 1–4 ±12.7, -24 Threshold

Ambient 0–1000ms 0–1000ms 0–99 1–4 ±12.7, -24 ±12.7, -24

Dynamic 0–1000ms 0–1000ms 0–99 0–31 1–4 ±12.7, -24 Threshold

Delay

(Predelay
± 1 ms)

Size

(Predelay
± 50 ms)

Regen

(Regen)

Decay

(Envelope
Rate)

Shape

(Buffer
Size)

Pitch

(Pitch)

Speed Width

(Pitch 2)

PITCH PARAMETERS:

Special

(*see below)

Delay: Changes the predelay time in

Size: Changes the predelay time in

Regen: Sets the amount of delay feedback, from

±

1 millisecond steps. The total amount of predelay is 1 second (1000 ms.)

±

50 millisecond steps.

0 to 99.

Decay: With the Gated class, this control sets the f ade tim e of the eff ect after it has been dyn amical ly trig gered. In

the Dynamic clas s, Decay sets the am ount of time it takes the Whamm it! effect to glide to and from its
target pitch after being dynamically triggered. T his control follows a linear curve and its range is from 0
(short) to 31 (long).

Shape: Sets the internal buffer size. A sett ing of 1 is the longest buf fer length and 4 is the shortest. Short buffer

sizes have the least am ount of transport dela y and work best on per cussive material. However, the y may
sound rough at large Pitch settings or with s ustaine d m aterial. Us e your ears to determ ine wh ich buff er size
is the best for the current application.

Pitch: Sets the am ount of pitc h trans posit ion with a r ange be tween 1 2.7 ha lf s teps up or down ( ±1.27 half steps in

Vocal class). This range has an extra s etting of -24 h alf steps (-2.4 in Vocal clas s) to produce two-oct ave

bass-doubling effects.

Speed: (Not used.)

Width: This parameter is used in Vocal and Ambient classes and sets the second channel’s pitch transposition. Its

range is the same as the Pitch parameter’s and it is not available in Discrete 4 routing.

Special:In Gated class, Spec ial sets the audio i nput level (Threshol d) that controls the gating action of the eff ect.

This parameter c an be set in 1-dB increm ents, from 1 to 30 dB below ful l-scale. Norm ally, when the i nput
signal is above the Thres hold s et t in g, t he PT is m uted. With signals below the Threshold, the PT is heard . If

the value in the Display is precede d by an r (), this gating act ion is re versed; s ignals abo ve the Thr eshold
setting are transposed and ones below are not.

- 40 -

Dynamic class uses the Quadra/FX’s dynamics sensing to trigger the Whammit! effect. The Threshold
range is the sam e as with the Vocal an d Gated class es; it can be set i n 1-dB inc rements, from 1 to 30 dB
below full-scale. Normally, when the input signal crosses below the set Threshold, the Whammit! effect
glides to the desir ed transposition amount (at t he length of time set with Decay) and sta ys there until the
signal level crosses above the Threshold. Crossing below the Threshold level will again trigger the
Whammit! effect. If an r () precedes the Thres hold setting, Wham mit! is triggered with input levels above
the Threshold setting.

A Threshold setting of

2))

is available to disengage all dynamics sensing.

- 41 -

CHORUS

NOTE: The chorus effect is strongest when Mix is set to 50.

CHORUS CLASSES:

Vocal

Chorus is an effect that mixes a signal with slightly detuned copies to
produce a rich, moving texture. T he Low Frequenc y Oscillator (LFO) Speed
determines the movem ent (sweep) rate and the LFO Shape determ ines the
sweep pattern. Som e of the chorus classes have d ynamics sensing, which
can use input level to switch the effect in and out or trigger the LFO.

The Vocal Chorus is the traditiona l, late 70’s chor us effect (lik e the MXR
dynamics sensing, which can be used to fade the effect in and out when the Threshold level is crossed.
Threshold is set with the Special parameter and Decay sets the effect’s fade times.

Instrument

An Instrument Chorus recreates t he sound of the classic j azz amp chorus. Bandwidt h and LFO parameters
are controlled to produce the characteristic sound and control action. For example, as LFO Speed is
increased, Width is automatically adjusted within a musical range.

Concert

The Concert Chorus cr eates a high- end, stu dio chorus. It ’s the f ull-blo wn effec t with ex tended bandwidth and
less linking between LFO Width and Speed.

Gated

The Gated Chorus is t he
the effect in and out depending on the Threshold level. Threshold is set with the Special parameter.

Instrument

Yellow

effect with the add iti on of dynamics sens ing, wh ic h c an be used to d uck

Chorus) with the addi tion of

Ambient

The Ambient Chorus is a “s patia l” eff ect that c an chor us th e
information is the part of a mix that does not occur equally in both of the stereo channels, often such as
guitars, backing voc als, and rev erb ta ils. Ins trum ents lik e lea d voc als, bas s, a nd som e drum s are often m ixed
to the center, creating the
processes either the difference information or the full mix (consisting of both difference and common
information), depending on the
Preset #58 with your favor ite CDs an d then on your own ster eo track s or m ixes. Due to its stereo nat ure, this
class is not available in Discrete 4 routing.

common

information (c omm on between the left and right cha nnels) . This algorit hm

Difference Factor

setting (see the

- 42 -

difference

information in a s tere o m ix. Dif ferenc e

Special

parameter below). Try Factory

Dynamic

A Dynamic Chorus can trigger the LF O through one c ycle of its sweep when th e input signal cross es above
the programmed T hreshold leve l. When the i nput signa l crosses bac k, the LFO is reset and will trigger again
the next time the input signal crosses over the Threshold level. Threshold is set with the Special parameter.

CHORUS

Vocal 0–1000ms 0–1000ms 0–100 0–7 1–12 0–10.5Hz 0–100% Threshold

Instrument 0–1000ms 0–1000ms 0–7 1–12 0–10.5Hz 0–100%

Concert 0–1000ms 0–1000ms 0–7 1–12 0–10.5Hz 0–100%

Gated 0–1000ms 0–1000ms 0–7 1–12 0–10.5Hz 0–100% Threshold

Ambient 0–1000ms 0–1000ms 0–7 1–12 0–10.5Hz 0–100% Diff. factor

Dynamic 0–1000ms 0–1000ms 0–7 1–12 0–10.5Hz 0–100% Threshold

Delay

(Predelay
± 1 ms)

Delay: Changes the predelay time in

Size: Changes the predelay time in

Size

(Predelay
± 50 ms)

Regen Decay

(Fade
Time)

±

1 millisecond steps. The total amount of predelay is 1 second (1000 ms.)

±

50 millisecond steps.

Shape

(LFO
Shape)

Pitch

(LFO
Offset)

Speed

(LFO
Rate)

Width

(LFO
Width)

Special

(*see
below)

Regen (Not used.)

Decay: This parameter is used in Vocal class and s ets the amount of time it takes the ef f ec t to f ade in a nd out after

the Threshold level is crossed. A graph of this control’s action is on page 66.

Shape: Selects the LFO shape. Use the LFO Shapes table to match the

LFO Shapes

parameter’s value with an LFO wav ef orm. Also, see page 65 for graphs
of the various LFOs.

0 Exponential
1Sine
2 Triangle
3 Rec tif ied S ine
4 Inverted Rectified Sine

Pitch: Contr o ls the LFO ph as e d if f erenc e ( in 3 0° inc rements) between the two

outputs of an engine gr oup ( Outputs #1 and #2, or Outputs # 3 an d # 4).

5 Square
6Ramp
7 Inverted Ramp

A setting of 0° creates a normal chorus where both channels’ LFOs
start at 0° (low). Any setting other than 0° wil l of fs et the second c hann el’s LFO b y that
many degrees. (See the LFO Offset table.) Use this control to crea te uneven stereo
chorus effects.

Note: In Discrete 4 (mono) routing, this parameter is not available.

Speed: Sets the speed of the LFO between 0 and 10.5 cycles per second (Hz.)

Width: Sets the LFO modulation width, or amount, from 0% to 100%.

Special:In Vocal and Gated classes, Special sets the audio input level (Threshold) that

LFO Offset

°

10

°

230

°

360

°

490
5 120
6 150

°
°

7 180°
8 210
9 240
10 270
11 300
12 330

°
°
°
°
°

- 43 -

controls the gating action of the effect. This parameter can be set in 1-dB increments, from 1 to 30 dB
below full-scale. Norm ally, when the input signal is above the T hreshold setting, the chorus is m uted. With

signals below the T hreshold, the chorus is hear d. If the value in the Disp lay is preceded by an r (), this
gating action is reversed; signals above the Threshold setting are chorused and ones below are not.

