DigiTech STUDIO 400 User Manual

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Studio 400

4 IN-4 OUT

Professional Studio

Effects Processor

A Harman International Company

S-DISC

™

PROCESSING

Owner's Manual

1:Rvb 2:GtRv 3:Dly 4:Cho

IMPORTANT!

FOR YOUR PROTECTION, PLEASE READ THE FOLLOWING:

WATER AND MOISTURE: Appliance should not be used near water (e.g. near a

bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, etc). Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

POWER SOURCES: The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance.

GROUNDING OR POLARIZATION: Precautions should be taken so that the grounding or polarization means of an appliance is not defeated.

POWER CORD PROTECTION: Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance.

SERVICING: The user should not attempt to service the appliance beyond that described in the operating instructions. All other servicing should be referred to qualified service personnel.

FUSING: If your unit is equipped with a fuse receptacle, replace with only same type fuse. Refer to replacement text on the unit for correct fuse type.

U.K. MAINS PLUG WARNING

A moulded mains plug that has been cut off from the cord is unsafe. Discard the mains plug at a suitable disposal facility. NEVER UNDER ANY CIRCUM-

STANCES SHOULD YOU INSERT A DAMAGED OR CUT MAINS PLUG INTO A 13 AMP POWER SOCKET. Do not use the mains plug without the fuse cover

in place. Replacement fuse covers can be obtained from your local retailer. Replacement fuses are 13 amps and MUST be ASTA approved to BS1362.

The symbols shown at left are internationally accepted symbols that warn of potential hazards with electrical products. The lightning flash with arrowpoint in an equilateral triangle means that there are dangerous voltages present within the unit. The exclamation point in an equilateral triangle indicates that it is necessary for the user to refer to the owner’s manual.

These symbols warn that there are no user serviceable parts inside the unit. Do not open the unit. Do not attempt to service the unit yourself. Refer all servicing to qualified personnel. Opening the chassis for any reason will void the manufacturer’s warranty. Do not get the unit wet. If liquid is spilled on the unit, shut it off immediately and take it to a dealer for service. Disconnect the unit during storms to prevent damage.

CAUTION

ATTENTION: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

LITHIUM BATTERY WARNING

CAUTION!

This product contains a lithium battery. There is danger of explosion if the battery is incorrectly replaced. Replace only with an Eveready CR 2032 or equivalent. Make sure the battery is installed with the correct polarity. Discard used batteries according to manufacturer’s instructions.

ADVARSEL!

Lithiumbatteri - Eksplosjonsfare. Ved utskifting benyttes kun batteri som anbefalt av apparatfabrikanten. Brukt batteri returneres apparatleverandøren.

ADVARSEL!

Lithiumbatteri - Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri av samme fabrikat og type. Levér det brugte batteri tilbage til leverandøren.

VAROITUS!

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

VARNING!

Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruktion.

DECLARATION OF CONFORMITY

Manufacturer’s Name: Harman Music Group Incorporated Manufacturer’s Address: 8760 S. Sandy Parkway

Sandy, Utah 84070, USA

declares that the product:

Product Name: Studio 400 Product Options: All

conform to the following Product Specifications:

Safety: EN 60065 (1993)

IEC 65 (1985) with Amendments 1, 2 & 3

EMC: EN 55013 (1990)

EN 55020 (1991)

Supplementary Information:

The product herewith complies with the requirements of the Low Voltage Directive

73/23/EEC and EMC Directive 89/336/EEC as amended by Directive 93/68/EEC.

Digitech Elctronics President of Digitech 8760 S. Sandy Parkway Sandy, Utah 84070, USA

Effective October 1, 1996 European Contact: Your Local DigiTech Sales and Service Office or International Sales Office

3 Overlook Drive #4 Amherst, New Hampshire 03031, USA Tel (603) 672-4244 Fax (603) 672-4246

Section 1 - Setting Up

Studio 400 Owner's Manual

Table Of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

SECTION 1 - SETTING UP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Unpacking the Studio 400 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Suppling Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Front Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Rear Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Making Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

A Word About Bypass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

SECTION 2 - BASIC FUNCTIONS OF THE STUDIO 400

Getting Around the Operating System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Program Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

FX Edit Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Selecting FX Types and Defaults. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Modifying FX Module Parameters Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Input/Output Configurations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Using Modifiers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Linking a Parameter to a Modifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Setting up an LFO or Dynamic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Comparing Programs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Storing Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

SECTION 3 - EFFECTS AND PARAMETERS

About Modules and the Effect Charts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

About the Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Reverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Chorus and Flange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Phasers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Tremolos, Auto Panners and Rotary Speaker Simluator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Detuners and Pitch Shifters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Delays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

EQs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Noise Gate and Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Multi Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

SECTION 4-IN LEVELS AND UTILITIES

Auto/Manual Input Leveling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Adjusting the Screen Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

MIDI Channel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Program Map. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

System Exclusive device channel / MIDI Merge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Program Dump. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

System Exclusive Bulk Dump. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

System Dump. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Program Autoload . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Factory Reset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Harmony Tuning Reference. . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

SECTION 5- APPENDIX

MIDI Implementation Chart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Effects and Defaults List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Effect Configuration Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Factory Program List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Studio 400 Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Harmony Interval Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

User Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Section 1 - Setting Up

Studio 400 Owner's Manual

INTRODUCTION

Congratulations, and thank you for your purchase of the DigiTech Studio 400. The Studio 400 gives you four completely independent inputs and outputs driven by proven Dual S-

DISC™ technology. The results are obvious: sparkling clean sound and endless combinations of effects and signal path routings. Features include:

• Balanced 1/4” and XLR Inputs and Outputs

• Dual S-Discs

• Optional Digital I/O Interface

• 8 Effects at once

• 24 bit data path

• 191(Factory) 100(User) Programs

• Effects include: Reverbs, Choruses, Flangers, Auto-Panners, Tremolo, Intelligent Pitch Shifting, Delays (Analog and Digital), Rotary Speaker Simulator, Compressor, and Noise Gate.

WARRANTY

1. The warranty registration card must be mailed within ten days after purchase date to validate the warranty.

2. DigiTech warrants this product, when used solely within the U.S., to be free from defects in materials and workmanship under normal use and service.

3. DigiTech liability under this warranty is limited to repairing or replacing defective materials that show evidence of defect, provided the product is returned to DigiTech WITH RETURN AUTHORIZATION, where all parts and labor will be covered up to a period of one year. A Return Authorization number may be obtained from DigiTech by telephone. The company shall not be liable for any consequential damage as a result of the product’s use in any circuit or assembly.

4. Proof-of-purchase is considered to be the burden of the consumer.

5. DigiTech reserves the right to make changes in design, and make additions or improvements to this product without incurring any obligation to install the same on products previously manufactured.

6. The foregoing is in lieu of all other warranties, expressed or implied, and DigiTech neither assumes nor authorizes any person to assume any obligation or liability in connection with the sale of this product. In no event shall DigiTech or its dealers be liable for special or consequential damages, or from any delay in the performance of this warranty due to causes beyond their control.

DigiTech™, Studio 400™, and S-DISC™ are registered trademarks of DOD Electronics Corporation.

IMPORTANT! The information contained in this manual is subject to change at any time without notification.

Some information in this manual may also be inaccurate due to undocumented changes in the product or operating system since this version of the manual was completed. The information contained in this version of the manual supersedes all previous versions.

Section 1 - Setting Up

Studio 400 Owner's Manual

SECTION 1 - SETTING UP

UNPACKING THE STUDIO 400

Your Studio 400 was carefully assembled and packaged at the factory. Before you proceed any further, make sure the following items are included:

• (1) Owner's manual

• (1) DigiTech Studio 400 Studio Effects Processor

• (1) Power cord

• (4) Rack screws

• (1) DigiTech warranty card

Please save all packaging materials. They were designed to protect the unit from damage during shipping. In the unlikely event that the unit requires service, use only the factory supplied carton to return the unit.

SUPPLYING POWER

The Studio 400, like any piece of computer hardware, is sensitive to voltage drops, spikes and surges. Interference such as lightning or power "brownouts" can seriously, and in extreme cases, permanently damage the circuitry inside the unit. Always be sure to connect your Studio 400 to well grounded AC outlets. You may wish to use a Spike/Surge Suppressor or AC LIne Conditioner to further protect your investment.

FRONT PANEL CONTROLS

The layout of the Studio 400's front panel is simple and straightforward. Figure 1-1 shows the various parts of the Studio 400.

Figure 1-1 Front Panel

1) DISPLAY - The Studio 400's large custom display is where you get most of the information you need to

move around the operating system. The display has several important sections that you need to understand when you use the Studio 400. They are:

1a) Program Number Indicator - These three large digits in the upper left corner of the display indi-

cate which Program is currently selected.

1b) Factory / User Indicators - Directly below the Program number are the Factory and User Program

indicators. These indicators also include a CHANGED icon to tell you whether the Program has been modified but not stored in memory. Factory Programs can be modified but must be stored in a User Program location since Factory Programs cannot be overwritten.

1c) Page Indicators - The bottom left corner of the display is occupied by the Page indicators. They

display the number of Pages available and the Page which is currently selected. These icons only appear in the FX Edit and Utilities modes.

*(24)5x8PixelCharacters*

IN 4

IN 3

IN 2

IN 1

%kHz mSec

FACTORY PRG MODIFIED

MIDI

CHANGED

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP CLIP CLIP CLIP

USER PRG MODIFIED

FX EDIT PAGE

12345678910

188

••8

%kHz mSec

CHANGED

%kHz mSec

CHANGED

%kHz mSec

CHANGED

UTILITY PAGE

MODIFIERS

••8 ••8 ••8

2 3 4

S-DISC

™

PROCESSING

1c 1b 1a 1d 1e 2

579 11

8631g1f

Section 1 - Setting Up

Studio 400 Owner's Manual

1d) Information Line - This row of 24 characters (top line of the display) is the Information line. It

gives more detailed information about specific functions and items, and contains things like Program names, Parameter names, and Utility or auxiliary information.

1e) Parameter Data Sections - There are four Parameter Data sections in the display. They are imme-

diately below the Information line, and correspond with the <1> through <4> buttons on the front panel. Each section displays the current value of the indicated Parameter. Each section also has an arrow that shows which Parameter in the display is selected.

A CC indicator in each group tells whether the indicated Parameter is set up to be continuously controlled ( "continuous control" includes internal LFOs, dynamic modifiers, and MIDI continuous controller data). Directly below each section is a CHANGED indicator that lights to indicate that the Parameter has been changed but not stored.

1f) Input Level / Clip Meters - The bottom center of the display is occupied by the Input Level and

Clip meters. These meters show the input level of each channel, and use a peak detector action to display the highest levels at the inputs. The Clip indicator at the end of each meter shows whether the input signal is being clipped at the analog input section (pre-digital).

1g) Effect Routing Matrix - The Effect Routing Matrix shows the signal flow of the currently selected

Program. This matrix includes boxes that represent each effect module along with lines that indicate how those effects are connected to inputs, outputs and each other. If an effect module is bypassed, a line appears through that module's box in the Matrix.

When in FX Edit mode, the box that represents the currently selected effect module will flash. Likewise the Modifier module flashes the MODIFIER indicator, the Input Mode module flashes the Input Routing indicators and the Output Mode module flashes the Output Routing indicators.

2) PROGRAM BUTTON - Selects Program mode for Program selection. The Data Wheel is used to select

a program for loading. The Program button can also be used to toggle between the User or Factory Program Banks. The active Program Bank is shown in the display by the Factory / User indicators (see item 1b).

This button is also used to access the Compare mode. See pg. 14 for more information.

3) FX EDIT BUTTON - Selects FX Edit mode for Program modification. If you continue to press this button,

you will scroll through each individual effect module, the Modifiers module and the Input/Output modules.

4) PARAMETER BUTTONS - The Parameter buttons <1> through <4> are used to select the Parameter

or Utility item you want to edit. In Program mode, they can also be used to enter the FX Edit mode's 1st through 4th module. To access modules 5 through 8, simply press and hold parameter buttons <1> through <4> accordingly.

5) PREV PAGE BUTTON - Scrolls to the previous Page in the Parameter list. Note that the Page indica-

tors change to reflect the currently selected Page number in the Parameter list.

6) STORE BUTTON - The <STORE> button is used to store user Programs in memory for later recall.

7) NEXT PAGE BUTTON - Scrolls to the next Page in the Parameter list. Note that the Page indicators

change to reflect the currently selected Page number in the Parameter list.

8) UTILITY - Selects the Utility mode where global functions such as Screen Contrast, MIDI Channel,

Program Maps, SysEx Channel, SysEx Dumps, Program AutoLoad and Reset can be accessed.

9) IN LEVELS - This button is used to access both the automatic and manual input leveling controls. For more on

setting input levels, see pg. 30.

Section 1 - Setting Up

Studio 400 Owner's Manual

10) BYPASS - Bypasses all the effects in the Studio 400.

11) DATA WHEEL - The Data Wheel lets you scroll through Programs and change Parameters values.

REAR PANEL CONNECTIONS

The layout of the Studio 400's simple and straightforward rear panel is illustrated in Figure 1-2.

Figure 1-2 Rear Panel

1) AUDIO INPUTS - These four XLR or 1/4” balanced inputs can be used for several different combina-

tions of input configurations. The Input Configuration module of each Program defines how each Input is used. See pg. 11 for more info.

2) AUDIO OUTPUTS - The Studio 400's XLR and 1/4” balanced outputs can also be configured in many different ways. These settings are found in the Output Configuration module of each Program. See pg. 11 for more info.

3) OUTPUT LEVEL SWITCH - Selects whether the signal is nominally output at line level (-10 dB) or at professional level (+4).

WARNING: Make sure the Studio 400's audio levels are all down before changing the setting of this switch. Also,

be sure you know which setting is best for your particular equipment setup, as setting this switch to +4 can overload the inputs of some line-level equipment. DigiTech is not responsible for any damage to speakers or components due to misuse of this switch.

4) MIDI IN - MIDI data is received at this port. When MIDI data is received, the MIDI indicator in the display flashes on and off.

5) MIDI OUT / THRU - Merges MIDI data generated by the Studio 400 with MIDI data received at the

input. Please see pg. 32 for more information.

6) FOOTSWITCH - This jack allows connection of the DigiTech FS300 3-button footswitch or any shortingtype footswitch. If using the DigiTech FS300, button 1 increments through Programs, button 2 decrements through Programs, and button 3 bypasses the Studio 400's effects. When using any other single momentary switch device, the switch acts as a Bypass.

NOTE: The footswitch must be plugged in on power up in order for the Studio 400 to detect which type

of switch is being used.

7) POWER INPUT - Connect power supply cord to AC Line input jack on the rear of the Studio 400.

8) DIGTIAL I/O - Optional Upgrade. See pg. 8 for more info.

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Section 1 - Setting Up

Studio 400 Owner's Manual

MAKING CONNECTIONS

Because of its flexibility, the Studio 400 can be connected in several different ways to meet the requirements of specific applications. The following diagrams offer some ways the Studio 400 can be connected.

IN LINE: The Studio 400 can be connected between a line level instrument output (such as keyboards, recording decks, etc.) and a line level input (such as mixing console inputs). This method is called the "inline" method because the Studio 400 is connected directly in the audio path of the source. When you use the in-line method, the master wet-to-dry effects mix is controlled from the Studio 400 operating system. Cable routings for this method looks like Figure 1-3:

Figure 1-3 In-Line Connection

EFFECTS LOOP: This application uses the Studio 400 in an effects loop of a mixing console. In this appli-

cation, the source is routed directly to the mixer channel input(s). From there, the Studio 400 gets its source audio from the console's auxiliary send, and mix levels are controlled directly from the console. Figure 1-4 shows a common recording studio or live sound reinforcement setup for effects processing with a console.

Figure 1-4 Effects Loop Configuration

To Mixer Stereo Aux Return (L) To Mixer Stereo Aux Return (R)

From Mixer Aux Send 1

From Mixer Aux Send 2

To Amplifier or Mixer To Amplifier or Mixer

From Instrument or Direct Source

Figure 1-5 shows an example of a typical stereo effect setup as seen from the console, and shows how to handle both true stereo and mono input signals using two auxiliary sends.

This is the method of choice in many recording applications because of the impressive realism and depth of texture that it produces. While it is slightly more complicated to set up and requires twice as many auxiliary sends, stereo effects (particularly reverbs) improve dramatically in imaging and spaciousness.

Figure 1-5 Setting up a mixer's aux sends for true stereo operation

REMEMBER: When you use this method to process stereo sources such as keyboards, the auxiliary

sends on your console should be set up exactly opposite one another, as shown on channels 1 and 2 of Figure 1-5. Note that the left channel is sent to Aux 1, while the right channel is sent to Aux 2. When using mono sources like vocals and bass guitar, send equal levels from both Aux 1 and Aux 2 to maintain proper soundfield balance of the effects, as shown on channels 5 and 8.

PARALLEL EFFECTS: Another application for the Studio 400 allows you to independently process four discrete signals simultaneously. This method also utilizes the effects loops of your console, and since each effect has a mono input, the auxiliary sends can be set up in a much more straightforward way. Figure 1-6 on the following page, shows how to connect the Studio 400 for this application.

Pan

Mute

-10

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Mute L / R

-5

-4

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Mute L / R

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Aux Send 1

Aux Send 2

Pan Control

Section 1 - Setting Up

Studio 400 Owner's Manual

Section 1 - Setting Up

Studio 400 Owner's Manual

Figure 1-6 Quad Mono Input / Dual Stereo Output Configuration

Using this method, you could use channel 1 for a long vocal reverb, channel 2 for a short gated snare drum reverb, channel 3 for lead guitar delay, and channel 4 to thicken keyboard instruments with a detuner. This method also offers the flexibility of running different channels in-line or in an effects loop.

REMEMBER: Outputs can be configured any way you like, so don't let any of this input / output stuff

scare you.

A WORD ABOUT BYPASS

Because of its flexibility, the Studio 400 can be connected in several different ways to meet the requirements of many specific applications. However, the definition of Bypass may change, depending on the application. The Studio 400 features Application Specific Bypassing so that the Studio 400 functions appropriately in nearly every application. When Bypassed, the Studio 400 simply switches the Effects in that Program OFF, but the Dry Levels defined in that Program remain untouched. If the effects are all wet (no Dry Level), the Bypass function effectively Mutes the Studio 400. If the Dry Level is up, then the Studio 400 passes the original signals through without processing. A line through the modules in a Effect Configuration Matrix indicate that the module is Bypassed.

DIGITAL INPUT / OUTPUT (OPTIONAL UPGRADE)

The optional Digital Input and Output interface makes the Studio 400 an absolute necessity for any Digital recording or mixing application. Digital I/O provides the means for communicating with other Digital devices. Digital I/O is ideal to use with the Studio 400 because all DSP effects will go to the receiving device without having to have Digital to Analog conversion.The optional Studio 400 Digital Input / Output features:

• AES/EBU and S/PDIF formats

• XLR and RCA in and output jacks

• Selectable Sampling rates

• Automatic synchronization to external sample rates

Contact your DigiTech dealer for more information.

To Mixer Stereo Aux Return 2 (L) To Mixer Stereo Aux Return 2 (R)

To Mixer Stereo Aux Return 1 (L) To Mixer Stereo Aux Return 1 (R)

From Mixer Aux Send 3

From Mixer Aux Send 4

From Mixer Aux Send 1

From Mixer Aux Send 2

Section 2 - Basic Function of the Studio 400

Studio 400 Owner's Manual

SECTION 2 - BASIC FUNCTIONS OF THE STUDIO 400

GETTING AROUND THE OPERATING SYSTEM

The menu structure of the Studio 400 has been specially designed to be easy to use. The display shows the information you need, but to make things even easier for you, illumination in the front panel buttons offers additional operating information.

The front panel buttons give you information in one of two ways:

1 - If the button is not lit, its function is INACTIVE. Pressing an unlit button causes it to light brightly

and its function becomes the active item in the display. If the unlit button doesn’t light after you press it, the button is unavailable.

2 - If the button is lit, its function is ACTIVE. Pressing an active button (other than the <PROGRAM>

button) reselects the already active item in the display.

PROGRAM MODE - Program mode allows you to scroll through the Factory and User Programs using the Data Wheel. When the Studio 400 is turned on, it sets itself to Program mode. Program mode is active when the <PROGRAM> button is lit and a Program name is present on the Information line (top line) of the display. You can toggle between Factory or User Programs by pressing and holding the <PROGRAM> button when it is lit. The FACTORY PRG or USER PRG indicator will light in the display according to which bank is selected. In this mode, all other buttons on the front panel are dim or off.

To select a Program, do the following:

• Make sure Program mode is selected. If the <PROGRAM> button is dim, press <PROGRAM> once to return to Program mode.

• Use the <PROGRAM> button to select the Program bank (Factory or User). Each successive press of the <PROGRAM> button toggles between the Factory and User bank of Programs.

• Using the Data wheel, scroll to the Program you want to hear.

The selected program is immediately autoloaded. The AutoLoad feature can be turned off, allowing you to view a program before actually loading it. See pg. 34 for further details.

FX EDIT MODE - This mode allows you to edit: 1. FX Modules, 2. the Modifier Module, 3. the Input Mode Module, and 4. the Output Mode Module of your Programs. Use the <FX Edit> button to enter the FX Edit mode and then to select the next module for editing. A helpful hint: If you look at the Effect Routing Matrix while you press the FX Edit button, the currently selected module will flash. The Studio 400 uses Pages to navigate within an effect. A Page is a group of up to four effect Parameters that appear on the screen at one time. To move through the Pages in a Program, use the <NEXT PAGE> and <PREV PAGE> buttons. Note that as you scroll through the Pages, the Page indicator in the lower left corner of the display changes to show the currently displayed Page.

SELECTING FX TYPES AND DEFAULTS

The Studio 400 has made custom digital signal processing easier than ever by giving you access to a complete library of professionally developed effects settings. Page one of every FX Module allows you to:

1) Bypass that effect module

2) Select an effect Type (Chorus, Reverb, Delay, etc.)

3) Select a Default for the selected effect Type

The Default parameter allows you to select one of several effect settings stored in the Studio 400's library. For example, there are 9 Dual Delay defaults to choose from. All Factory Programs use these Default set tings. So, if you like the Delay that is being used in Factory Program 11, simply locate page one of the FX Module, then use the <4> button and the Data Wheel to recall the default (which happens to be A2Pingpong2) in your new program. This eliminates the need to copy all those parameters from one location

to the other. It also gives you several starting places so you can get as close as possible to the custom sound you are trying to create. Once you edit one of the parameters in the FX Module, the default name is replaced with the word "Custom". This means that a default setting has been customized by the user or changed by real-time Modifiers for that program.

NOTE: There are two Banks available for the defaults, Bank A and Bank B. Effects stored in bank A con-

tain the dry signal for typical in-line applications. Effects in bank B do not contain the dry signal, and boosts the effect level so it can be used with a mixing console's effect loops . EQ, Panner, Noise Gate, and Tremolo do not contain Dry level controls and therefore do not have a bank B available.

MODIFYING FX MODULE PARAMETERS EXAMPLE

Let's modify an effect Parameter. Factory Program 150 uses a quad delay with a delay time of 700 milliseconds. The tap percentages are set to DlyA = 25%, Dly B =50%, Dly C =75%, and Dly D =100%, which gives you evenly spaced delay taps. But suppose they're too slow to fit the tempo of a piece of music you're composing. With most effects units, you'd have to recalculate each delay tap individually, but the Studio 400 makes it simple.

Here's how to change the tempo of the delays:

• If you're not already there, switch to Program mode and use the Data wheel to scroll to Factory Program 150. The display reads:

• Press <FX EDIT>. Note the current module being edited is flashing in the Effect Routing Matrix. The display reads:

• Press <NEXT PAGE> twice. Position 2 of the Information line shows that the current delay time setting is 700 milliseconds. Remember that the total delay time shown in the display is divided among the delay taps in the Module. The display reads:

• Use the Data Wheel to decrease the delay time. Both the Store button illuminates and the CHANGED icons turn on indicating that the Program has been modified.

• Press the <Program> button to return to Program Mode, or continue in Edit Mode by continuing to press the <FX EDIT> button.

USER PRG

SecSecmSec

Delay Time FdBck TapIt

IN 4

IN 3

IN 2

IN 1

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- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

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OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

12 5678910

CHANGED CHANGED

UTILITY PAGE

DIGITAL CLIP

700 35 __

MODIFIERS

1 234

CLIP CLIP CLIP

S-DISC

™

PROCESSING

150

%kHz m Sec

%kHz %kHz

%kHz m

USER PRG

SecSecmSec

Fx:Quad Delay PingPong

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

12 5678910

CHANGED CHANGED

UTILITY PAGE

DIGITAL CLIP

FUL 888 b 5

MODIFIERS

1 2 3 4

CLIP CLIP CLIP

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™

PROCESSING

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%kHz m Sec

%kHz %kHz

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HLF 888 A 2

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CLIP CLIP CLIP

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PROCESSING

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%kHz %kHz

%kHz m

Section 2 - Basic Function of the Studio 400

Studio 400 Owner's Manual

NOTE: Make sure you store any changes you want to save before exiting

the edit mode. See pg. 14 for more information.

EFFECT & INPUT / OUTPUT CONFIGURATIONS

The Studio 400's ability to accommodate a number of different input and output routing configurations makes it an extremely useful and flexible tool for many different applications.

Programs 101 through 123 in the Factory Program bank represent all the FX module configurations available in the Studio 400. For diagrams of these 23 Effect Configurations, see pg. 38. When you find one that you like, you can save it in a new User Program location for later use. Remember that choosing an Effect Configuration does not define the input / output routing schemes or the actual effects used within the configuration. This means that even one configuration can be used thousands of different ways.

To select a new Effect Configuration, do the following:

• Scroll through Factory Programs 101 - 123 until you find a configuration you want to use. The display looks something like this:

Once you have selected an Effect Configuration, you can select the input/output configuration you will be using.

• Press the FX Edit button 6 times. The input section of the Effect Routing Matrix begins flashing and the information line reads:

Input Mode: Quad Mono

• Use the Data Wheel to scroll through the 9 available input configurations.

• Press the FX Edit button one more time. The output section of the Effect Routing Matrix begins flashing and the Display looks something like this:

• Use parameter buttons <1> and <4>, and the Data Wheel to scroll through the available output configurations, and to set the output level for each program.

NOTE: Make sure you store any changes you want to make before exiting the edit mode. See pg.14

for more information.

USING MODIFIERS

Modifiers are unique tools that can be used to dramatically alter your sound based on information from signal amplitude, the settings of a Low Frequency Oscillator (LFO) or MIDI Continuous Controller information.

Every Program in the Studio 400 has a set of Modifiers. Up to 8 Modifier links can be assigned to control parameters. There are three types of Modifiers that can be linked to a parameter: MIDI CCs, LFOs, and Dynamic (signal level dependent).