Dynamic class uses the Quadr a/FX’s d ynamics sensing to trigger the LFO thr ough one c ycle of its sweep.
The Threshold range is the sam e as with the Vocal and G ated classes; it can be set in 1-dB increments,
from 1 to 30 dB below full-scale. When the input signal crosses above the set Threshold, the LFO is
triggered once through its cycle at the prese t LFO Spe ed a nd Width. The LFO is reset whe n th e i npu t s ig nal
falls below the Thresho ld level. Crossing the T hreshold again will trigger another LFO cycle. Norm ally, the
LFO starts at its low value, sweeps through its high range, and ends back at its low value. However, if an r
() precedes the Threshold setting, the LFO will s tar t at its h ig h val ue, sweep through its low ran ge and en d
on its high value. In the cas e of the chorus, low an d high LFO values correspond to negat ive and positive
pitch variances.

A Threshold setting of

When the Am b i e n t Chor us is select ed, the Sp ecial param eter sets the Difference Factor. This param eter
determines how much differ ence information (f rom a stereo m ix) is processed by the Ambient algorit hm.
The Difference Fac tor range is f rom 0 to 60. Norm ally, this par ameter shou ld be us ed at its highes t settin g
(60), to only process the differenc e material. At low setti ngs, the effect pr ocesses the full m ix (made up of
both difference and center inform ation). Low settings help to strengthen the eff ect on material that has a
weak, or mostly mono, image.

2))

is available to disengage all dynamics sensing.

- 44 -

FLANGER

FLANGER CLASSES:

Vocal

The Vocal Flanger is the traditiona l flanger eff ect with the addit ion of dynam ics sensing, which c an be used t o
fade the effect in and out when th e Threshold level is crossed. Threshold is s et with the Special par ameter
and Decay sets the effect’s fade times.

The Flanger sweeps harmonically spaced filter notches through a signal’s
spectrum. The Low Fr equency Osc illator (LFO) Speed determ ines the sw eep
rate and the LFO Sha pe determines the swee p pattern. Some of the flanger
classes have dynamics sensing, wh ich can use i nput lev el to s witc h the ef fec t
in and out or trigger the LFO. NOTE: The f langer effect is strongest when M ix
is set to 50.

Instrument

An Instrument Flang er recreates the sound of the “ classic” flanger, such as the MXR flangers from the late
70’s. Bandwidth an d LFO parameters are contr olled to produce the c haracteristic sound a nd control action.
For example, as LFO Speed is increased, Width is automatically adjusted within a musical range.

Concert

The Concert Flanger c reates a high- end, stu dio flanger . It’s the full-bl own ef fec t with exte nded b andwid th and
less linking between LFO Width and Speed.

Gated

The Gated Flanger is the
the effect in and out depending on the Threshold level. Threshold is set with the Special parameter.

Ambient

The Ambient Flanger is a “s patial” effec t that can fla nge th e
information is the part of a mix that does not occur equally in both of the stereo channels, often such as
guitars, backing voc als, and rev erb ta ils. Ins trum ents like lea d vocals, bass , and some drums are often m ix ed

Instrument

effect with the add iti on of d ynamics sensing, which can be us ed t o duc k

difference

information in a s tereo m ix. Differ ence

to the center, creating the
processes either the difference information or the full mix (consisting of both difference and common
information), depending on the
Preset #68 with your favor ite CDs an d then on your own ster eo track s or m ixes. Due to its stereo nat ure, this
class is not available in Discrete 4 routing.

common

information (c omm on between the left and right cha nnels) . This algorit hm

Difference Factor

setting (see the

- 45 -

Special

parameter below). Try Factory

Dynamic

A Dynamic Flanger will trigger the LFO t hrough one cycle of its sweep when the i nput signal cross es above
the programmed T hreshold leve l. When the i nput signa l crosses bac k, the LFO is reset and will trigger again
the next time the input signal crosses over the Threshold level. Threshold is set with the Special parameter.

FLANGER

Vocal 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100% Threshold

Instrument 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100%

Concert 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100%

Gated 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100% Threshold

Ambient 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100% Diff. factor

Dynamic 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100% Threshold

Delay

(Predelay
± 1 ms)

Delay: Changes the predelay time in

Size: Changes the predelay time in

Regen: Sets the amount of positive or negative feedback, from

Size

(Predelay
± 50 ms)

Regen

(Regen)

±

1 millisecond steps. The total amount of predelay is 1 second (1000 ms.)

±

50 millisecond steps.

Decay

(Fade
Time)

Shape

(LFO
Shape)

Pitch

(LFO
Offset)

-99 to +100.

Speed

(LFO
Speed)

Width

(LFO
Width)

Negative numbers correspond to

inverted feedback.

Decay: This parameter is used in Vo cal class and sets the amount of time it

takes the effect to fade in and out af ter the T hreshold lev el is cr ossed.

LFO Shapes

0 Exponential
1Sine

A graph of this control’s action is on page 66.

2 Triangle
3 Rec tif ied S ine
4 Inverted Rectified Sine

Shape: Selects the LFO shape. Use the LFO Shapes table to match the

parameter’s value with an LFO waveform. Also, see page 65 for

5 Square
6Ramp
7 Inverted Ramp

graphs of the various LFOs.

Special

(*see
below)

Pitch: Contr ols the LFO phase diff erence (in 30° increments) bet ween the two outputs of

LFO Offset

an engine group (Outputs #1 and #2, or O utputs #3 and #4). A setting of 0° creates

°

a normal flanger where both channels’ LFOs start at 0° (low). An y setting other than
0° will offset the second channel’s LFO b y that man y degrees. ( See the LFO Offset
table.) Use this control to create uneven stereo flanger effects.

Note: In Discrete 4 (mono) routing, this parameter is not available.

Speed: Sets the speed of the LFO between 0 and 10.5 cycles per second (Hz.)

Width: Sets the LFO modulation width, or amount, from 0% to 100%.

10

°

230

°

360

°

490
5 120
6 150
7 180
8 210
9 240
10 270
11 300
12 330

°
°
°
°
°
°
°
°

Special:In Vocal and Gated classes, Speci al sets the audio input level (Threshold) that contr ols t he gating action of

the effect. This parameter can be set in 1-dB i ncrements , from 1 to 30 dB below full-s cale. Norm ally, when

- 46 -

the input signal is above the Threshold setting, the flanger is muted. With signals below the Threshold,
flanging is heard. If the value in th e Display is pr eceded by an r (), this gating action is reversed; signals
above the Threshold setting are flanged and ones below are not.

Dynamic class uses the Quadr a/FX’s d ynamics sensing to trigger the LFO thr ough one c ycle of its sweep.
The Threshold range is the sam e as with the Vocal and G ated classes; it can be set in 1-dB increments,
from 1 to 30 dB below full-scale. When the input signal crosses above the set Threshold, the LFO is
triggered once through its cycle at the prese t LFO Spe ed a nd Width. The LFO is reset whe n th e i npu t s ig nal
falls below the Thresho ld level. Crossing the T hreshold again will trigger another LFO cycle. Norm ally, the
LFO starts at its low value, sweeps through its high range, and ends back at its low value. However, if an r

() precedes the Threshold setting, the LFO will s tar t at its h ig h val ue, sweep through its low ran ge and en d
on its high value. In the case of the f langer, lo w and h igh LFO val ues corres pond to lo w and high spectrum
variances.

A Threshold setting of

When the Ambie nt Flanger is select ed, the Special par ameter sets the Difference Factor. This param eter
determines how much differ ence information (f rom a stereo m ix) is processed by the Ambient algorit hm.
The Difference Fac tor range is f rom 0 to 60. Norm ally, this par ameter shou ld be us ed at its highes t settin g
(60), to only process the differenc e material. At low setti ngs, the effect pr ocesses the full m ix (made up of
both difference and center inform ation). Low settings help to strengthen the eff ect on material that has a
weak, or mostly mono, image.

2))

is available to disengage all dynamics sensing.

- 47 -

PHASER

NOTE: The phaser effect is strongest when Mix is set to 50.