USER PRG

SecSecmSec

Cfg: 1 (H,H,H,H)

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IN 3

IN 2

IN 1

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- CHANGED

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CHANGED

LEVEL 4

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LEVEL 1

OUT 4

OUT 3

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OUT 1

CLIP

FX EDIT PAGE

1 2 5 6 7 8 9 1010

Off

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888 888 888

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Section 2 - Basic Function of the Studio 400

Studio 400 Owner's Manual

USER PRG

SecmSec

OutMode:Quad Mono Lvl

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- CHANGED

MIDI

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LEVEL 3

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%kHz m Sec

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DIGITAL CLIPDIGITAL CLIP MODIFIERS

CLIP CLIP CLIP

MIDI CCs - When you use MIDI CCs, the Studio 400 responds to CC numbers 0-127 and CHP (channel

pressure or aftertouch). This means that you could assign your keyboard's modulation or pitch bend wheel (or any other MIDI CC device) to control effect Parameters.

For example, you can have a synth's modulation wheel (usually MIDI CC#1) control the in level of a reverb and chorus in one program while the delay feedback is controlled in another.

LFOs - When you use LFOs, Parameter values can be controlled automatically between a defined minimum and maximum setting at a rate set by the user. The Studio 400 has 2 user definable LFOs in each program that can be assigned to any Parameter.

For example, you can create an auto panner without using an auto panner module. Simply link an effect's output pan parameter to the LFO modifier and the LFO will move that parameter back and forth. This modifier can be a very useful weapon in the ongoing battle of new sound creation.There are two LFOs avai lable in each program that can use unique speeds and waveforms.

Dynamic Modifiers - When you use Dynamic Modifiers, the Parameter values are controlled in relation to the dynamics of the input signal. The possibilities are nearly endless, and they cannot be duplicated using any other method.

For example, you could link the Dynamic Modifier of a Program to control a chorus level. It doesn't sound like much on paper, but imagine the expressiveness of this type of effect on a vocal part. As the dynamics of the music increase, the chorus becomes less apparent. Ease up on the vocal a little and the chorus increases. ALL IN REAL TIME!

NOTE: Linking a Modifier to a Parameter causes the Parameter to change as if you were changing it using

the Data Wheel. The only difference is that the <Store> button and PROGRAM CHANGED indicators do not light. Therefore, the Default name may display 'Custom' if a Parameter is consistently being changed by a Modifier. Storing the Program will store these new Parameter values.

LINKING A PARAMETER TO A MODIFIER

To link a Parameter to a Modifier, do the following:

• Press the <FX EDIT> button, and the display will look something like this:

The modifiers icon in the bottom right corner of the display begins flashing.

• Use the <NEXT PAGE> and <PREV PAGE> keys to scroll through Pages 1-8 to select which of the 8 Modifier Links you want to use. For example, Modifier Link #1.

• Use the Data wheel to scroll to the Parameter you want assigned to Modifier link #1. As you scroll, the MIN and MAX values for each Parameter show in the display.

NOTE: The MUTE and THRU effect types do not have any Parameters to connect to, so they will not

appear in the parameter list.

• Press <3> to select the Minimum Value Parameter.

• Use the Data wheel to select the minimum Parameter value you want when the controller is in the minimum position. These values vary because different Parameters have different value units, such as milliseconds or percent.

USER PRG

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Mod-1: Select parameter

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- CHANGED

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LEVEL 1

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OUT 3

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888 888 888

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Section 2 - Basic Function of the Studio 400

Studio 400 Owner's Manual

• Press <4> to select the Maximum Value Parameter.

• Use the Data wheel to select the maximum Parameter value you want when the controller is in the maximum position.

• Press <2> to select the Modifier Type Parameter.

• Using the Data wheel to scroll through the Modifier types. Select a MIDI CC number 0 -127 and CHP (Channel Pressure or Aftertouch), L - 1 (LFO1), L - 2 (LFO2), or DYN (Dynamic).

NOTE: Make sure you store any changes. See pg. 14 for more information

SETTING UP AN LFO OR DYNAMIC MODIFIER

To link a parameter, do the following:

• Press <FX Edit> until you see “modifiers” flashing in the bottom right corner of the screen.

• Use the <NEXT PAGE> and <PREV PAGE> keys to scroll to Page 9. The display reads:

• Press <1> and use the Data wheel to select which LFO you want to adjust.

• Press <2> and use the Data wheel to change the selected LFO's waveform. You can select SINe,

TRIangle, SPecial1, SPecial2 or SPecial3. Refer to pg. 19 for Waveform information.

• Press <3> and use the Data wheel to adjust the speed of the LFO cycle.

The assigned Parameter now follows the modulating waveform of the LFO you selected. See pg. 19 for waveform diagrams.

To link a Dynamic Modifier to a parameter, do the following:

• Press <FX Edit> until you see “modifiers” flashing in the bottom right corner of the screen.

• To adjust the settings of the Dynamic Modifier, use the <NEXT PAGE> and <PREV PAGE> keys to scroll to Page 10. The display reads:

• Press <2> and use the Data wheel to adjust LoThrs. This control sets the threshold above which dynamic modification of the Parameter begins.

• Press <3> and use the Data wheel to adjust HiThrs. The HiThrs control sets the point at which maximum Parameter modification occurs.

• Press <4> and use the Data wheel to select the source input you want the modifier to "listen" to, or follow.

-12

USER PRG

SecSecmSec

Dyn LoThrs HiThrs In-Src

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

CHANGED

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIPCLIP

FX EDIT PAGE

12 5678910

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

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IN 3

IN 2

IN 1

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CHANGED

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LEVEL 3

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LEVEL 1

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Section 2 - Basic Function of the Studio 400

Studio 400 Owner's Manual

COMPARING PROGRAMS

During the course of editing Programs, you may find that you want to compare the edited version of the Program to the original, stored version. Fortunately, the Studio 400 provides you with this valuable A/B feature in the Compare function. To compare an edited Program with the original Stored version, do the following:

• While the Studio 400 is in program mode, press the <PROGRAM> button once. The top line of the display reads: *COMPARING ORIGINAL PRG*. When this message is displayed, the stored Program is temporarily loaded and active.

• To return to the edited version, press the <PROGRAM> or <EDIT> button .

STORING PROGRAMS

The Store procedure allows you to rename, relocate and save any modifications you have made to Programs so that they can be accessed easily later. The following procedure tells how to store a Program:

• When you finish editing a Program, press the <STORE> key once. The display shows the current

Program name (which may look something like this):

A cursor appears under the first character of the Program name.

• Using the Data wheel, scroll to the character you want in the selected position. When the correct

character is displayed in that position, press <NEXT PAGE>. The cursor moves one character to the right.

• Using the <NEXT PAGE> and <PREVIOUS PAGE> buttons and the Data Wheel, continue editing all

the characters in the name until it is displayed the way you want (up to 24 characters can be used). Use <1> to select capital and lower case letters, <2> to select numbers, <3> to delete a character and <4> to insert a blank space. When you're finished...

• Press <STORE> again. The top line of the display reads: STORE TO:, followed by the stored name

of the current Program. This screen allows you to select the location of the new Program. Note that when the Program is stored, it is stored in the User bank of Programs because Factory Programs cannot be overwritten.

• Use the Data Wheel to select the Program number where you want to store the new Program.

• Press <STORE> again. The top line of the display briefly reads: STORING PROGRAM TO ##, after

which you are taken to the Program you just stored.

The newly created Program is now loaded, and can now be recalled at any time.

USER PRG

SecSecSec

NAME:Blue Primer

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

FX EDIT PAGEFX EDIT PAGE

1 2 3 4

nbr deL InS

MODIFIERS

1234

S-DISC

™

PROCESSING

%kHz m

Cap

Section 2 - Basic Function of the Studio 400

Studio 400 Owner's Manual

SECTION 3 - EFFECTS AND PARAMETERS

ABOUT MODULES AND THE EFFECT CHARTS

The Studio 400's diverse section of effect Modules allows you to achieve nearly endless combinations of effects and routings. To accomplish that goal, we've supplied you with several different module types in an effects configuration. The processing resources are divided one of four ways per S-Disc. Fig. 3-1 below uses pies to represent the possible resource division combination

Figure 3-1 The Resource Pies

Each section of the pies represents a different size Module in an effects configuration. In the diagram, there are three different slice sizes: quarter, half, and whole. Likewise, the Module sizes available in the Studio 400 are Quarter (module type =

4th

), Half (module type =

HLF

), and Whole (module type =

FUL

). This simply means that FUL module type offers effects with more flexibility and power than the HLF modules, and so on. All sizes of FX Modules feature very high quality effects, so you don’t have to worry if you need to divide the Studio 400 pie four ways. For a complete list of these FX Types please see pg. 37. For a complete list of effect configurations please see pg. 38.

There are three basic types of FX Modules: Mono, Dual, and Stereo. Fig 3-2 illustrates what the signals do as they enter the Module. Although all three Modules are shown with stereo inputs, they can still be used with a mono source (such as input one of the Studio 400). The mono source would just be routed to both sides of the Module’s inputs. Notice how the Dual FX Module maintains stereo compatibility while the mono FX Module always sums the signals together.

Figure 3-2 FX Module Types

ABOUT THE CHARTS

All the effects and Parameters found in the Studio 400 are described in detail in the following group of charts. Each chart is preceded by brief descriptions of the effects functions and history. Module names appear in the top left corner of the chart with a vertical column of check boxes extending directly below. If the box is checked, the Parameter appears in the Module.

Two Effect Types will be missing from these charts. They are Mute and Thru. These two Effect Types have no parameters and simply function as their names imply. The Mute type keeps all signals from passing through an Effect module while the Thru type allows only the dry signals to pass through a module.

Mono FX Module

Effect

Processing

Dual FX Module

Effect

Processing

Effect

Processing

Stereo FX Module

S-DISC A

S-DISC B

Section 3 - Effects and Parameters

Studio 400 Owner’s Manual

DIGITAL AND ANALOG EFFECT LIST

Within the Studio 400, lies a vast palette of Digital and Analog effects. All of which are Studio quality. The following is a list of the Effects available: Reverbs, Choruses, Flangers, Phasers, Rotary Speaker Simulator,Tremolo, Auto-Panner, Pitch Shifters, Detuners, Delays (Digital and Analog), Equalizers, Noise Gate, and Compressor.

REVERBS

Reverberation is probably the most widely used effect because it allows you to simulate the sound reflection characteristics of almost any kind of room. In a real room, reverb is a result of sound reflecting off room surfaces such as the walls, floor, ceiling, and objects in the room. The materials, size, and shape of the room determine how long these reflections echo and decay before dying out completely. These factors also help determine the audio characteristics of the room, such as how long the high-frequency reverberations ring when compared to the low frequencies, or how much initial "slapback" the room wall produces when a sound hits.

Today’s technology allows the Studio 400 to offer a complete palette of flexibile, easy to use reverbs. There are five basic reverbs to choose from.

1) Reverb - Simple, straight ahead reverb with only the most basic parameters.

2) Dual Reverb - Multi-dimensional reverb with flexible frequency band-splitting capabilities. The reverb can be divided into primary and secondary stages using selectable High or Low Pass crossovers.

3) Stereo Reverb - A true stereo version of the Reverb.

4) Stereo Dual Reverb - A true stereo version of the Dual Reverb

5) Gated Reverbs - A very linear, high energy reverb that can be set to decay, stay flat, or ramp up the reverb decay, creating many unique ambient effects.

6) Room Echo - A true stereo, multi-tap delay for creating small ambient spaces. The delays are divided into four sections of early reflections. These reflections can be placed anywhere in the stereo field and can be as dense or sparse as necessary. The Room Delay also includes a feedback loop for delay regeneration.

Section 3- Effects and Parameters

Studio 400 Owner's Manual

Gated Reverb

Stereo Gated Reverb

Stereo Dual Reverb

Dual Reverb

Stereo Reverb

Reverb

Type

Selects the Module's reverb type. Reverbs can be one of ten reverb types or variations, including Studio Room, Wood Room, Vocal Plate, Concert Hall, Plate Reverb, Chamber, Cathedral, Arena, Cement Shelter, or Infinite Spring. Each room type has a different decay range (just as real rooms do), so changing TYPE also changes the decay time of the room. Gated reverbs can be one of twelve different types, including Flat, Shelf,Decaying Linear, Decaying Logarithmic, Decaying Exponential, Decaying Sine, Reverse Linear, Reverse Logarithmic, Reverse Exponential, Reverse Sine, Peaking Linear, and Peaking Exponential.

Density

Controls the number of discrete room wall reflections during the early portions of DECAY. Higher settings produce more reflections while low settings yield fewer initial wall echoes. Use this control in conjunction with DISPERSION to build or reduce the thickness of early reflection clusters heard near the beginning of the reverberation. Varies from 0% to 99%.

PARAM. DESCRIPTION

Reverbs

Diffusion

Simulates the presence of different room materials by controlling the smoothness of reverberations through the course of DECAY. Low DIFFUSION settings are great for simulating hard, flat surfaces while higher DIFFUSION settings can be used to simulate the presence of irregular surfaces in the room such as natural rock masonry or man-made diffusers. Unlike flat surfaces, these materials reflect (diffuse) the sound in many directions because of the irregularity of the surfaces themselves. This builds smoothness over the reverb progression. Ranges from 0% to 99%.

Dispersion

Controls the distance (time) between the echoes set by DENSITY. If DENSITY is set low and DISPERSION is set high, the initial room echoes can be heard as discrete echoes followed by smoother room reverberations. Set DISPERSION low for a dense cluster of reflections during the early portions of DECAY. Varies from 1 to 5.

Adjusts how quickly the room absorbs the high-frequency reverberations. In a real room, absorptive materials can be used to dampen the natural high-frequency reverberations of the room. High settings of DAMP cause the reverberations to darken tonally and become less defined over the course of DECAY. Low settings cause less dramatic room effects on the tone of the reverberations. Ranges from 1 to 7.

FX: Lvl Controls the signal input level fed to the Module. Varies from OFF to 100%. Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from OFF to 100%.

Balance

Controls the left/right positioning of the dry signal in the stereo soundfield. Varies from

-99 (all left) to 99 (all right).

LowPass

Appears only in Gated Reverbs. Selects the frequency above which all frequencies are rolled off. This control can be used to darken the response of bright-sounding gated reverbs. Ranges from 100 Hz to 8 kHz in the Gated Reverb and from 100 Hz to 20 kHz in the Stereo Gated Reverb.

Room Echo

Time

Appears only in Gated Reverbs. Controls the length of the gated reverb in milliseconds (much like the DECAY control of a normal reverb). Ranges from 25 milliseconds to 300 milliseconds (or 500 milliseconds on the Stereo Gated Reverb).

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X-Over Type

Selects which crossover type will be used for the Primary and Secondary reverb stages. The two crossover types are High Pass (HP) and Low Pass (LP).

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X-Over Frequency

Selects the Frequency where the crossover begins to function. Ranges from 25Hz to 20kHz.

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Prim & Secd X-Over

These two Parameters allow the crossover to be turned On or Off for each reverb stage. When Off, that particular reverb stage will be full bandwidth, otherwise its frequency response is limited by the X-Over Type and Frequency Parameters.

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Prim & Secd Damp

Section 3 - Effects and Parameters

Studio 400 Owner's Manual

Prim & Secd Decay

Controls the length (RT60) for the Primary and Secondary reverbaration stages. This Paramter interacts with the SIZE and REFLCT Parameters. Larger SIZE and REFLCT settings will allow longer reverb decay times while smaller settings reduce the length of the reverb decays but produce better small environment emulations. Ranges from .26 to 11 seconds.

Prim & Secd Size

These two Parameters change the relative room size of the Primary and Secondary reverb stages. Ranges from 1 to 5.

Prim & Secd Reflct

These two Parameters control the simulation of energy loss of sound each time it is reflected. Hard, smooth materials like glass and wood have more reflectivity that softer, more porous materials. This control can be thought of as determining the "liveness" of the room. Ranges from 1 to 10.

PARAM. DESCRIPTION Reverbs (continued)

OutL - R

Adjusts the overall level of the left or right side of the reverb. Ranges from OFF to 100%.

Blend

The BLEND control cross-mixes reverberations from the left side into the right side and vice-versa. This can be used to increase the realism of the simulated room by adding reverberations from different parts of the room to each channel. Varies from 0% to 99%.

Gated Reverb

St. Gated Reverb

Stereo Dual Reverb

Dual Reverb

Stereo Reverb

Reverb

Room Echo

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Delay B

Sets the length of time between hearing Delay Group A and Delay Group B. Ranges from 0 to 120 milliseconds.

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Delay C

Sets the length of time between hearing Delay Group B and Delay Group C. Ranges from 0 to 120 milliseconds.

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Delay D

Sets the length of time between hearing Delay Group C and Delay Group D. Ranges from 0 to 120 milliseconds.

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Decay

Controls the length (RT60) of the room reverberations. This one control could have been divided among Size and Reflection controls but has been simplified here for easier use. To simulate a large room, use longer DECAY settings. For small rooms, use shorter DECAY settings. For more natural sounding reverbs, you may also want to decrease the DENSITY setting as DECAY is shortened. Ranges from .5 to 23 seconds depending on the Reverb Type currently selected.

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Prim OutL

Adjusts the overall level of the left side of the Primary reverb. Ranges from OFF to 100%.

Delay A

Sets the length of time before hearing Delay group A. Ranges from 0 to 120 milliseconds.

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Prim OutR

Adjusts the overall level of the right side of the Primary reverb. Ranges from OFF to 100%.

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Secd OutL

Adjusts the overall level of the left side of the Secondary reverb. Ranges from OFF to 100%.

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Secd OutR

Adjusts the overall level of the right side of the Secondary reverb. Ranges from OFF to 100%.

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Prim & Secd Blend

These two parameters adjust the amount of BLEND for the Primary and Secondary reverb stages. See BLEND above for a complete parameter description.

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Shape

Selects the shape of the output levels for the delay group taps. Shape selections are: Flat, Peak, Decreasing, Increasing, Shelf, and Reverse Shelf.

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Spread

Controls the width of the effect's stereo imaging. Ranges from 1 to 10

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FB: Dly

Sets the amount of time before the delay is fed back into the signal. Ranges from 0 to 170 ms.

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Amount

Sets how much delay is fed back into the signal. Ranges from Off to 50%.

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Out A-D

Controls the output level of the Delay Groups. Ranges from Off to 100%.

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Bal A-D

Controls the Left-Right balance of the Delay Groups. Ranges from -99 to 99.

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Section 3- Effects and Parameters

Studio 400 Owner's Manual

CHORUS AND FLANGE

Both choruses and flangers use a Low Frequency Oscillator (LFO) to produce their rich, swirling effects. When you change the speed and depth Parameters of modulation effects, you're actually controlling the frequency and amplitude of the LFO. These settings determine the rate and intensity of the modulation effect.

In general, here's how choruses and flangers work: after entering the Module, the source signal is split into two paths. One is allowed to pass through the Module unaltered, while the other is delayed and pitch modulated. The modified sound is then sent to the output, along with the original. In Fig. 3-3 below, a sine wave is used to modulate the pitch of the split sound source.

Figure 3-3 Modulation Example

The Dual Chorus creates two different pitch “voices”, while the Octal Chorus creates eight voices for extremely full, rich sounds.

The only difference between choruses and flangers is that flangers use less delay and have a feedback Parameter that sends a portion of the effected signal back to the input of the Module. When the effected signal reaches the input, it is sent through the Module again, building thickness and depth. If you increase the feedback enough, the source begins to lose its own original pitch to the dramatic pitch modulation of the feedback loop.

LFO Waveforms: There are four LFO waveforms available for Choruses, Flangers, Phasers, Tremolos, Auto Panners, and five for Modifier LFOs. They include SINe, TRIangle, SPecial-1, SPecial-2, and SPecial-

3. See figure 3-4 for examples of what these waveforms look like.

Figure 3-4 LFO Types

FREQUENCY (SPEED)

AMPLITUDE (DEPTH)

SINE LFO

FREQUENCY (SPEED)

AMPLITUDE (DEPTH)

TRIANGLE LFO

FREQUENCY (SPEED)

AMPLITUDE (DEPTH)

SP1 LFO

FREQUENCY (SPEED)

AMPLITUDE (DEPTH)

SP2 LFO

FREQUENCY (SPEED)

AMPLITUDE (DEPTH)

SP3 LFO

(Modifiers only)

PITCH

TIME

-5 cents 0 5 cents 1010

1 sec 2 sec 3 sec

Modulated Sound Original Sound

Section 3 - Effects and Parameters

Studio 400 Owner's Manual

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Stereo Flange

Dual Flange

FX: Lvl Controls the signal input level fed to the Module. Varies from OFF to 100%. Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from OFF to 100%.

Balance

Controls the left/right positioning of the dry signal in the stereo soundfield. Varies from -99 (all left) to 99 (all right).

Speed

Controls the Low Frequency Oscillator (LFO) speed of the flanger. Range of this control is from 0.06 to 16 Hz.

Depth

Adjusts the intensity of the flange effect. High settings of DEPTH combined with high settings of FDBCK produce dramatic, synth-like results. Varies from 0 to 30 milliseconds.

FdBck

Controls how much of the flanged signal is fed back to the input of the Module. The FDBACK Parameter is what gives flangers their distinctive voice. Flangers are capable of both positive and negative feedback loops, so experiment to find the sound you like best. Ranges from -99% to 99%.

WvFrm

Selects which waveform the LFO follows. Options for this control include sine, triangle, SP1 (Special 1), and SP2 (Special 2). The sine wave setting is probably the most easily recognized, but the smooth response of the triangle wave or the intensity of SP1 or SP2 typically produce better results.

DlyA - B

Controls the delay time of flange voice A or B. Shorter delay time settings produce a more dramatic, deeper sweeping sounds. Ranges from 0 to 60 milliseconds.

Out A - B

Adjusts the overall level of flange voice A or B. Ranges from OFF to 100%.

Pan A - B

Controls the stereo soundfield placement of flange voice A or B. Varies from -99 (all left) to 99 (all right).

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Out L - R Adjusts the level of the left or right side of the flanger. Ranges from OFF to 100%.

PARAM. DESCRIPTION

Flangers

Section 3 - Effects and Parameters

Studio 400 Owner's Manual

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Octal Chorus

Quad Chorus

Stereo Dual Chorus

Dual Chorus

FX: Lvl Controls the signal input level fed to the Module. Varies from OFF to 100%. Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from OFF to 100%.

Balance

Controls the left/right positioning of the dry signal in the stereo soundfield. Varies from -99 (all left) to 99 (all right).

Speed

Controls the Low Frequency Oscillator (LFO) speed of the chorus. Range of this control is from 0.06 to 16 Hz.

Depth

Adjusts the intensity of the chorus effect. High settings produce dramatic modulation, while lower settings can be used to produce a more subtle, ambient swirling. Varies from 0 to 30 milliseconds.

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Depth 1 - 2

Octal Chorus only. DEPTH1 adjusts the intensity of chorus voices 1-4. DEPTH2 adjusts the intensity of chorus voices 5-8. Ranges from 0 to 30 milliseconds.

WvFrm

Selects which waveform the LFO follows. Options for this control include sine, triangle, SP1 (Special 1), and SP2 (Special 2).

DlyA - B

Controls the delay time of chorus voices A and B. Higher delay time settings produce a more dramatic sweeping sound. Ranges from 0 to 60 milliseconds.

DlyC - D

Controls the delay time of chorus voices C and D. Higher delay time settings produce a more dramatic sweeping sound. Ranges from 0 to 60 milliseconds.

DlyE - H

Controls the delay time of chorus voices E - H. Higher delay time settings produce a more dramatic sweeping sound. Ranges from 0 to 60 milliseconds.

Out A - B

Adjusts the overall level of chorus voice A or B. Ranges from OFF to 100%.

Pan A - B

Controls the placement of chorus voice A or B in the stereo image. Varies from -99 (all left) to 99 (all right)

Out LA - LB

Adjusts the left side level of chorus voice A or B. Ranges from OFF to 100%.

Out RA - RB

Adjusts the right side level of chorus voice A or B. Ranges from OFF to 100%.

Spread

Controls the width of the effect's stereo imaging. The higher the setting, the wider the image. The lower the setting, the more monophonic the effect becomes. Ranges from 1 to 10.

Pan C - D

Controls the placement of chorus voice C or D in the stereo image. Varies from -99 (all left) to 99 (all right).

Out C - D Adjusts the overall level of chorus voice C or D. Ranges from OFF to 100%.

PARAM.

DESCRIPTION

Choruses

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Wander Speed

Controls the secondary LFO speed of chorus voices 5-8. This is a secondary oscillator for voices 5-8 that causes deviations from the oscillation path set by DEPTH2. This control can produce radical new textures when used creatively. Try setting it slightly faster or slower than SPEED. Ranges from 0.06 to 2.0 Hz.

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Wander Depth

Adjusts the intensity of the oscillation deviations produced by WANDER SPEED. WANDER DEPTH produces dramatic psycho-acoustic swirling effects when set higher than DEPTH2. Ranges from 0 to 10 milliseconds.

Section 3 - Effects and Parameters

Studio 400 Owner's Manual

PHASERS

Phasers create a copy of the original signal and modulate that new signal’s phase relationship to the original signal. When the two signals are reunited at the output, the modified signal, moving smoothly in and out of phase, causes continuous cancellations and reinforcements at different frequencies throughout the modulating cycle.

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Stereo Phase

Dual Phase

FX: Lvl Controls the signal input level fed to the Module. Varies from OFF to 100%. Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from OFF to 100%.

Balance

Controls the left/right positioning of the dry signal in the stereo soundfield. Varies from -99 (all left) to 99 (all right).

Speed

Controls the Low Frequency Oscillator (LFO) speed of the phaser. Range of this control is from 0.06 to 16 Hz.

Depth

Adjusts the intensity of the phaser effect. High settings of DEPTH combined with high settings of FDBCK produce dramatic, synth-like results. Varies from 0 to 100 milliseconds.

FdBck

Controls how much of the modulated signal is fed back to the input of the Module. The FDBACK Parameter is what gives phasers their distinctive resonating sound. Ranges from 0 to 99%.

WvFrm

Selects which waveform the LFO follows. Options for this control include sine, triangle, SP1 (Special 1), and SP2 (Special 2). The sine wave setting is the most easily recognized, but the intensity of SP2 typically produce better results in phasers.

Out A - B

Adjusts the overall level of phaser voice A or B. Ranges from OFF to 100%.

Pan A - B

Controls the placement of phaser voice A or B in the stereo image. Varies from -99 (all left) to 99 (all right).

PARAM. DESCRIPTION

Phasers

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Out L - R Adjusts the level of the left or right side of the phaser. Ranges from OFF to 100%.

Section 3 - Effects and Parameters

Studio 400 Owner's Manual

ROTARY SPEAKER SIMULAOR / TREMOLO / AUTO PANNER

The Rotary Speaker Simluator allows you to emulate the classic rotating speaker sound, without the chiropractic problems that come with moving bulky speaker cabinets.

Tremolos and Auto Panners are similar to one another because they use an LFO to modulate the level of the signal. This allows you to re-create the tremolo effects commonly found on vintage instrument amplifiers.

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Auto Panner

St. Tremolo

Rotary Speaker Sim.

FX: Lvl Controls the signal input level fed to the Module. Varies from OFF to 100%.

Speed

Controls the oscillation speed of the effect. Range of this control is from 0 to 16.0 Hz.

Depth

Adjusts the intensity of the effect. As DEPTH increases, volume changes become more dramatic. Varies from 0 to 100%.

Mode

Selects which speed mode the Rotor and Horn are in. Settings are fast or slow.