PHASER CLASSES:

Vocal

The Vocal Phaser is a tr aditi onal 5-n otch p haser with the addit ion of d ynam ics s ensing, which can be used to
fade the effect in and out when th e Threshold level is crossed. Threshold is s et with the Special par ameter
and Decay sets the effect’s fade times.

The Phaser effect sweeps non-harmonically spaced notches through a
signal’s spectrum. The Low Frequency Oscillator (LFO) Speed determines
the sweep rate and the LFO Shape determines the s weep pattern. Som e of
the Phaser classes have dynamics sensing, which can use input level to
switch the effect in and out or trigger the LFO.

Instrument

An Instrument Phas er recreates the soun d of the “ c lass ic” 2- notch ph as er , l ik e the MX R
and LFO parameters are controlled to produce t he characteristic so und and control action. For example, as
LFO Speed is increased, Width is automatically adjusted within a musical range.

Concert

The Concert Phaser creates a 5-notch s tudio phaser, lik e the MXR
extended bandwidth and less link ing bet ween LF O Width and Speed.

Gated

The Gated Phaser is the 2-notch
used to duck the effect in and out depending on the Threshold level. Threshold is set with the Special
parameter.

Ambient

The Ambient Phaser is a “ spatial” ef fect that can phas e the
information is the part of a mix that does not occur equally in both of the stereo channels, often such as

Instrument

Phase 90

Phase 100

Phaser with the add ition of dynamics sensing, which c an be

difference

information in a s tereo m ix. Differenc e

. It’s the full-blown effect with

. Bandwidth

guitars, backing voc als, and rev erb ta ils. Ins trum ents lik e lea d voc als, bas s, a nd som e drum s are often m ixed
to the center, creating the
processes either the difference information or the full mix (consisting of both difference and common
information), depending on the
Preset #48 with your favor ite CDs an d then on your own ster eo track s or m ixes. Due to its stereo nat ure, this
class is not available in Discrete 4 routing.

common

information (c omm on between the left and right cha nnels) . This algorit hm

Difference Factor

- 48 -

setting (see the

Special

parameter below). Try Factory

Dynamic

A Dynamic Phaser has 5-notches and will trigger the LFO through one cycle of its sweep when t he input
signal crosses above the Threshold level. When the input signal crosses back, the LFO is reset and will
trigger again the nex t tim e the input sign al c rosses over t he Thr eshold l evel. T hreshold is set with t he Specia l
parameter.

PHASER

Vocal 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100% Threshold

Instrument 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100%

Concert 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100%

Gated 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100% Threshold

Ambient 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100% Diff. factor

Dynamic 0–1000ms 0–1000ms -99–[phone]–10.5Hz 0–100% Threshold

Delay

(Predelay
± 1 ms)

Delay: Changes the predelay time in

Size: Changes the predelay time in

Regen: Sets the amount of positive or negative feedback, from

Size

(Predelay
± 50 ms)

Regen

(Regen)

±

1 millisecond steps. The total amount of predelay is 1 second (1000 ms.)

±

50 millisecond steps.

Decay

(Fade
Time)

Shape

(LFO
Shape)

Pitch

(LFO
Offset)

-99 to +100.

Speed

(LFO
Speed)

Width

(LFO
Width)

Special

(*see
below)

Negative numbers correspond to

inverted feedback.

LFO Shapes

Decay: This parameter is used in Vocal class and sets the am ount of time it

takes the effect to f ade in and out af ter the Threshold level is crossed.

0 Exponential
1 Sine
2 Triangle

A graph of this control’s action is on page 66.

3 Rec tif ied Sine
4 Inverted Rectified Sine
5 Square

Shape: Selects the LFO shape. Use the LFO Shapes table to match the

parameter’s value with an LFO wav ef orm. Also, see page 65 for graphs

6Ramp
7 Inverted Ramp

of the various LFOs.

Pitch: Contr ols the LFO phase diff erence (in 30° increments) bet ween the two outputs of

an engine group (Outputs #1 and #2, or O utputs #3 and #4). A setting of 0° creates
a normal phaser where both channels’ LFOs start at 0° (low). An y setting other than
0° will offset the second channel’s LFO b y that man y degrees. ( See the LFO Offset
table.) Use this control to create uneven stereo phaser effects.

Note: In Discrete 4 (mono) routing, this parameter is not available.

Speed: Sets the speed of the LFO between 0 and 10.5 cycles per second (Hz.)

Width: Sets the LFO modulation width, or amount, from 0% to 100%.

- 49 -

LFO Offset

°

10

°

230

°

360

°

490
5 120
6 150
7 180
8 210
9 240
10 270
11 300
12 330

°
°
°
°
°
°
°
°

Special:In Vocal and Gated classes, Speci al sets the audio input level (Threshold) that contr ols t he gating action of

the effect. This parameter can be set in 1-dB i ncrements , from 1 to 30 dB below full-s cale. Norm ally, when
the input signal is above the Threshold setting, the phaser is muted. With signals below the Threshold,

phasing is heard. If the value in th e Display is pr eceded by an r (), this gating action is reversed; signals
above the Threshold setting are phased and ones below are not.

Dynamic class uses the Quadr a/FX’s d ynamics sensing to trigger the LFO thr ough one c ycle of its sweep.
The Threshold range is the sam e as with the Vocal and G ated classes; it can be set in 1-dB increments,
from 1 to 30 dB below full-scale. When the input signal crosses above the set Threshold, the LFO is
triggered once through its cycle at the prese t LFO Spe ed a nd Width. The LFO is reset whe n th e i nput s ig nal
falls below the Thresho ld level. Crossing the T hreshold again will trigger another LFO cycle. Norm ally, the
LFO starts at its low value, sweeps through its high range, and ends back at its low value. However, if an r
() precedes the Threshold setting, the LFO will s tar t at its h ig h val ue, sweep through its low ran ge and en d
on its high value. In the case of the p haser, lo w and high LFO val ues corres pond to lo w and high spectrum
variances.

A Threshold setting of

When the Am b i e n t Phas er is selected, the S pecial param eter sets the Difference Factor. This par ameter
determines how much dif ference information (from a stereo m ix) is processed by the Ambient al gorithm.
The Difference Fac tor range is f rom 0 to 60. Norm ally, this parameter should be used at its highest setting
(60), to only process the difference mater ial. At low settings, th e effect processes the full mix (made up of
both difference and center inform ation). Low settings help to strengthen the effect on material that has a
weak, or mostly mono, image.

2))

is also available to disengag e all dynamics sensing.

- 50 -

ROTARY

gives you control o ver spin up velocity, spin down veloci ty, volume mix between the rotating low and high
speakers, rotor speed offs et, and s tereo s pr e ad. Some classes also contain d ynamics sensing for level- base d
ducking and speed control.

ROTARY CLASSES:

Vocal

The Vocal Rotar y is a full-featured rotar y simulation that automatic ally switches between high a nd low spin
rates. This produces a rotary eff ec t that is al wa ys ch anging. The Vocal Rotar y wil l spi n up for the length of the

The Rotary effect simulates a 2-wa y rotating-speak er cabinet with a built in
crossover network. Rotating speakers are traditionally used with electric
organs, but contem porary uses include with guitars, vocals, drums, and just
about any sound that ne eds some added motion. Since this effect creates a
stereo simulation, it is not available in Discrete 4 routing. The rotary effect

Spin Up time and then immediatel y start spinning do wn. After the progr amm ed Spin Do wn tim e, the ef fec t will
repeat the process and again start spinning up. There is no need to m anually switch between low and high
settings; this class is always moving.

Instrument

The Instrument Rotar y sim ulates dual rot ating sp eak ers enc losed in a wood ca binet. I t has less “room” sound
and is more focused than the

Concert

The Concert Rotary is the full-featured rotary simulation. It has the widest image and spin.

Gated

The Gated Rotary is th e
duck the effec t in and out depending o n input level. T he Threshold level at which the effect is ducked is s et
with the Special parameter.

Ambient

Concert

Concert

class. Try this class with percussive material.

Rotary effect with the addition of dynamics sensing, which can be used to

The Ambient Rotary splits the eff ect into its low s peaker and hi gh horn c om ponents and the n sends each t o a
separate output. The low speaker is sent t o the lower-number ed output (Output #1 or Output #3, depending
on which engine you are using) and the high horn is sent to the higher- num bered outp ut (Outp ut # 2 or Ou tput
#4).