Spread

Sets the horn stereo microphone spread. Varies from 0 to 100%.

Doppler

Sets the amount of shifted pitch heard in the horn. Range is 0 to 50 milliseconds.

X-Over

Selects the frequency where the sinal is split between the horn and rotor. Ranges from 25Hz to 20kHz.

Acceleration: Horn/Rotor

Sets the amount of time that the rotor and horn take to come up to their full rotating speed. The ranges are 0 to 10 seconds.

WvFrm

Selects which waveform the LFO follows. Options for this control include sine, triangle, SP1 (Special 1), and SP2 (Special 2). The Triangle Waveform setting produces a classic tremolo effect.

PARAM. DESCRIPTION

Stereo Tremolo / Auto Panner

Rotary Speaker Simulator /

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H/R: Level

Sets the overall Rotor or Horn level. Varies from Off to 100%

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Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from OFF to 100%.

Balance

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Controls the left/right positioning of the dry signal in the stereo soundfield. Varies from -99 (all left) to 99 (all right).

Section 3 - Effects and Parameters

Studio 400 Owner's Manual

DETUNERS / PITCH SHIFTERS

Detuners are similar to pitch shifters, but the intervals between the detuned signal and the original are much smaller, usually expressed in cents (hundredths of a semitone). The Studio 400 uses percentages of semitones to express the shifted note's distance from the original. For example, with a maximum detune setting of 50%, the pitch is exactly one semitone (50 cents) up from the original.

Pitch shifters allow you to create multiple voices from a single note input. In the Studio 400, the new pitch is determined by the setting of the SHFT Parameters, which can cover a pitch range of four octaves.

PARAM. DESCRIPTION Detuners

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Octal Detune

Quad Detune

Stereo Dual Detune

Dual Detune

FX: Lvl Controls the signal input level fed to the Module. Varies from OFF to 100%. Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from OFF to 100%.

Balance

Controls the left/right positioning of the dry signal in the stereo soundfield. Varies from -99 (all left) to 99 (all right).

Dly A - B

Controls the amount of time before detuner voices A and B are heard. Higher delay time settings produce a short slapback delay effect. Ranges from 0 to 60 milliseconds.

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Dtn A - B

Controls the detuning amount for detuner voices A and B. Higher detune settings produce a more dissonant sound. Ranges from -50% to 50%.

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Dtn C - D

Controls the detuning amount for detuner voices C and D. Ranges from -50% to 50%.

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Dtn E - H

Controls the detuning amount for detuner voices E through H. Ranges from -50% to 50%.

Dly C - D

Controls the amount of time before detuner voices C and D are heard. Ranges from 0 to 60 milliseconds.

Dly E - H

Controls the amount of time before detuner voices E through H are heard. Ranges from 0 to 60 milliseconds.

Out A - B

Adjusts the overall level of detuner voice A or B. Ranges from OFF to 100%.

Pan A - B

Controls the stereo soundfield placement of detuner voice A or B. Varies from -99 (all left) to 99 (all right).

Out LA - LB

Adjusts the left side level of detuner voice A or B. Ranges from OFF to 100%.

Out RA - RB

Adjusts the right side level of detuner voice A or B. Ranges from OFF to 100%.

Spread

Controls the width of the effect's stereo imaging. The higher the setting, the wider the image. The lower the setting, the more monophonic the effect becomes. Ranges from 1 to 10.

Pan C - D

Controls the stereo soundfield placement of detuner voice C or D. Varies from -99 (all left) to 99 (all right).

Out C - D Adjusts the overall level of detuner voice C or D. Ranges from OFF to 100%.

Section 3 - Effects and Parameters

Studio 400 Owner's Manual

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Harmony

Smooth Pitch

Octal Pitch

Quad Pitch

FX: Lvl Controls the signal input level fed to the Module. Varies from OFF to 100%. Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from OFF to 100%.

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Dtn A - B

Controls the detuning amount for pitch-shifted voices A and B. As DTN moves away from zero, dissonance becomes more pronounced. Low DTN settings can be useful for thickening or enhancing the imaging of the source material. Ranges from -50% to 50%.

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Shft A - B

SHFTA and SHFTB control the pitch intervals between the original note and voices A and B of the pitch shifter. Pitch shifters can be used for a wide variety of effects, including doubling, octave division, and chromatic harmonies. Each Pitch Shifter has a 4-octave range, stepped in semitones from -24 to +24.

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Dtn C - D

See Detune A - B

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Shft C - D

See Shift A - B

Dtn E - H

See Detune A - B

Shft E - H

See Shift A - B

Out A - B

Adjusts the overall level of pitch-shifted voice A or B. Ranges from OFF to 100%.

Pan A - B

Controls the placement of pitch-shifted voice A or B in the stereo image. Varies from -99 (all left) to 99 (all right).

Out LA - LB

Adjusts the left side level of pitch-shifted voice A or B. Ranges from OFF to 100%.

Out RA - RB

Adjusts the right side level of pitch-shifted voice A or B. Ranges from OFF to 100%.

Spread

Controls the width of the effect's stereo imaging. The higher the setting, the wider the image. The lower the setting, the more monophonic the effect becomes. Range: 1 to 10.

Pan C -D

Controls the stereo soundfield placement of pitch-shifted voice C or D. Varies from -99 (all left) to 99 (all right).

Out C - D Adjusts the overall level of pitch-shifted voice C or D. Ranges from OFF to 100%.

Out E - H

Adjusts the overall level of pitch-shifted voices E through H. Ranges from OFF to 100%.

Pan E - H

Controls the stereo soundfield placement of voices E through H. Varies from -99 (all left) to 99 (all right).

PARAM. DESCRIPTION

Pitch Shifters

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Stereo Dual Pitch

Stereo Pitch

Dual Pitch

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Out L - R

Adjusts the left or right output level of the pitch-shifted voice. Ranges from OFF to 100%.

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See Detune A - B

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See Shift A - B

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Scale

Scale sets the scale type for the Harmony you want to hear. Scale types include: Major, Minor, Harmonic Minor, Melodic Minor. Dorian, Mixolydian, Lydian, Lydian Augmented, Major Pentatonic, Minor Pentatonic, Blues, Whole Tone, Half-Whole,and Whole-Half.

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Key

Key allows you to set the musical key for the harmonies. If the song you are playing is in the key of G Major, you would select G for the scale.

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Balance

Controls the left/right posistioning of the dry signal in the stereo soundfield. Varies from

-99 (all left) to -99 (all right).

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Interval

Interval sets the basic interval of the Harmony. You can choose from one of several Harmony intervals. See pg. 42 for Harmony Interval Chart reference.

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Section 3 - Effects and Parameters

Studio 400 Owner's Manual

DELAYS

A delay produces discrete, repeating echoes of the source material at a specified interval. In digital delays, the input signal is "sampled" or recorded into memory, where it is held for the amount of time you specify with the delay time setting, after which the sample is replayed at the output. The Studio 400's delays have a feedback meter that is used to send a portion of the delayed signal back to the input to be re-recorded along with new source material. The feedback setting determines how long the delay repeats take to decay to inaudibility.

Analog Delay

Stero Quad Delay

Stereo Dual Delay

Quad Delay

Dual Delay

Mono Delay

FX: Lvl Controls the signal input level fed to the Module. Varies from OFF to 100%. Dry: Lvl

Controls the level of the dry (uneffected) signal. Ranges from OFF to 100%.

Balance

Controls the left/right positioning of the dry signal in the stereo soundfield. Varies from

-99 (all left) to 99 (all right).

FdBck

Controls the fade time of the delay repeats. Higher settings take longer to fade out, while a setting of zero could be used to limit the delay to one repeat per voice. The delay provide both positive and negative feedback settings. Ranges from -99% to +99%.

Delay Time

Sets the maximum delay time available to each delay voice. For example, if DELAYTIME is set to 1000 ms, each delay voice can be set from 0 to 100% of that delay time. Ranges from 0 to 1.4 seconds (Maximum delay times differ between 4th, HLF, and FUL module Types.)

DlyA - B

Controls the percentage of DELAYTIME allocated to delay voices A and B. For example, if DELAYTIME (above) is set to 1000 ms and DLYA is set to 75%, the voice A delay time is 750 ms. Remember, each voice in the Module can have any delay time up to 100% of DELAYTIME. Ranges from 0% to 100%.

TapIt

DlyC - D

See Dly A - B. Ranges from 0% to 100%.

Out A - B

Adjusts the overall level of delay voice A or B. Ranges from OFF to 100%.

Out

Adjusts the overall level of the delay. Ranges from OFF to 100%.

Pan

Controls the stereo soundfield placement of the delay. Varies from -99 (all left) to 99 (all right).

Pan A - B

Controls the placement of delay voice A or B in the stereo image. Varies from -99 (all left) to 99 (all right).

Pan C - D

Controls the placement of delay voice C or D in the stereo image. Varies from -99 (all left) to 99 (all right).

Out C - D Adjusts the overall level of delay voice C or D. Ranges from OFF to 100%.

PARAM. DESCRIPTION

Delays

Stero Analog Delay

Pre Delay

Out LA - LB

Adjusts the overall left output level of delay voice A or B. Ranges from OFF to 100%.

Out LC - LD

Adjusts the overall left output level of delay voice C or D. Ranges from OFF to 100%.

Out RA - RB

Adjusts the overall right output level of delay voice A or B. Ranges from OFF to 100%.

Out RC - RD

Adjusts the overall right output level of delay voice C or D. Ranges from OFF to 100%.

Stereo Delay

Out L - R

Adjusts the left or right level of the delay voice. Ranges from OFF to 100%.

Smear

Sets the spread of Diffusion of the Delay Repeats. Ranges from 0 to 100%.

LPF

Selects where the Low Pass Filter is positioned within the Delay Module. Positions are: Pre Delay or Post Delay.

Frequency

Selects the Frequency band that appears in the LPF. Frequencies range from 25hz to 20 khz.

Gain

Controls the gain of the output of the LPF. Ranges from -12 to 12.

Allows you to change DELAYTIME in real-time, by tapping the TAPIT button at the tempo you want. Delay voice percentages do not change when using this control.

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Section 3 - Effects and Parameters

Studio 400 Owner's Manual

EQUALIZERS

The Studio 400 has a broad selection of equalizer Modules to cover virtually any need. Both mono and stereo modules are available. Remember that mono equalizers connected to stereo sources will always sum the stereo signal together for equalization (thus eliminating the stereo image). If you need to maintain the stereo image, use a stereo equalizer module.

The Parametrics allow you to cover very specific regions of the sound spectrum with extreme precision and control. Up to 6 bands of either stereo, or mono parametric equalization are available.

The Graphic equalizers use 1/3, 2/3, or 1 2/3 octave ISO-standard frequency centers.

Mono GEQ15

Stereo GEQ15

Mono GEQ31

Stereo GEQ8

Mono GEQ8

Level Controls the signal input level fed to the Module. Varies from OFF to 100%. Phase

Inverts the phase of the source signal. Can be set either IN or OUT of phase.

Phase L - R

Inverts the phase of the left or right side of the stereo source signal. Can be set either IN or OUT of phase.

(Freq) Hz

Controls the amount of boost / cut applied to the selected frequency. The GEQ8 uses 1-1/3 octave ISO standard frequency centers, while the GEQ15 and GEQ31 use 2/3 octave and 1/3 octave frequencies. Boost / cut range for each band is from -12 to 12.

PARAM. DESCRIPTION

Equalizers

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Stereo PEQ3

Mono PEQ6

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Stereo PEQ6

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LoShlv Freq

Controls the center frequency of the low-frequency shelving EQ band. Ranges from 25 Hz to 20 kHz.

Band# Freq

Sets the center frequency of the selected band. 6-band PEQs have four true parametric bands of EQ plus shelving high- and low-frequency controls with variable frequency. Bands 1 and 2 range from 25 Hz to 20 kHz. Bands 3 and 4 range from 1 kHz to 20 kHz.

LoShlv Level

Adjusts the amount of boost or cut applied to the frequency selected by LOSHLV FREQ. Varies from -12 to 12.

Band# Width

Controls the bandwidth of the selected frequency. The higher the setting of WIDTH, the more frequency-selective the boost / cut becomes. In other words, with low (narrow) WIDTH settings, frequencies around the seleced center frequency are not affected by the LEVEL setting. As WIDTH increases, frequencies around the center frequency become affected by the setting of LEVEL.

Band# Level

Adjusts the amount of boost or cut applied to the selected frequency. Varies from -12 to 12

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HiShlv Freq

Controls the center frequency of the high-frequency shelving EQ band. Ranges from 1 kHz to 20 kHz.

HiShlv Level

Adjusts the amount of boost or cut applied to the frequency selected by HISHLV FREQ. Varies from -12 to 12

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Section 3 - Effects and Parameters

Studio 400 Owner's Manual

NOISE GATE / COMPRESSOR

Noise gates are particularly useful for preventing mic rumble, wind noise, or hum from getting to tape in your recordings, or for gating drum kits to prevent mic bleed.

Compression does exactly what its name implies; it compresses the dynamic range of the signal. It does this by turning signals down as they become louder. After it makes the adjustments, it brings the overall signal back up.

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Compressor

Gate

ThshO Sets the level at which the gate begins to open at the rate set by ATTACK. Both THSHO and THSHC

are independent controls. This gives you the option to do nifty stuff like setting THSHO higher than THSHC, which could be used to let guitar notes sustain longer while still retaining the noise-gating characteristics of the gate when closed.

ThshC Sets the level at which the gate begins to close at the rate set by RELEASE. Both

THSHO and THSHC are independent controls. THSHC cannot be set higher than THSHO.

Thsh Sets the minimum input level at which the compressor will engage

Ranges from -27 to 0.

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Ratio Controls the amount of gain reduction applied to the input signal.

Ranges from 1.5 to 40.

Gain Controls the amount of gain that can be added to a signal after it has been compressed.

Ranges from 0 to 200%

Attack

Controls how quickly the gate or compressor opens after the signal level reaches THSH. Varies from 0 to 2 seconds (Noise gate), Fast or Slow (Compressor).

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Release

Determines how quickly the gate closes after the signal level falls below THSHC, or how quickly the compressor disengages. When used in conjunction with long HOLD settings, this control can be used to further prevent stuttering, or to make the closing of the gate less obtrusive. Varies from 0 to 2 seconds (Noise Gate), Fast or Slow (Compressor).

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Hold

The setting of HOLD determines how long the gate remains open after the signal level falls below THSHC. Long HOLD settings can be used to prevent the gate from "stuttering", or opening and closing rapidly, during soft passages when average signal levels are just above or below the THSHC setting. Varies from 0 to 500 milliseconds.

Delay

Sets the amount of Delay before the Gate or Compressor engages.Ranges from 0.1 to 10 milliseconds.

PARAM. DESCRIPTION Noise Gate/Compressor

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Level Controls the signal input level fed to the Module. Varies from OFF to 100%.

Attn

Adjusts how far the signal level is lowered (attenuated) when the gate is closed. The higher you set ATTN, the lower the noise floor of the source when the gate is closed. Varies from 0% to 100%.

Section 3 - Effects and Parameters

Studio 400 Owner's Manual

MULTI EFFECTS MODULES

The Studio 400, Multi Effect Modules allow the User to combine either Delay and Chorus or Delay and Flange within one Effect module block. This is ideal for situations where the User needs to add another effect to the Effect Configuration, but is running low on signal processing resources. Within the module, there is a unqiue parameter that allows you route the signal several different ways between the two effects.

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Flange/Delay

Chorus/Delay

Dry: Level Controls the level of the dry (uneffected) signal. Ranges from OFF to 100% Balance Controls the left/right posistioning of the dry signal in the strereo sounfield. Varies from -99 (all left) to

99 (all right).

Route Selects the route signal path within the Chorus/Delay, and Flange/Delay Multi effects modules.

The 3 settings are: 1) Chorus/Flange into Delay with feedback into the Delay 2) Chorus/Flange into Delay with feedback into Chorus/Flange 3) Delay into Chorus/Flange with feedback thru the Chorus/Flange.

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Speed Controls the Low Frequency Oscillator (LFO) Speed of the Chorus or Flanger. Range of this control

is 0.06 to 16 Hz.

Depth Adjusts the intensity of the Chorus or Flanger effect. Varies from 0 to 30 milliseconds.

C/F:Delay

Controls the delay time of the Chorus or Flanger voice. Ranges from 0 to 40 milliseconds.

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Feedback

Controls the fade time of the delay repeats. Higher settings take longer to fade out , while a setting of zero will limit the delay to one repeat. Varies from Off to 99%.

Delay TIme

Sets the delay time for the delay tap. Delay time ranges from 0 to 300 milliseconds.

WvFrm

Selects which waveform the LFO follows. Options for this control include: Sine, Triangle, SP1 (Special 1), and SP2 (Special 2).

PARAM. DESCRIPTION

Multi Effects Modules

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Fx: Level Controls the signal input level fed to the Module. Varies from OFF to 100%.

FdBck (Flanger)

Controls how much of the flanged signal is fed back to the input of the module. The FdBack parameter is what gives flangers their distinctive voice Flangers are capable of both positive and negative feedback loops, so experiment to find the sound you like best. Ranges from 0 to 30 milliseconds.

TapIt

Allows you to change the Delay time in real-time by tapping the TAPIT button at the tempo you want. Delay voice percentages do not change when using this control.

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Level C/F/D

Controls the overall output level of each effect block. Ranges from Off to 100%.

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Pan C/F/D

Controls the stereo soundfield placement of each effect block. Ranges from -99 to 99.

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Section 3 - Effects and Parameters

Studio 400 Owner's Manual

SECTION 4- IN LEVELS & UTILITIES

AUTOMATIC AND MANUAL INPUT LEVELING

Proper input level adjustment can be the difference between an acceptable recording and a great recording. Fortunately, the Studio 400 has the ability to automatically optimize your input levels based on the signal sent to the input(s).

The concept of Auto Leveling is simple: the Studio 400 listens to the signal for about 8 seconds, and sets the input levels accordingly. You also have the option of leveling the inputs manually if you want.

To automatically level the inputs, do the following:

• Press and hold the <IN LEVELS> button until AUTO LEVEL appears in the Information line of the display. When you release the button, the display looks something like this:

• Select the inputs you want to auto level using the <1> through <4> buttons. The number buttons you select light brightly, the <NEXT PAGE> button begins flashing, and the Information line of the display alternately reads PRESS NEXT PAGE TO BEGIN and SELECT INPUTS 1 THRU 4. You can choose to auto level any combination or all of the inputs.

• Make sure that the program material you want is playing through the inputs, then press <NEXT PAGE>. The display reads AUTO LEVELING... for eight seconds while listening to the input signal(s), after which the display returns to the manual leveling screen.

NOTE: If no signal is detected, the Input Level will be set to the factory default of 70% You can make fine adjustments to the input level by doing the following:

• Press <IN LEVELS>. The display shows all four inputs and their current level settings.

• Using the number keys, select the input you want to level manually.

• Use the Data wheel to change the level setting of the selected input.

UTILITY

There are settings in the Studio 400 that affect many things simultaneously. They can be found in the Utility menu, and are considered "global" settings. This list of items includes: display contrast, MIDI assignments, system exclusive options, etc.

The Utility section contains eight Pages. To access Utility mode, press <UTILITY> once. Once inside, you can use the <PREV PAGE>, <NEXT PAGE>, <1> - <4> buttons, and the Data wheel to navigate through Utility mode.

USER PRG

SecSecmSec

Select Inputs 1 thru 4

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDIMIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

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Section 4- In Levels & Utilities

Studio 400 Owner's Manual

ADJUSTING THE SCREEN CONTRAST

The SCRN CONTRAST control in the Utility menu allows you to adjust the contrast of the display from different viewing angles. To change the screen contrast, do the following:

• Press <UTILITY>. Scroll to Page One of the Utility Menu using the <NEXT PAGE> and <PREVIOUS PAGE> keys. The display reads:

• Use the Data wheel to adjust the screen contrast to your liking.

• To return to Program mode, press <PROGRAM>.

MIDI CHANNEL

This option sets the MIDI Channel that the Studio 400 will respond to MIDI program changes and CC messages. MIDI Channel settings include: Off, 1, 2,...15, 16, and All.

To change the MIDI channel assignment, do the following:

• Press <UTILITY>. Scroll to Page One of the Utility Menu using the <NEXT PAGE> and <PREVIOUS PAGE> keys. The display reads:

• Press <4> to access the MIDI CHNL Parameter.

• Use the Data wheel to select the desired MIDI channel number.

• To return to Program mode, press <PROGRAM>.

PROGRAM MAP

The Program Mapping features of the Studio 400 allow you to access any of the Studio 400's 290 Programs using the standard 128 Program Change commands through MIDI. From the Factory, the Studio 400 is set to access User Programs 1 through 100 using MIDI Program change numbers 1 through 100. MIDI Program change numbers 101 through 128 access the Factory Program bank.

To gain MIDI access to other programs not mentioned and Bypass you must use the program mapping feature.

To remap a Program number to a MIDI Program change number, do the following:

• Press <UTILITY> ,and Scroll to Page Two of the Utility Menu using the <NEXT PAGE> and <PREVIOUS PAGE> keys. The display reads:

USER PRG

SecSecmSec

PrgMap MIDI = StudioUser

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

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CHANGED CHANGED

UTILITY PAGE

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MODIFIERS

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USER PRG

SecSecmSec

Scrn Contrast MIDI Chnl

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

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UTILITY PAGE

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SecSecmSec

Scrn Contrast MIDI Chnl

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

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Section 4- In Levels & Utilities

Studio 400 Owner's Manual

• Press <2> and use the Data wheel to select the MIDI Program change number you want mapped. Note that the number under STUDIOUSER changes along with the MIDI number.

• Press <3> and use the Data wheel to select the Studio 400 Program you want the selected MIDI Program change number to recall. As this number increases above Program 100, note that STUDIOUSER changes to STUDIOFACT, indicating that the mapped number will recall the indicated Program number in the Factory bank. Pressing <3> again will toggle between the User and Factory banks.

• When you're finished, you can return to Program mode by pressing <PROGRAM>.

SYSTEM EXCLUSIVE DEVICE CHANNEL / MIDI MERGE

An easy way to think of the System Exclusive Device Channel option is to separate System Exclusive data from normal MIDI data. Each type of data has its own group of 16 channels upon which data can be transmitted. Normal MIDI data, like Program Changes, MIDI Volume, Modulation, etc. is transmitted and received on the MIDI channel designated by the setting of MIDI CHANNEL (pg. 31). SysEx data, on the other hand, is transmitted and received on the SysEx channel designated by the setting of SYSEX DEVICE CHANNEL.This setup frees up your regular MIDI channels for other control options, and gives you the flexibility to request SysEx data from only the devices you want in your setup, whether they share the same MIDI channel or not.

The Midi merging option allows incoming MIDI data to be merged with any MIDI data generated by the Studio 400 before being sent to the MIDI Out port.

To change the SysEx Device Channel number or MIDI Merge setting, do the following:

• Press <UTILITY>, and scroll to Page 3 of the Utility Menu using the <NEXT PAGE> and <PREVIOUS PAGE> keys. The display reads:

• Use the Data wheel to select the desired SysEx channel (1, 2,...15, 16), or set the MIDI merge to ON/OFF.

• When you're finished, you can return to Program mode by pressing <PROGRAM>.

PROGRAM DUMP

Allows you to dump individual Studio 400 Programs to another Studio 400 or external MIDI devices like patch librarians, computers, or sequencers for backup, storage, or organization. This option allows you to select the Program to be dumped, and (when dumping to another Studio 400) the Program location where you want the Program dumped.

To initiate an individual patch dump from the Studio 400, do the following:

• Press <UTILITY> and scroll to Page 4 of the Utility Menu using the <NEXT PAGE> and <PREV PAGE> keys. The display reads:

USER PRG

SecSecmSec

DumpFact as Prg-press[4]

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

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CHANGED CHANGED

UTILITY PAGE

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USER PRG

SecmSec

SysEx DevChnl MIDI Merge

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

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Section 4- In Levels and Utilities

Studio 400 Owner's Manual

• Using the Data wheel, select the Program number you want to dump. Note that the AS PRG number changes as you scroll.

• Press <3> and use the Data wheel to select the Program location where you want the Program dumped.

• To initiate the dump, press <4>. The Information line briefly reads SENDING PROGRAM DUMP... after which it returns to the Program dump screen.

SYSTEM EXCLUSIVE BULK DUMP

This option allows you to dump all resident Programs in memory to an external recording device, like a patch librarian, computer, or sequencer for backup, storage, or organization. This option dumps all Programs simultaneously. It does not send any Studio 400 system information, such as SysEx Device channel or Program maps.

To perform a SysEx Bulk Dump of all Studio 400 Programs, do the following:

• Press <UTILITY> and scroll to Page 5 of the Utility Menu using the <NEXT PAGE> and <PREV PAGE> keys. The display reads:

• To initiate the dump, press <2>. The Information line of the display reads SENDING BULK DUMP... after which the display returns to the Dump screen. Bulk Dumps are very large and may take several minutes to complete.

• When you're finished, you can return to Program mode by pressing <PROGRAM>.

SYSTEM DUMP

This is the option to use for dumping system data to an external MIDI or SysEx recording device. All the item settings in the Utility menu and Input Levels are sent using this option. Programs are not included in this dump.

To perform a System Dump, do the following:

• Press <UTILITY> and scroll to Page 5 of the Utility Menu using the <NEXT PAGE> and <PREV

PAGE> keys. The display reads:

• To initiate the dump, press <4>. The Information line of the display briefly reads SENDING SYSTEM DUMP... after which the display returns to the Dump screen.

• When you're finished, you can return to Program mode by pressing <PROGRAM>.

USER PRG

SecSecmSec

SysEx-Bulk Dump-Sys Dump

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

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UTILITY PAGE

DIGITAL CLIPDIGITAL CLIP

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USER PRG

SecSecmSec

SysEx-Bulk Dump-Sys Dump

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

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CHANGED CHANGEDCHANGED

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Section 4 - In Levels and Utilities

Studio 400 Owner's Manual

PROGRAM AUTOLOAD

From the factory, the Studio 400 ships with this option turned on. It simply means that any time you change to a new Program, it is automatically loaded into active memory and begins performing its function. When set to off, newly selected Programs must be loaded manually using the <PROGRAM> button.

This is a great feature for live sound reinforcement situations where the engineer can skip to a non-consecutive Program number without hearing the effects of all the Programs in between.

To change the setting of the Program Autoload function, do the following:

• Press <UTILITY> and scroll to Page 6 of the Utility Menu using the <NEXT PAGE> and <PREVIOUS PAGE> keys. The display reads:

• Use the Data wheel to turn the option on or off.

• When you're finished, you can return to Program mode by pressing <PROGRAM>.

FACTORY RESET

Allows you to erase all User Program and Utility settings at once and restore the Studio 400 memory to its factory condition.

WARNING! This procedure will destroy and reset ALL User Programs in the Studio 400's memory. Be sure

you want to erase the memory, and start fresh before continuing with this procedure.

To perform a factory reset, do the following:

• Press <UTILITY> and scroll to Page 8 of the Utility Menu using the <NEXT PAGE> and <PREV PAGE> keys. The display reads:

• To initiate the reset, press <4>.