- 51 -

Dynamic

The Dynamic Rotar y uses the Quadra/FX’s dynamics sens ing to automaticall y switch between low and h igh
speeds. The Threshold level at which the speed changes is set with the Special parameter.

ROTARY

Vocal 0–20 0–20 0–20 0–24 0–10

Instrument 0–20 0–20 0–20 Lo/Hi 0–24 0–10

Concert 0–20 0–20 0–20 Lo/Hi 0–24 0–10

Gated 0–20 0–20 0–20 Lo/Hi 0–24 0–10 Threshold

Ambient 0–20 0–20 0–20 Lo/Hi 0–24 0–10

Dynamic 0–20 0–20 0–20 0–24 0–10 Threshold

Delay

(Spin Up
time)

Size Regen Decay

(Spin Down
time)

Shape

(Low/High
Mix)

Pitch

(Rotor
Speed)

Speed

(Speed
Adjust)

Width

(Stereo
Spread)

Special

(*see below)

ROTARY PARAMETERS:

Delay: Controls the amount of time it takes to go f r om a s lo w spin rate to a high sp in rate. The range of this control

is from 0 to 20 seconds.

Size: (Not used.)

Regen: (Not used.)

Decay: Controls the amount of time it tak es to go from a high spin rate to a s lo w s p in rate. The range of this control

is from 0 to 20 seconds.

Shape: Sets the volume mix between the rotatin g low speaker and rotating high hor n. The range of this c ontrol is

from 0 to 20, with 0 favoring the low speaker and 20 favoring the high horn.

Pitch: Is used in Instrument, Concert, Gated, and Ambient classes. This parameter determ ines which speed

(either high or low) you are currentl y listeni ng to.

Speed: Offsets the high and low rotor speeds. T he range of this c ontrol is fr om 0 to 24. T he norm al rotar y speed is

achieved when this s etting is at 12, bu t by turning it lo wer, the speed can be of fset to one-half the normal
rate. Similarly, when turned higher than 12, the rotary speed can go up to two times higher.

Width: Sets the stereo-wid th of the ef fect. The c ontrol’s range is from 0 to 10 . When set to 10, the outputs ar e full

stereo and as this control is decreased, the outputs become mono.

Special:In Gated class, Special sets th e audio input le vel (Threshol d) that controls the gating action of the eff ect.

This parameter c an be set in 1-dB increments , from 1 to 30 dB belo w full-sc ale. Norm ally, when the inpu t
signal is above the Threshold setting, the rotary effect is muted. With signals below the Threshold, the

rotary is heard. If the value in the Dis play is preceded by a n r (), this gating action is rever sed; signals
above the Threshold setting have the rotary effect and ones below do not.

- 52 -

Dynamic class uses the Quadra/FX ’s d ynamics sens ing to s witch bet ween low and high rot or speeds . The
Threshold range is the same as wit h the Gated class es; it can be se t in 1-dB increm ents, from 1 to 30 d B
below full-scale. The Dynam ic Rotary effect normall y runs at its low speed. W hen the input signal c rosses
above the Threshold l evel, the ef fect spins up t o its hi gh speed until the signal drops below th e Thres hold,
when it then spins back down to the low rate. If the T hreshol d sett ing is pr ece ded by a lo wer-c ase r (), the
operation is rever sed; the rotary norm ally runs high until the Threshold lev el is exceeded, at which tim e it
spins down to its low speed. W hen the input signal falls b elow the T hreshold leve l, the ef fect will sp in back
up to its high speed. T he amount of tim e it takes to s witch between s peeds is set with the De lay (spin u p
time) and Decay (spin down time) parameters.

A Threshold setting of

2))

is also available to disengag e all dynamics sensing.

- 53 -

TREMOLO

TREMOLO CLASSES:

Vocal

Vocal Tremolo is the tradition al tremolo effect with the addition of d ynamics sensing, which can b e used to
fade the effect in and out if the Thresho ld level is cross ed. Threshold is set with the Special parameter and
Decay sets the effect’s fade times.

Instrument

Tremolo is a volume effect that fades a signal’s level in and out. The Low
Frequency Oscillator (LFO) Spe ed determines the fade rat e and LFO Shape
determines the fade pattern. Some of the Panner classes have dynamics
sensing, which can use input level to s witch the effect in and out or trigger
the LFO.

Concert

Gated

Ambient

Instrument Trem olo recreates the sound of the classic guitar tremolo. As LFO Speed is increase d, Width is
automatically adjusted to emulate the musicality of classic analog circuitry.

The Concert Tremolo is full-featured with completely independent control over LFO Width and Speed.

The Gated Trem olo is the
duck the effect in and out depending on the Threshold level. Threshold is set with the Special parameter.

The Ambient Tremolo is a “spa tial” ef fect that can fades the
information is the part of a mix that does not occur equally in both of the stereo channels, often such as
guitars, backing voc als, and rev erb ta ils. Ins trum ents lik e lea d voc als, bas s, a nd som e drum s are often m ixed
to the center, creating the
processes either the difference information or the full mix (consisting of both difference and common
information), depending on the

Instrument

common

information (c omm on between the left and right cha nnels) . This algorit hm

Difference Factor

effect with the add ition of dynamics sensing, whic h can be used to

difference

setting (see the

information in a s tereo m ix. Diff erence

Special

parameter below). Try Factory

Dynamic

Preset #89 with your favor ite CDs an d then on your own ster eo track s or m ixes. Due to its stereo nat ure, this
class is not available in Discrete 4 routing.

A Dynamic Tremolo will trigger t he LFO through one cycle of its sweep when the input signal cros ses above
the programmed T hreshold leve l. When the i nput signa l crosses bac k, the LFO is reset and will trigger again
the next time the input signal crosses over the Threshold. Threshold is set with the Special parameter.

- 54 -

TREMOLO

Vocal 0–1000ms 0–1000ms 0–100 1–7 0–10.5Hz 0–100% Threshold

Instrument 0–1000ms 0–1000ms 1–7 0–10.5Hz 0–100%

Concert 0–1000ms 0–1000ms 1–7 0–10.5Hz 0–100%

Gated 0–1000ms 0–1000ms 1–7 0–10.5Hz 0–100% Threshold

Ambient 0–1000ms 0–1000ms 1–7 0–10.5Hz 0–100% Diff. Factor

Dynamic 0–1000ms 0–1000ms 1–7 0–10.5Hz 0–100% Threshold

Delay

(Predelay
± 1 ms)

Size

(Predelay
± 50 ms)

Regen Decay

(Fade
Time)

Shape

(LFO
Shape)

Pitch Speed

(LFO
Speed)

Width

(LFO
Width)

Special

(*see below)

Delay: Changes the predelay time in

Size: Changes the predelay time in

±

1 millisecond steps. The total amount of predelay is 1 second (1000 ms.)

±

50 millisecond steps.

Regen: (Not used.)

Decay: This parameter is used in Vocal class and s ets the amount of time it takes the ef f ec t to f ade in a nd out after

the Threshold level is crossed. A graph of this control’s action is on page 66.

Shape: Selects the LFO shap e. Us e the LFO Shapes tabl e to m atch the param eter’s value with an LFO wavef orm .

Also, see page 65 for graphs of the various LFOs.

LFO Shapes

Pitch: (Not used.)

1Sine
2 Triangle
3 Rec tif ied S ine

Speed: Sets the LFO speed between 0 and 10.5 cycles per second (Hz.)

4 Inverted Rectified Sine
5 Square
6Ramp

Width: Sets the LFO modulation width, or amount, from 0% to 100%.

7 Inverted Ramp

Special:In Vocal and Gated classes, Special sets the aud io input level (Threshold) t hat c o ntr ols the gating ac tion of

the effect. This parameter can be set in 1-dB i ncrements , from 1 to 30 dB below full-s cale. Norm ally, when
the input signal is above the Threshold sett ing, the trem olo is muted. W ith signals below the Thres hold, the

tremolo is heard. If the value in the Dis play is preced ed by an r (), this gating action is reversed ; signals
above the Threshold setting have the tremolo effect and ones below do not.