• This is your last chance to change your mind. If you are sure, press <3>. If not, you can abort the procedure by pressing <4>. If you press <3>, the Information line of the display briefly reads: FAC

TORY RESETTING... after which the unit resets, and returns to Program 1.

In extreme situations, the Studio 400 can be reset using a special power-up procedure. This will also completely reset the Studio 400, eliminating any custom settings created by the user. The procedure is as follows:

• Press and hold the <1> Parameter button while applying power to the Studio 400.

• Release the <1> Parameter button after an asterisk appears in the information line on the screen.

• Press the <Program> button, and the Studio 400 will re-initialize itself.

USER PRG

SecSecmSec

Factory Reset - press[4]

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

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CHANGED CHANGED

UTILITY PAGE

DIGITAL CLIPDIGITAL CLIP

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USER PRG

SecSecmSec

Program Autoload

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

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Section 4 - In Levels and Utilities

Studio 400 Owner's Manual

HARMONY TUNING REFERENCE

When using Harmony intelligent pitch shifting, the Reference note pitch is set at A=440. If you wish to change the reference note, you can access this function in the Utility menu. Reference can be set from A=427 to A= 453. The procedure is as follows:

• Press <UTILITY>, scroll to page 7 of the Utility page using the <Prev Page> or <Next Page> buttons. The display reads:

• Using the Data wheel, you can modify the Reference note anywhere from A=427 to A=453.

• To exit Harmony Tuning Reference, Press <Program> button.

USER PRG

SecSecSecSecmSec

Harm Tuning Ref: A=440

IN 4

IN 3

IN 2

IN 1

FACTORY PRG

- CHANGED

MIDI

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

OUT 4

OUT 3

OUT 2

OUT 1

CLIP

FX EDIT PAGE

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UTILITY PAGE

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Section 4 - In Levels and Utilities

Studio 400 Owner's Manual

SECTION 5 - APPENDIX

MIDI IMPLEMENTATION CHART

EFFECTS AND DEFAULTS LIST

On the following page, is a list of effects available in the Studio 400. Both the module Type and the effect name appears on Page one of all FX Modules. Please note maximum delay times vary depending on the module Type being used. Please refer back to pg.15 for more information concerning Module types.

Default Messages Altered

Basic Channel

Default Channel

X N/A

X N/A 0 0-127

True Voice

Note Number

Mode

Velocity Note ON

Note OFF

Function... Transmitted Recognized Remarks

After Touch

Key's Ch's

Pitch Bender Control

Change Prog

Change

True #

System Exclusive System

Common

:Song Pos :Song Sel :Tune

System Real Time

:Clock :Commands

Aux Messages

:Local ON/OFF :All Notes Off :Active Sense :Reset

Notes

Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO

O : Yes X : No

X X

O O See S. 400 SysEx docs

N/A

1-16 1-16

Mode 2, Mode 4

X O1*

Mode2, Mode 4

Memorized

X X

X X X X

X X

X X X

X X X X

X X

1* Each Parameter can be linked to any control change. These assignment tables are stored in memory.

2* For Program map 1-128 (Program Change can be mapped to Factory Programs, User Programs, or Bypass function).

X X X

Section 5- Appendix

Studio 400 Owner's Manual

Effect Name

GEQ8 GEQ15 GEQ31 St GEQ8 St GEQ15 St PEQ3 PEQ6 St PEQ6 Dual Cho Quad Cho Octal Cho StDual Cho Dual Fla Stereo Fla Dual Pha Stereo Pha

St Tremolo Auto Pan Dual Dtn Quad Dtn Octal Dtn StDual Dtn Smooth Pch Dual Pitch Quad Pitch Octal Pch St Pitch

Delay

Dual Delay

Quad Delay Stereo Delay StDual Dly StQuad Dly

Reverb DualReverb

St Reverb StDual Rvb

Gated Rvrb St GatRvrb

Noise Gate

Defaults

Module Type - 4th

Module Type - HLF

Module Type - FUL

Effect Type

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Mono Mono

Mono Stereo Stereo Stereo

Mono Stereo

Dual Dual Dual

Stereo

Dual

Stereo

Dual

Stereo

Stereo Stereo

Dual Dual

Dual Stereo Stereo

Dual

Dual Stereo Stereo

Dual

Stereo

Dual

Stereo Stereo

Dual Stereo

Stereo

Flat, LowPump, Sizzle, Smiley, InvrtPhase Flat, LowPump, Sizzle, Smiley, InvrtPhase Flat, LowPump, Sizzle, Smiley, InvrtPhase Flat, LowPump, Sizzle, Smiley, PhasInvrtL Flat, LowPump, Sizzle, Smiley, PhasInvrtL Flat, LowBoost, Smiley, 60HzNotch, PhasInvrtL, SmlBoost, LowNudge Flat, LowBoost, Smiley, 60HzNotch, InvrtPhase Flat, LowBoost, Smiley, 60HzNotch, PhasInvrtL Medium, Shallow, MildNWide, MediumWell, DeepDepth, Deep, MaxDepth, Shimmery, SloVibrato, FstVibrato Medium, MildNWide, MediumWell, Thick, DeepDepth, Deep, MaxDepth, Shimmery, SloVibrato, FstVibrato Medium, Shallow, DeepDepth, MaxDepth, Deep, Shimmery, SpcScrmblr Medium, Shallow, MediumWell, DeepDepth, Deep, MaxDepth, Shimmery, SloVibrato HiSweep30%, HiSweep70%, LoSweep30%, LoSweep70%, Throaty, Nasally, Gonzo, IntenseL, IntenseR, FlaChorus1, FlaChorus2 HiSweep30%, HiSweep70%, LoSweep30%, LoSweep70%, Throaty, Nasally, Gonzo, FlaChorus1, FlaChorus2 ShallowSlo, ShallowFst, Mild Slow, Mild Fast, Medium, Deep, Shimmery, PhaChorus1, PhaChorus2, Psychedelc ShallowSlo, ShallowFst, Mild Slow, Mild Fast, Medium, Deep, Shimmery, PhaChorus1, PhaChorus2, Psychedelc

RotarySpkr

✓

Stereo SloLeslie, MedLeslie

DeepSlow, DeepMedium, Deep Fast, Mild Slow, MildMedium, Mild Fast Wide Slow, WideMedium, Wide Fast, NarrowSlow, NarrowMed, NarrowFast

-5Cents, -12Cents, +/-5Cents, +/-10Cents Shallow, Medium, Wide, Deep Shallow, Medium, Wide, Deep Medium, Deep, -5Cents, -12Cents ShftDn-12, ShftDn-5, ShftDn-24, ShftUp+5, ShftUp+7, ShftUp+12 5th/OctUp, 5thUpOctDn, 3rd/5thUp, Min3/5thUp, 4th/OctDn, OctUp/Down, OctDownDtn, 1&2OctsUp MajChord, MinChord, Octs/Dtn, 5th/OctDtn, 5Octaves Chord/Det1, Chord/Det2, MinChrdDtn, 5thsOcts 5thUp, Min3rdUp, Maj3rdUp, OctaveUp, 4thDown, OctaveDown, 2 0ctsDown

StDual Pch Harmony

✓✓

✓

Stereo

5th/OctUp, 5thUpOctDn, 3rd/5thUp, Min3/5thUp, 4th/OctDn, OctUp/Down, OctDownDtn, 1&2OctsUp Cmaj3rdUp, Cmaj6thUp, Emin3rdUp, Cmaj6thDn, Cmaj3rdDn, Emix3rdUp FUL -> 1400ms/15%, CombFilter, Doubling, Slapback, 300msEcho, 400ms/30%, 500ms/25%, 800ms/20%, 1SecEcho, MaxRepeats, 1400ms/0% HLF -> 700ms/15%, CombFilter, Doubling, Slapback, SlapRight, 300msEcho, 400ms/30%, 500ms/20%, 600ms/15%, MaxRepeats 4th -> 370ms/20%, CombFilter, Doubling1, Doubling2, Slapback, SlapRight, 370ms/50%, MaxRepeats

FUL -> RoundNRnd, SynchroTap, RtoLPanTap, TripleSlow, PingPong, 400msThick, HorseTrot, Shav&Hrcut HLF -> RoundNRnd, SynchroTap, RtoLPanTap, PingPong, 400msThick, HorseTrot, BoBopBeDoo, Shav&Hrcut FUL -> 700ms/20%, CombFilter, Doubling, SlapRight, 400ms/50%, 500ms/30%, 600ms/15%, MaxRepeats HLF -> 370ms/20%, CombFilter, Doubling, 185ms/0%, SlapBack, SlapRight, LongSlap, 370ms Echo, 370ms/50%, Max Repeats FUL -> Skip, SwingPong, PingPong1, PingPong2, DoubleSlap, RoundNRnd, Hard2Tap, ThickEcho HLF -> PingPong, Doubling, DoubleSlap, RoundNRnd, Hard2Tap, ThickTaps, ConcrtSlap, QuickERs RoundNRnd, SynchroTap, PingPong, 400msThick, HorseTrot, Shav&Hrcut, Ratatat, Random

SmoothHall, Bar'nGrill, OakFloorRm, VocalRevrb, FoilPlate, GoldPlate, SmphnyHall, RichChmbr, Sanctuary, SaltPalace, CmntGarage, PlutoVerb BrightHall, LngDrkHall, ConcrtHall, MiniHall, FlatChambr, WarmChambr, BigCathedrl, SmlCathedrl, GoldPlate, ThinPlate, VocalPlate PercPlate, StudioAmb, StudioRoom, WoodRoom, FlutterRvb, VeryThin, CementRoom, HugeArena

100msGated, 200msDcyEx, 200msDecay, 200msGated, 300msDcyEx, 300msDecay, 300msGated, Reverse150, Reverse300, 300msPeak 200msDecay, 200msGated, 400msDcyEx, 300msShelf, DrkGate400, 500msDecay, 500msGated, Reverse300, Reverse500, Peaking500

LoThrsh, MedThrsh, HiThrsh, FastSwell, VolumSwell,

Compressor

✓✓✓

Stereo Light, Medium, Heavy

Room Echo

✓

Stereo WideSlap, LiveSlap, Springy, Stage, Voxy

FUL -> PingPong, 1SecTicToc, Doubling, Slapback, DoubleSlap, RoundNRnd, Hard2Tap, Thick Taps HLF -> PingPong1,PingPong2, Doubling, Slapback, Hard2Tap, RoundNRnd, SlapEcho, RoomDelay, SoftEcho 4th -> PingPong, CombFilter, Doubling1, Slapback, DoubleSlap, RoundNRnd, Hard2Tap, ThickTaps

FUL -> 1400ms/25%, SoftEcho, Eternity HLF -> 700ms/25%, SoftEcho, Eternity 4th -> 350ms/25%, SoftEcho, Eternity FUL -> 700ms/25%, SoftEcho, Eternity HLF -> 350ms/25%, SoftEcho, Eternity

Analog Dly

✓

✓✓

Dual

StAlog Dly

✓✓

Stereo

Pre Delay

✓✓✓

Dual 0ms, 30ms, 60ms, 90ms, 120ms, Warm0ms, Warm60ms, Warm120ms, 0msHPass1, 0msHPass2, 0msHPass3, 0msHPass4,

0msLPass1, 0msLPass2, 0msLPass3, 0msLPass4

Flange/Dly

✓✓✓

Dual FlaLitD300, FlaMedD300, HeavyFlDly, LoSweepDly, ThroatyDly, DoublGonzo, FlangJelly

Chorus/Dly

✓✓✓

Dual MedChoEcho, LitCloEcho, MedChoSlap, DeepChoDly, ShimryEcho, ModDly300m, DeepModDly, DlyCho300m