Dynamic class uses the Quadr a/FX’s d ynamics sensing to tr igger the LFO thr ough one c ycle of its sweep.
The Threshold range is the same as with the Vocal and Gated class es; it can be set in 1-dB inc rements,
from 1 to 30 dB below full-scale. When the input signal crosses above the set Threshold, the LFO is
triggered once through its cycle at the preset LFO Speed and Width. The LFO is reset when the input signal
falls below the T hreshold lev el. Crossing th e Threshold ag ain will trigger a nother LFO cycle. N ormally, the
LFO starts at its lo w value, s weeps thro ugh its h igh range, and ends back at its low value. However, if an r
() precedes the Threshold setting, the LFO will start at its high value, sweep through its low range and end

- 55 -

on its high value. In the case of tremolo, low and high LFO values correspond to low and high volume
levels.

A Threshold setting of

When the Ambient Tremolo is s elec t ed, t he Special parameter s ets the Difference Factor. This parameter
determines how much differ ence information (f rom a stereo m ix) is processed by the Ambient algorit hm.
The Difference Fac tor range is f rom 0 to 60. Norm ally, this par ameter shou ld be us ed at its highes t settin g
(60), to only process the differenc e material. At low setti ngs, the effect pr ocesses the full m ix (made up of
both difference and center inform ation). Low settings help to strengthen the eff ect on material that has a
weak, or mostly mono, image.

2))

is available to disengage all dynamics sensing.

- 56 -

PANNER

can use input level to switch the effect in and out or trigger the LFO.

PANNER CLASSES:

Vocal

The Vocal Panner is the traditi onal panning ef fect with the addition of d ynamics sensing, whic h can be used
to fade the effect in and out when the Threshold le vel is cr ossed. T hreshold is set with the Spec ial param eter
and Decay sets the effect’s fade times.

The Panner is a ster eo eff ect that alter nately ra ises and l owers the v olum e of
the left and right channels. The Low Frequency Oscillator (LFO) Speed
determines the rate of change and the LFO Shape determ ines the pattern of
volume change. Since this is a stereo effect, it is not avail able in Discrete 4
(mono) routing. Some of the Panner classes have dynamics sens ing, which

Instrument

An Instrument Panner recreates the sound of the “classic” panner. As LFO Speed is increased, Width is
automatically adjusted to emulate the musicality of classic analog circuitry.

Concert

The Concert Panner is full-featured with completely independent control over LFO Width and Speed.

Gated

The Gated Panner is t he
the effect in and out depending on the Threshold level. Threshold is set with the Special parameter.

Ambient

The Ambient Panner is a “spatial” effect that can pan the
information is the part of a mix that does not occur equally in both of the stereo channels, often such as
guitars, backing voc als, and rev erb ta ils. Ins trum ents lik e lea d voc als, bas s, a nd som e drum s are often m ixed
to the center, creating the
processes either the difference information or the full mix (consisting of both difference and common
information), depending on the

Instrument

common

Difference Factor

effect with the add it ion of dynamics s ens ing, wh ich can be used t o d uc k

difference

information (c omm on between the left and right cha nnels) . This algorit hm

setting (see the

information in a s tereo mix. Difference

Special

parameter below). Try Factory

Dynamic

Preset #84 with your favorite CDs and then on your own stereo tracks or mixes.

A Dynamic Panner will trigger t he LFO through one c ycle of its sweep when t he input signal cross es above
the programmed T hreshold leve l. When the i nput signa l crosses bac k, the LFO is reset and will trigger again
the next time the input signal crosses over the Threshold level. Threshold is set with the Special parameter.

- 57 -

PANNER

Vocal

Instrument

Concert

Gated

Ambient

Dynamic

Delay

(Predelay
± 1 ms)

0–1000ms 0–1000ms 0–100 1–7 1–11 0–10.5Hz 0–100% Threshold
0–1000ms 0–1000ms 1–7 1–11 0–10.5Hz 0–100%
0–1000ms 0–1000ms 1–7 1–11 0–10.5Hz 0–100%
0–1000ms 0–1000ms 1–7 1–11 0–10.5Hz 0–100% Threshold
0–1000ms 0–1000ms 1–7 0–10.5Hz 0–100% Diff. factor
0–1000ms 0–1000ms 1–7 1–11 0–10.5Hz 0–100% Threshold

Size

(Predelay
± 50 ms)

PANNER PARAMETERS:

Regen Decay

(Fade
Time)

Shape

(LFO
Shape)

Pitch

(LFO
Offset)

Speed

(LFO
Speed)

Width

(LFO
Width)

Special

(*see below)

Delay: Changes the predelay time in

Size: Changes the predelay time in

±

1 millisecond steps. The total amount of predelay is 1 second (1000 ms.)

±

50 millisecond steps.

Regen: (Not used.)

Decay: This parameter is used in Vocal class and sets the am ount of time it

takes the effect to f ade in and out af ter the Threshold level is crossed.
A graph of this control’s action is on page 66.

LFO Shapes

1Sine
2 Triangle
3 Rec tif ied S ine
4 Inverted Rectified Sine

Shape: Selects the LFO shape. Use the LFO Shapes table to match the

parameter’s value with an LFO wav ef orm. Also, see page 65 for graphs

5 Square
6Ramp
7 Inverted Ramp

of the various LFOs.

Pitch: Contr o ls the LFO ph as e d if f erenc e ( in 3 0° inc rements) between the two outputs of an

engine group (Outp uts #1 and #2, or Outputs #3 an d #4). A setting of 0° creates a
normal panner where on e channel’s LFO starts at 0° (low) and the other channel’s
LFO starts at 180° (hig h). Any setting other t han 0° will offset the second chann el’s
LFO by that man y degrees. (See the LFO Offset table.) Use this control t o create
uneven spin effects.

Note: An offset of 180° is not allowe d since that would turn the panning ef fect into a
tremolo effect, where one channel’s LFO would start at 0° (low) and the other
channel’s LFO, offset by 180°, would start at 360° (also equal to 0°, or low). Both
channels’ leve l would rise and fall at the sam e time. To obta in an offs et of 180°, us e

LFO Offset

°

10

°

230

°

360

°

490
5 120
6 150
7 210
8 240
9 270
10 300
11 330

°
°
°
°
°
°
°

the actual Tremolo effect (see page 54).

Speed: Sets the speed of the LFO between 0 and 10.5 cycles per second (Hz.)

- 58 -

Width: Sets the LFO modulation width, or amount, from 0% to 100%.

Special: In Vocal and Gated classes, Special sets the audio input level (Threshold) that contr ols t he gating action of

the effect. This parameter can be set in 1-dB i ncrements , from 1 to 30 dB below full-s cale. Norm ally, when
the input signal is above the Thresho ld setting, th e panner is m uted. W ith signals belo w the Threshol d, the
panner is heard. If the value in the Displa y is preceded by an r (), this gating ac tion is reversed; s ignals
above the Threshold setting are panned and ones below are not.

Dynamic class uses the Quadr a/FX’s d ynamics sensing to tr igger the LFO thr ough one c ycle of its sweep.
The Threshold range is the same as with the Vocal and Gated class es; it can be set in 1-dB inc rements,
from 1 to 30 dB below full-scale. When the input signal crosses above the set Threshold, the LFO is
triggered once through its cycle at the preset LFO Speed and Width. The LFO is reset when the input signal
falls below the T hreshold lev el. Crossing th e Threshold ag ain will trigger a nother LFO cycle. N ormally, the
LFO starts at its lo w value, s weeps thro ugh its h igh range, and ends back at its low value. However, if an r

() precedes the Threshold setting, the LFO will start at its high value, sweep through its low range and end
on its high value. In t he case of the p anner, low and high LFO valu es correspond to left and right pann ing
direction.

A Threshold setting of

When the Am b i e n t Pa nner is sel ected, the Special p arameter s ets the Difference Factor. This parameter
determines how much differ ence information (f rom a stereo m ix) is processed by the Ambient algorit hm.
The Difference Fac tor range is f rom 0 to 60. Norm ally, this par ameter shou ld be us ed at its highes t settin g
(60), to only process the differenc e material. At low setti ngs, the effect pr ocesses the full m ix (made up of
both difference and center inform ation). Low settings help to strengthen the effec t on material that has a
weak, or mostly mono, image.

2))

is available to disengage all dynamics sensing.

- 59 -

MIDI PARAMETERS

The Quadra/FX has three types of progr ammable MIDI parameters : channel, MIDI map, and continu ous controllers
(four per engine or engine group). Press the MIDI bu tton and then turn th e Encoder to access the MIDI param eters.
To edit the selected parameter ’s value, press the Encoder an d turn it . MIDI Contr oller Map pings have two associate d
values and will require a second Encoder press to access the second value. Again, turn the Encoder to change
values. To repeat t he MIDI param eter s election pr ocess, aga in press the Enc oder an d then turn it. You c an exit MIDI
mode at any time by pressing any button other than Power, Store, or Bypass.

MIDI

Channel Number ALL, 1–16 -24 (Channel)
MIDI Map OFF, 1–128 -18 (MIDI Map)

Controller #1) Parameter An y Effect parameter, Smart Encoder, Bypass -12 (Controller)

(

Controller #2) Parameter An y Effect parameter, Smart Encoder, Bypass -12 (Controller), -6

(

Controller #3) Parameter An y Effect parameter, Smart Encoder, Bypass -12 (Controller), -6, 0dB

(

Controller #4) Parameter An y Effect parameter, Smart Encoder, Bypass -12 (Controller), -6, 0dB, +6

(

Controller # 1–119, ON, OFF, At, Pb

Controller # 1–119, ON, OFF, At, Pb

Controller # 1–119, ON, OFF, At, Pb

Controller # 1–119, ON, OFF, At, Pb

Range: Smart Meter LEDs Flashing:

CHANNEL NUMBER

The MIDI channel number is the cha nnel t hat t he Quadr a/FX will r eceiv e and tr ans m it all MIDI d ata on. When
editing this parameter, the Channel LED in the Smart Meter will flash. The Quadra/FX’s MIDI channel is
global to the whole unit, regardless of which preset, routing, engine, or effect it is set from, and it is
automatically saved whenever changed.

The range of this contr ol is from 1 to 16, or
receive data on all 16 MIDI channels, but only send out data on channel 1.

MIDI MAP

Each preset contains a single MIDI map va lue tha t de term ines whic h MIDI program c hange num ber wil l reca ll
the preset. When editing this parameter, the MIDI Map LED in the Smart Meter will flash. Each preset has just
one MIDI mapping, but it can be set and updated from within any engine.

The range of this c ontrol is from to
the MIDI map by sending a MIDI program change message on the Quadra/FX’s MIDI channel. The
Quadra/FX will not i nternally ch ange p atches when this hap pens; it jus t sets th e MIDI Map valu e to the patch
change number that it receives.

6

, or

%%

, for Omni mode. If you select

2))

. While editing this valu e, you can also con veniently set

%%

, the Quadra/FX will

- 60 -

NOTE: An incoming program change m es sage can only be s e t to r eca l l on e Q ua dra/F X pres et. If t he program
change number you have set is already being used by another preset, th e Dis p lay will warn you by alternatin g
between the program change num ber and the other preset’s num ber. The other preset’s number wil l have its
right-most decimal point lit. If you choose to store the curre nt preset with an already-used pr ogram change

number, the Quadra/FX will replace the older preset’s MIDI map with a value of

CONTROLLERS 1–4

Each engine (or engin e group) c an have up to four MIDI contro llers as signed to c hange par ameter values . In
Discrete 4 routing, which has four engines, you can have up to 16 (4 engi nes x 4 control lers) MIDI controll er
mappings per preset. One, two, three, or four LEDs in th e Smart Meter will flash to repres ent wh ich of the four
controllers you are editing in the current engine, which is also illuminated. The four Controllers have two
parameters associated with them : Assigned Parameter and Con troller Number. Press the Encoder to toggle
between editing each of the two parameters and turn the Encoder to change each one’s value.

ASSIGNED PARAMETER
When you first press the Encoder after selecting one of the four controller mappings, turn the Encoder to
change the Assigned Parameter. Any of the effect’s parameters can be chosen, plus the effect’s Smart
Encoder function(s) (for reverb, delay, and rotary effects) and Engine Bypass (for all effects). For more
information on the Smart Encoder, see the tutorial starting on page 24. Turn the Encoder to select the
parameter that a received MIDI controller event will change; the selected parameter’s Parameter LED will

2))

.

flash. Two Parameter LEDs will flash (see the patterns below) if you have chosen a Smart Encoder functi on
for reverb, delay, or rotary effects:

REVERB DELAY DELAY ROTARY

MIDI Control of MIDI Control of MIDI Control of MIDI Control of

the Reverb Impulse: Tap Del ay Time Entry: Delay Repeat Hold: Rotary Speed Change:

If Engine Bypass was selected, the Mix, Regen, Decay, and Special LEDs will flash.

- 61 -

CONTROLLER NUMBER
Press the Encoder again to change the MIDI controller number that will modify the previously selected
Assigned Parameter. T he available MIDI co ntroller num bers are –

pitch),
movement on the Qu adra/FX’s MIDI channel will autom atically set the controller number. See page 67 for
more information on MIDI controllers.

While editing MIDI parameter s, you can always return to Preset m ode by pressing the MIDI button. Pre ssing
any of the other buttons will perform their usual functions. If you want to save all of yo ur changes to MIDI
(except for Channel–it never nee ds to b e saved) , pres s Store , sel ect a pr eset num ber to over write, and press
Store again to confirm the save . If you don’t save your MIDI ch anges, you will still hear them , but the y will be
lost as soon as you change presets.

.

(aftertouch), and

,-

(pitch bend). While editing at this location, any external MIDI controller

, 2

(note on pitch),

2))

(note off

- 62 -

REFERENCE:
Quadra/FX Factory Preset List

# Name Routing In/Out 1 In/Out 2 In/Out 3 In/Out 4

Big Stereo Reverb

1

Tight Stereo Reverb

2

Gated Stereo Reverb

3

Sideways Reverb

4

Space

5

Reverb FX 1

6

Nonlinear Delay 1

7

Rotary

8

Tense Rotary

9

Bass Phaser

10

Phaser 1

11

Phaser 2

12

Water Guitar

13

Flanger 1

14

Flanged Tails

15

Barber Pole Flanger

16

Chorus 1

17

Chorus 2

18

Slight Vibrato

19

Ducking Delay

20

Reverb FX 2

21

Reverb FX 3

22

MONDO Verb

23

Voice Over #1

24

Voice Over #2

25

Gated Reverb 1

26

Gated Reverb 2

27

Reverse

28

Four Reverbs

29

Low Rotary

30

High Rotary

31

Dynamic Rotary

32

Gated Rotary

33

Room Rotaries

34

Subtle Spins

35

Split Rotary

36

Much Motion

37

Rotary Tails

38

Mellow Rotor

39

2X Phaser

40

MXR Phase 90

41

MXR Phase 100

42

Mellow Hall

43

Light & Wide

44

Water Guitar 2

45

Phased Tails

46

Almost Stuck P.

47

Boston (L-R) Phaser

48

Four Phasers

49

→

Rvb

Stereo Concert Hall
Stereo Instrument Plate
Stereo Gated Plate

Discrete 4 Reverb 1 L Reverb 1 R Reverb 2 L Reverb 2 R

Cascade Reverb → Reverb
Cascade Reverb → Flanger

Discrete 4 Delay 1 L Delay 1 R Delay 2 L Dela y 2 R

Cascade Rotary → Reverb
Cascade Vocal Pitch → Vocal Rotary
Cascade Phaser → Phaser

Twin Stereo Fast Stereo Phaser Slow Stereo Phaser

Cascade Phaser → Reverb
Cascade Phaser → Reverb
Cascade Flanger → Reverb

Cascade Reverb → Flanger
Cascade Reverb → Vocal Pitch

Twin Stereo Slow Chorus Fast Chorus

Cascade Chorus → Reverb
Cascade Chorus → Reverb

/// REVERB ///
Cascade Ducking Stereo Delay → Rvb
Cascade Stereo Rvb → Stereo Rvb
Cascade Phaser → Reverb
Cascade Reverb → Reverb
Cascade Reverb → Reverb

Stereo Plate Reverb
Stereo Gated Class
Stereo Reverb + Noise Gate

Cascade Non-linear Delay → Reverb

Discrete 4 Reverb 1 Reverb 2 Reverb 3 Reverb 4

/// ROTARY ///
Cascade Rotary → Reverb
Cascade Rotary → Reverb
Cascade Rotary → Reverb
Cascade Rotary → Reverb

Twin Stereo Fast Rotary Slow Rotary

Cascade Rotary → Reverb
Cascade Rotary → Reverb
Cascade Reverb → Rotary
Cascade Reverb
Cascade Rotary → Reverb

Cascade Phaser → Phaser

Stereo Instrument Phaser
Stereo Concert Phaser

Cascade Phaser → Hall Reverb

Discrete 4 Phaser 1 L Phaser 1 R Phaser 2 L Phaser 2 R

Cascade Phaser → Reverb
Cascade Reverb → Phaser
Cascade Phaser → Phaser

Twin Stereo Ambient Phaser Ambient Flanger

Discrete 4 Phaser 1 Phaser 2 Phaser 3 Phaser 4

→

Rotary

/// PHASER ///

- 63 -

2X Chorus

50

MXR "Yellow"

51

Jazzy Chorus

52

Danish Chorus

53

Warm Space

54

Chorus Spread

55

Chorus Tails

56

Big Chorus + Reverb

57

Boston (L-R) Chorus

58

Four Choruses

59

2X Flanger

60

MXR Flanger

61

MXR Flange 2

62

Danish Flange

63

Hybrid 1

64

Hybrid 2

65

Light Flange

66

Almost Stuck F.

67

Boston (L-R) Flanger

68

Four Flangers

69

Stereo Ping-Pong

70

Filtered Regen 1

71

Filtered Regen 2

72

Nonlinear Delay 2

73

Percussion Surround1

74

Miked Amp Cabinet

75

Concert Miking

76

Percussion Surround2

77

A & E Ringers

78

Four Delays

79

Slow Panner

80

Crazy

81

Panned Tails

82

Vocal Eliminator (L-R)

83

Boston (L-R) Panner

84

Slow Tremolo

85

Tremolo

86

Wasteland

87

2:1 Tremolo

88

Boston (L-R) Tremolo

89

Barber Pole Flange

90

Double Tracker

91

Arpeggio

92

AC/DC

93

Quad FX 1

94

Quad FX 2

95

Quad FX 3

96

Quad FX 4

97

Ripples

98

Nose Hall

99

Dynamic WaKa

100

/// Chorus ///

Cascade Chorus → Chorus

Stereo Vocal Chorus
Stereo Instrument Chorus
Stereo Concert Chorus

Cascade Chorus → Reverb

Discrete 4 Chorus 1 L Chorus 1 L Chorus 2 L Chorus 2 L

Cascade Reverb → Chorus
Cascade Chorus → Reverb

Twin Stereo Ambient Chorus Ambient Phaser

Discrete 4 Chorus 1 Chorus 2 Chorus 3 Chorus 4

/// Flanger ///

Cascade Flanger → Flanger

Stereo Instrument Flanger
Stereo Concert Flanger
Stereo Concert Flanger

Cascade Flanger → Phaser
Cascade Flanger → Phaser

Twin Stereo Slow Flanger Medium Flanger

Cascade Flanger → Flanger

Twin Stereo Ambient Flanger Ambient Chorus

Discrete 4 Flanger 1 Flanger 2 Flanger 3 Flanger 4

/// Delay ///

Stereo Stereo Delay
Cascade Delay
Cascade Delay

→
→

Delay
Delay

Discrete 4 Delay 1 L Delay 1 R Delay 2 L Delay 2 R

Cascade Ambient Delay → Reverb

Stereo Ambient Delay

Stereo Ambient Delay
Cascade Ambient Delay → Reverb

Discrete 4 Delay 1 L Delay 1 R Delay 1 L Delay 1 R
Discrete 4 Delay 1 Delay 2 Delay 3 Delay 4

/// Panner ///
Cascade Panner → Reverb
Cascade Pitch → Panner
Cascade Reverb → Panner

Twin Stereo Ambient Panner Ambient Panner
Twin Stereo Ambient Panner Ambient Tremolo

/// Tremolo ///
Cascade Chorus → Tremolo
Cascade Chorus → Tremolo
Cascade Tremolo → Reverb

Discrete 4 Tremolo L Tremolo R Pitc h L Pitch R

Twin Stereo Ambient Tremolo Ambient Panner

/// Pitch ///

Twin Stereo Vocal Pitch Vocal Pitch

Cascade Vocal Pitch → Reverb

Discrete 4 Pitch L Pitch R Tremolo L Tremolo R

Twin Stereo Whammit! Dynamic Pitch

/// Combinations/Misc. ///
Discrete 4 Reverb Delay 1 Delay 2 Flanger
Discrete 4 Reverb 1 Reverb 2 Phaser Flanger
Discrete 4 Chorus Flanger Phaser Pitch
Discrete 4 Delay 1 Dela y 2 Delay 3 Reverb

Cascade Pitch → Pitch
Cascade Phaser → Reverb
Cascade D yn Phaser → Dyn Phaser

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LFO Shapes (two cycles each)

EXPONENTIAL (SHAPE = 0)

These graphs are of the available LFO shapes for Chorus, Flanger,
Phaser, Tremolo, and Panner effects. The large c hoice of wavef orms
will allow you to se lect the best possible shape for mos t applications.
Some may sound bizarre while others sound natural.

If the LFOs are used f or tim e m odulatio n ef fect s ( Chorus, Flan ger, and

The Exponential waveform is not available

on Tremolo and Panner effects.

Phaser), the vertic al scale s hows sh ort to lo ng dela y time m oving f rom
bottom to top. W hen used for amplitude modulation effects (Tremolo

SINE (SHAPE = 1)

TRIANGLE (SHAPE = 2)

RECTIFIED SINE (SHAPE = 3)

and Panner), the vertical scale shows low to high audio level while
moving in the same direction.

When you compare th e each wavef orm's eff ect on sound, list en to t he
transitions in the top and bottom areas. This is where the differenc es
are most audible. Some of the waveforms will seem to slow as the
limits are reached, others will seem to rip right through the transition.

Unfortunately, the visual representations of the waveforms don't
always correspond to the expected sound. For example, when the
Exponential waveform is used with a Flanger, the effect sounds
smooth and equal, even though its shape looks lopsided (it moves
slowly towards the bottom and quickly towards the top). This
phenomenon occurs because frequenc y changes at a logarithm ic rate
(the number of frequencies double for each higher octave). The
Exponential wavef orm moves quick er at the high part of its sha pe and
therefore can sweep throu gh the distantly spaced h igh frequencies at
what is perceived as a stead y rate. The Expon ential wavefor m, by the
way, would look linear (straight) if it were plotted on a logarithmic
(frequency) scale.

If the preceding paragraph s ounded confusing, don’t worry–it just had
to be mentioned. The best way to understand the effects of the
different LFO shapes is to try each one with each effect and not e the
difference in sound. You will probably find some interesting (and
unexpected) results.

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INVERTED RECTIFIED SINE

RAMP

(SHAPE = 4)

SQUARE (SHAPE = 5)

(SHAPE = 6)

INVERTED RAMP (SHAPE = 7)

The Decay Control

In the Vocal class of Delay, Chorus, Flanger, Phaser, Tremolo, and Panner effects, this control sets the amount of
time it takes the effect to fade in and out after the Threshold setting is crossed. Threshold is set with the Special
parameter. This control has been optimized for most musical applications.

10

1

0.1

0.01

Time in Seconds

0.001
0 102030405060708090100

Fade In Time
Fade Out Time

DECAY Parameter's Value

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MIDI Controllers and Numbers

Here’s a list of MIDI Controllers and their numbers, which will help you avoid conflicts if you control the
Quadra/FX and other MIDI gear in the same setup. T he Quadra/FX displays contr oller numbers as normal,
decimal numbers. The f ollowing table lists hex adecimal num bers, their equivalent decimal num bers, and the
common uses for these controller numbers in MIDI. The Quadra/FX’s default controller parameters are
intended to work with t he default values of A R T ’s foot contr oller, the X-15 . No changes to either unit should
be necessary. Connec t a MIDI cable from the X -15’s MIDI O ut to th e Quadra/F X’s MIDI In, a nd you’re read y
to go.

Decimal Hexadecimal Controller Description

0 00 Reserved for Bank Select
1 01 Mod Wheel
2 02 Breath Controller
3 03 Undefined
4 04 Foot Controller
5 05 Portamento Time
6 06 Data Entry (MSB)
7 07 Main Volume
8 08 Balance
9 09 Undefined
10 0A Pan
11 0B Expr es sion Controller
12–15 0C–0F Undefined
16–19 10–13 General Purpose Controllers (#1–4)
20–31 14–1F Undefined
32 20 Reserved for Bank Select
33–63 21–3F LSB For Values 0–31
64 40 Damper Pedal (Sustain)
65 41 Portamento
66 42 Sostenuto
67 43 Soft Pedal
68 44 Undefined
69 45 Hold 2
70–79 46–4F Undefined
80–83 50–53 General Purpose Controllers (#5–8)
84–90 54–5A Undefined
91 5B External Effects Depth
92 5C Tremolo Depth
93 5D Chorus Depth
94 5E Celeste (Detune) Depth
95 5F Phaser Depth
96 60 Data Increment
97 61 Data Decrement
98 62 Non-Registered Parameter Number LSB
99 63 Non-Registered Parameter Number MSB
100 64 Registered Parameter Number LSB
101 65 Registered Parameter Number MSB
102–120 66–78 Undefined

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MIDI IMPLEMENTATION IN THE QUADRA/FX

Channel Voice Messages

The Quadra/FX ignores all Channel Voice messages ex cept Control Change and Program Change. When
either of these are rec eived, the Quadra/FX acts on th e Control Voice mess age when the channel number
matches. If Omni On mode is set (the Quadra/FX MIDI Channel =
incoming MIDI channels.

Program Change

Presets can be selected with a Program Change message. The default is a one-to-one mapping of the
Program Change’s request n umber to the Quadra/FX’s preset num ber, although t his ma y be changed by the
user (see page 60).

Channel Mode Messages

The Quadra/FX acts on Om ni O n a nd Omni Off messages onl y when t he c h ann el number matches that of the
Quadra/FX.

System Exclusive (SysEx) Messages

The Quadra/FX implements a variety of functions using SysEx messages. Documentation on these messages
is available by requesting the
All SysEx messages share a common format:

Quadra/FX MIDI Implementation Guide

%%

), the Quadra/FX will act on all

from A R T.

Byte Nu mber Value (in hex) Description

1 F0 Start of SysEx message.
2 1A A R T manufacturer’s ID.
3 0x MIDI channel (00 to 0F).
4 21 Quadra/FX product ID.
5 ?? Function ID.
... ?? (data, zero or more bytes)
(last) F7 End of SysEx message.

The Function ID takes one of the follo win g v al ues an d is f ol lo wed b y zero or more bytes of data, as implied by
the function.

Function ID Function Class Direction Description

41 Unit Handshake to Unit Ask Quadra/F X to respond. This m ay be use d to test if a

Quadra/FX is present and listen ing on the MIDI net wor k .
01 from Unit Handshake response from Quadra/FX.
4B Parameter

Exchange
0b to Unit Upload a past preset dump from the Quadra/FX.
0b from Unit “Dump Presets” response from Quadra/FX.
4D Unit Status to Unit Ask Quadra/FX to report system status.
0D from Unit System status response from Quadra/FX.

to Unit Ask Quadra/FX to dump presets.

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The SysEx message to make the Quadra/FX dump all presets is:
F0 1A 0x 21 4B F7

Other MIDI Notes

The Quadra/FX ignores inbound Active Sensing messages.
The Quadra/FX does not generate Active Sensing messages.
The System Reset message is ignored.

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WARRANTY INFORMATION

Limited Warranty

Applied Research and Techno logy, Inc. will provide warrant y and Service for th is unit in accor dance with the
following warrants:

Applied Research and Techno logy, Inc. (A R T) warrants to the original purch aser that this product and th e
components thereof will be free f rom defec ts in work m anship and m ateria ls f or a peri od of five years f rom the
date of purchase. Applied Research and T echnolog y, Inc. will, without charge, repair or replace, at its option,
defective product or component parts upon prepaid deliver y to the factory service de partment or authorized
service center, accompanied by proof of purchase date in the form of a valid sales receipt.

Exclusions:

This warranty does not apply in the event of misuse or abuse of the product or as a res ult of unauthorized
alterations or repairs. This warranty is void if the serial number is altered, defaced, or removed.

A R T reserves the rig ht to mak e changes in des ign or mak e additions to or improvem ents upon this product
without any obligation to install the same on products previously manufactured.

A R T shall not be liable f or any consequ ential damages , including with out limitation damages result ing from
loss of use. Some states do not allow limitations of incidental or consequential damages, so the above
limitation or exclusio n may not apply to you. This warrant y gives you specific rights and you may have other
rights which vary from state to state.

For units purchased outside the United States, an authorized distributor of Applied Research and Technology,
Inc will provide service.

SERVICE

The following information is provided in the unlikely event that your unit requires service.

1) Be sure that the unit is the cause of the problem. Check to make sure the unit h as power supplied, all
cables are connected correctly, and the cables themselves are in working condition.

2) If you find the unit to b e at f au lt, wr ite d o w n a complete description of the pr ob lem, including how and when
the problem occurs. Please write down a description of your complete setup before calling Customer Service.

3) Call the factory for a Return Authorization (RA) number.

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4) Pack the unit in its or iginal carton or a reas onable substitute. The pac king box is not recom mended as a
shipping carton. Put the packaged unit in another box f or s hi ppi ng. Pri nt th e RA number clearly on the outs i de
of the shipping box. Print your return shipping address on the outside of the box.

5) Include with your unit: a return shi pping address ( we cannot ship to a P.O. Box), a co py of your purchas e
receipt, a daytime phone number, and a description of the problem.

6) Ship only your unit and its power cord (keep your manual!) to:

APPLIED RESEARCH AND TECHNOLOGY, INC.

215 TREMONT STREET
ROCHESTER, NEW YORK 14608
ATTN: REPAIR DEPARTMENT
RA# _________________ ___

7) Contact our Customer Service department at [phone] for your Return Authorization number or
questions regarding t ec hn ical as s istanc e or repa ir s . Customer Service hours are 9 : 00 A M to 5:30 PM Eastern
Time, Monday through Friday.

- 71 -

Quadra/FX Specifications:

A/D converters: 20 bit, 64 times oversampled, delta sigma, X4
D/A converters: 20 bit, 128 times oversampled, delta sigma, X4
Sample Rate: 46.875 kHz
Bandwidth: 10 Hz – 20 kHz +0, -2 dB
Dynamic Range: >93dB
Total Harmonic Distortion: < .01% @ 1kHz
Audio In/Out: ¼” unbalanced, +4 / -10 dB switchable levels,

Maximum Delay Time: 5.5 seconds (2.75 seconds X2, in Stereo)
Cascade
DSP: ALU processing 24 MIPS min., 36MIPS avg., and 48MIPS peak

>50k ohms input impedance, <750 ohms output impedance

Up to 1.3 seconds per channel in Discrete 4, Twin Stereo, and

24 bit X 24 bit Multiplier
56 bit internal accumulator
Proprietary Dynamic Engine Allocation (DEA™) software
maximizes DSP algorithms in all routings.

Effect Routing Combinations: 10,000 in Discrete 4 routing mode

144 in Twin Stereo mode
144 in Cascade mode
12 in Stereo mode

10,300 Total

Effects Algorithms:
Stereo, Twin Stereo, Cascade modes: 24 reverb, 6 delay, 6 pitch transpose, 6 chorus,

6 flanger, 6 phaser, 6 rotary, 6 tremolo, and 6 panner.
(72 Total)

Discrete 4 mode: 24 reverb, 6 delay, 5 pitch transpose, 5 chorus,

5 flanger, 5 phaser, 5 tremolo
(60 Total)

MIDI: MIDI In and Out, full parameter control,

Up to 16 controllers per preset

Other features: Audio, front-panel encoder switch, and MIDI can be used to:

Trigger sweeps, repeat hold and tap in delay times, spin the rotary
up and down, gate and fade effects, and gate and dynamically
regenerate reverbs

A reverb click is also available via the front panel encoder switch
Display: 3-digit numeric plus a 44 LED multifunction display system
Power requirements: 9 Volts AC @ 450 milliamps, external supply

Designed and manufactured in the United States of America.

- 72 -

A R T maintains a po licy of constant product im provement. A R T r eserves the right to make changes in design or
make additions to or im provements upon this product witho ut a n y ob lig ati on to ins ta ll t he s ame on products previousl y
manufactured. Therefore, specifications are subject to change without notice.

Applied Research & Technology, Inc.

215 Tremont Street
Rochester, NY 14608 USA

[phone]
[phone] (FAX)

This manual was written by David Sha w for Shaw Musical Services, Greeley, Colorado.

© 1998 Applied Research & Technology.

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