Section 5- Appendix

Studio 400 Owner's Manual

EFFECT CONFIGURATION CHART

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

IN 4

IN 3

IN 2

IN 1

OUT 4 OUT 4

OUT 3

OUT 2

OUT 1

IN 3

IN 2

IN 1

OUT 3

OUT 2

OUT 1

F F

H HHHH

H H

H HH

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

Configuration 2

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

444 44 44

Configuration 15

Configuration 1

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

Configuration 22

Configuration 4

Configuration 3

Configuration 6

Configuration 5

Configuration 8

Configuration 10

Configuration 11

Configuration 7

Configuration 12

Configuration 9

4 = 4th Type Modules H = HLF Type Modules F = FUL Type Modules

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

4HF

H4 H4

Configuration 14

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

4 4

Configuration 23

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

HHF

44 44

Configuration 13

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

444

Configuration 18

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

444

44 44

Configuration 17

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

444 44

44444

4 4

Configuration 16

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

4HH

44 4

Configuration 21

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

44 H H

Configuration 20

IN 4

IN 3

IN 2

IN 1

OUT 4

OUT 3

OUT 2

OUT 1

Configuration 19

H44

444

4H4

Section 5- Appendix

Studio 400 Owner's Manual

STUDIO 400 FACTORY PROGRAM LIST

CLASSIC REVERBS

1- 1:Rvb 2:GtRv 3:Dly 4:Cho . . . . . . . . . . . . . .Cfg-1

2- Perfect Hall . . . . . . . . . . . . . . . . . . . . . . . . .Cfg-23

3- Stage in a Small Hall . . . . . . . . . . . . . . . . . .Cfg-23

4- Rich Chamber . . . . . . . . . . . . . . . . . . . . . . .Cfg-23

5- Precious Plate . . . . . . . . . . . . . . . . . . . . . . . .Cfg-23

6- Grand Cathedral . . . . . . . . . . . . . . . . . . . . .Cfg-23

7- Large Wood Room . . . . . . . . . . . . . . . . . . . .Cfg-23

8- Percusive Plate . . . . . . . . . . . . . . . . . . . . . . .Cfg-23

9- Vocal Chamber . . . . . . . . . . . . . . . . . . . . . .Cfg-9

10- Concert Hall . . . . . . . . . . . . . . . . . . . . . . . .Cfg-23

ULTI-EFFECT PROGRAMS

11- Blue Primer . . . . . . . . . . . . . . . . . . . . . . . . .Cfg-6

12- Harmony Central . . . . . . . . . . . . . . . . . . . . .Cfg-13

13- Dripping Wet Chorus . . . . . . . . . . . . . . . . . .Cfg-10

14- Analog Delay w/ Reverb . . . . . . . . . . . . . . . .Cfg-10

15- Funky Room . . . . . . . . . . . . . . . . . . . . . . . . .Cfg-14

16- Flanger into Reverb . . . . . . . . . . . . . . . . . . .Cfg-10

17- Phaser Heaven . . . . . . . . . . . . . . . . . . . . . . .Cfg-6

18- Detuned Panaroma . . . . . . . . . . . . . . . . . . . .Cfg-17

19- Octivider Plus . . . . . . . . . . . . . . . . . . . . . . .Cfg-5

20- So Many Effects... . . . . . . . . . . . . . . . . . . . . .Cfg-15

ODULATION PROGRAMS

21- Leslified Room . . . . . . . . . . . . . . . . . . . . . . .Cfg-10

22- Dynamic Rotation . . . . . . . . . . . . . . . . . . . .Cfg-6

23- 16 Voice Chorus . . . . . . . . . . . . . . . . . . . . .Cfg-11

24- Chorus in Motion . . . . . . . . . . . . . . . . . . . .Cfg-21

25- Real Vibrato . . . . . . . . . . . . . . . . . . . . . . . . .Cfg-6

26- Double Flanging . . . . . . . . . . . . . . . . . . . . . .Cfg-5

27- Old Time Tremolo . . . . . . . . . . . . . . . . . . . .Cfg-6

28- Auto Pandoric . . . . . . . . . . . . . . . . . . . . . . .Cfg-6

29- Double Duty Phaser . . . . . . . . . . . . . . . . . . .Cfg-5

30- Modulation Mania . . . . . . . . . . . . . . . . . . . .Cfg-17

ORPHING PROGRAMS

31- Delay/Chorus DynaMorph . . . . . . . . . . . . . .Cfg-5

32- Dynamic Detune . . . . . . . . . . . . . . . . . . . . .Cfg-6

33- Chorus/Reverb DynaMorph . . . . . . . . . . . . .Cfg-11

34- Modimus Maximus . . . . . . . . . . . . . . . . . . . .Cfg-17

35- Double LFO Detuner . . . . . . . . . . . . . . . . . .Cfg-10

36- Detune/Phaser AutoMorph . . . . . . . . . . . . .Cfg-5

37- Dynamic Panner . . . . . . . . . . . . . . . . . . . . . .Cfg-17

38- Dynamic Reverb Time . . . . . . . . . . . . . . . . .Cfg-17

39- Delay/Reverb AutoMorph . . . . . . . . . . . . . .Cfg-11

40- Dynamic Delays . . . . . . . . . . . . . . . . . . . . . .Cfg-11

ELAY PROGRAMS

41- Mono Delay Triplet . . . . . . . . . . . . . . . . . . .Cfg-10

42- Moving Delays . . . . . . . . . . . . . . . . . . . . . . .Cfg-7

43- Ping Pong Delays . . . . . . . . . . . . . . . . . . . . .Cfg-10

44- Synchopated Delays . . . . . . . . . . . . . . . . . . .Cfg-10

45- Delays on the Rise . . . . . . . . . . . . . . . . . . . .Cfg-10

46- 8 Stroke Drum Roll . . . . . . . . . . . . . . . . . . .Cfg-11

47- No Decay Delays . . . . . . . . . . . . . . . . . . . . .Cfg-10

48- 2.8 Second Delay . . . . . . . . . . . . . . . . . . . . .Cfg-10

49- Splatered Delays . . . . . . . . . . . . . . . . . . . . . .Cfg-10

50- DoubleDoubler . . . . . . . . . . . . . . . . . . . . . . .Cfg-10

MBIENT PROGRAMS

51- Detuned Doubler . . . . . . . . . . . . . . . . . . . . . Cfg-10

52- Telephone Lines. . . . . . . . . . . . . . . . . . . . . . Cfg-11

53- T.V. in a Room . . . . . . . . . . . . . . . . . . . . . . Cfg-6

54- Slow Dopler Pan . . . . . . . . . . . . . . . . . . . . . Cfg-6

55- Small Ambience. . . . . . . . . . . . . . . . . . . . . . Cfg-12

56- Live Ambience. . . . . . . . . . . . . . . . . . . . . . . Cfg-12

57- In the Stadium. . . . . . . . . . . . . . . . . . . . . . . Cfg-11

58- Huge Gated Room . . . . . . . . . . . . . . . . . . . . Cfg-10

59- Empty Stage. . . . . . . . . . . . . . . . . . . . . . . . . Cfg-11

60- Mono Room. . . . . . . . . . . . . . . . . . . . . . . . . Cfg-3

PECIAL PROGRAMS

61- Modulated Reverb . . . . . . . . . . . . . . . . . . . . Cfg-3

62- Auto Fade-In Pad. . . . . . . . . . . . . . . . . . . . . Cfg-2

63- Deep Darth Voice . . . . . . . . . . . . . . . . . . . . Cfg-10

64- Chipmunk Chatter . . . . . . . . . . . . . . . . . . . . Cfg-10

65- Blowing Bubbles . . . . . . . . . . . . . . . . . . . . . . Cfg-2

66- Chorus/Delay Splits . . . . . . . . . . . . . . . . . . . Cfg-5

67- Double Intel Harmony . . . . . . . . . . . . . . . . . Cfg-11

68- Stereo Tape Echo. . . . . . . . . . . . . . . . . . . . . Cfg-12

69- Jazzy Pitch Shifting. . . . . . . . . . . . . . . . . . . . Cfg-13

70- Fantasia . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cfg-13

UAD INPUT PROGRAMS

71- (4) NGate/Compressors . . . . . . . . . . . . . . . . Cfg-17

72- (4) Mono GEQ15s. . . . . . . . . . . . . . . . . . . . Cfg-1

73- Candy Cho:Dtn:Pha:Dly. . . . . . . . . . . . . . . Cfg-1

74- St.GEQ15, Chorus & Delay. . . . . . . . . . . . . Cfg-8

75- Hall:Chamber:Plate:Room . . . . . . . . . . . . . . Cfg-1

76- (4) Auto Panners . . . . . . . . . . . . . . . . . . . . . Cfg-1

77- Drums: OvrHeads/Kick/Snr . . . . . . . . . . . . . Cfg-8

78- 4x1 PingPong Mixer. . . . . . . . . . . . . . . . . . . Cfg-17

79- Multi-Effects Mania . . . . . . . . . . . . . . . . . . . Cfg-17

80- (4) Individual Reverbs . . . . . . . . . . . . . . . . . Cfg-1

PATIAL PROGRAMS

81- Centerless Delay. . . . . . . . . . . . . . . . . . . . . . Cfg-3

82- Centerless Reverb . . . . . . . . . . . . . . . . . . . . Cfg-1

83- Simple Auto Panning . . . . . . . . . . . . . . . . . . Cfg-10

84- Modulating Analog Delay . . . . . . . . . . . . . . Cfg-12

85- Waitin in the Green Room . . . . . . . . . . . . . Cfg-7

86- Really Dense Reverb . . . . . . . . . . . . . . . . . . Cfg-1

87- 4x2 Mini Mixer . . . . . . . . . . . . . . . . . . . . . . Cfg-3

88- Left Out of Phase . . . . . . . . . . . . . . . . . . . . . Cfg-12

89- Ghostly Gate . . . . . . . . . . . . . . . . . . . . . . . . Cfg-3

90- Infiniverb. . . . . . . . . . . . . . . . . . . . . . . . . . . Cfg-12

ISC APPLICATION PROGRAMS

91- Vocal Eliminator . . . . . . . . . . . . . . . . . . . . . Cfg-17

92- St. High Pass Filter. . . . . . . . . . . . . . . . . . . . Cfg-12

93- St. Low Pass Filter . . . . . . . . . . . . . . . . . . . . Cfg-12

94- Auto Fade-In . . . . . . . . . . . . . . . . . . . . . . . . Cfg-12

95- Auto Sample & Hold. . . . . . . . . . . . . . . . . . Cfg-10

96- Quadraphonic Imager . . . . . . . . . . . . . . . . . . Cfg-3

97- Stereo Two-Way X-Over . . . . . . . . . . . . . . . Cfg-11

98- Dual 31 band GEQs . . . . . . . . . . . . . . . . . . . Cfg-11

99- St.NGt>Comp>GEQ15. . . . . . . . . . . . . . . . Cfg-6

100-Room Allignment Delays . . . . . . . . . . . . . . Cfg-11

Section 5 - Appendix

Studio 400 Owner's Manual

EFFECT BLOCK CONFIGURATIONS

101) Cfg. 1 (H, H, H, H)

102) Cfg. 2 (H, H, H, H)

103) Cfg. 3 (H, H, H, H)

104) Cfg. 4 (H, H, H, H)

105) Cfg. 5 (H, H, F)

106) Cfg. 6 (H, H, F)

107) Cfg. 7 (H, F, H)

108) Cfg. 8 (F, H, H)

109) Cfg. 9 (F, H, H)

110) Cfg. 10 (F, F)

111) Cfg. 11 (F, F)

112) Cfg. 12 (F)

113) Cfg. 13 (F, H, H)

114) Cfg. 14 (F, H, H)

115) Cfg. 15 (All 1/4)

116) Cfg. 16 (All 1/4)

117) Cfg. 17 (All 1/4)

118) Cfg. 18 (4,4,H,4,4,H)

119) Cfg. 19 (4,H,4,4,H,4)

120) Cfg. 20 (4,4,4,4,H,H)

121) Cfg. 21 (H,H,4,4,4,4)

122) Cfg. 22 (F, H, 4, 4)

123) Cfg. 23 (4, F, H, 4)

FFECT SAMPLERS (100% WET)

124) St. 15 Band GEQ

125) St. 6 Band PEQ

126) Dual Chorus

127) Quad Chorus

128) Octal Chorus

129) St. Dual Chorus

130) Dual Flange

131) Stereo Flange

132) Dual Phaser

133) Stereo Phaser

134) RotarySpeaker

135) St. Tremolo

136) Auto Pan

137) Dual Detune 138 Quad Detune 139 Octal Detune

140) St. Dual Detune

141) Smooth PitchShift

142) Dual PitchShift

143) Quad PitchShift

144) Octal PitchShift

145) St. PitchShift

146) St. Dual PitchShift

147) Harmony

148) Delay

149) Dual Delay

150) Quad Delay

151) Stereo Delay

152) St. Dual Delay

153) St. Quad Delay

154) Analog Delay

155) St. Analog Delay

156) Chorus/Dly

157) Flange/Dly

158) Reverb

159) Dual Reverb

160) Stereo Reverb

161) St. Dual Reverb

162) Gated Reverb

163) St. Gated Reverb

164) Room Echo

165) Noise Gate

166) Compressor

ORE REVERBS (100% WET)

167) St.Bright Hall

168) St.Long Dark Hall

169) St.Concert Hall

170) St.Mini Hall

171) St.Flat Chamber

172) St.Warm Chamber

173) St.Big Cathedral

174) St.Small Cathedral

175) St.Gold Foil Plate

176) St.Thin Plate

177) St.Vocal Plate

178) St.Snare Plate

179) St.Studio Ambience

180) St.Studio Room

181) St.Large Wood Room

182) St.Flutter Room

183) St.Very Thin Reverb

184) St.Huge Arena

185) St.Cement Room

186) St.Big Spring

187) St.Gated Rvb Linear

188) St.Gated Rvb Reverse

189) St.Gated Rvb Decayed

190) St.Room Delay

191) (4) Long Reverbs

Section 5 - Appendix

Studio 400 Owner's Manual

STUDIO 400 SPECIFICATIONS

A/D Converter: 18 bit, 128 x oversampled delta-sigma stereo D/A Converter: 20 bit 64 x oversampled Sampling Frequency: 44.1 kHz

DSP Section: Static-Dynamic Instruction Set computer(S-DISC®) Digital Signal Path Width: 24 bits (144.5 dB) Internal Data Path Width: 48 bits (289 dB) Dynamic Delay Memory: 64k x 24 bits (1.4 seconds) Static Delay Memory: 256 24-bit registers (5.8 milliseconds) Data ALU Processing: 11.3 MIPS Address ALU Processing: 16.9 MIPS Multiplier Size: 24 bits x 24 bits

Input Section: Connectors: 4- 1/4" TRS Plug balanced, XLR Balanced Nominal Level: -10 dBV, +4 dBu, software variable Maximum Level: +18 dBu Impedance: 10 kΩ

Output Section: Connectors: 4- 1/4" TRS Plug balanced, XLR Balanced Nominal Level: -10dBV, +4 dBu switchable Maximum Level: +18 dBu Impedance: 470 Ω

General: Frequency Response: 20 Hz. - 20kHz. ±3 dB S/N ratio: Greater than 91 dB; ref =max signal, 22 kHz measurement bandwidth, unweighted 96dB Max signal “A” Unweighted Total Harmonic Distortion Less than 0.03% (1 kHz) Midi In, Out/Thru

Memory Capacity:

Factory: 191 Programs User: 100 Programs

Power Requirements: US and Canada: 120 VAC, 60 Hz Japan: 100 VAC, 50/60 Hz Europe: 230 VAC, 50 Hz UK: 240 VAC, 50 Hz Power Consumption: 30 watts

Dimensions: 19" (482 mm) W x 3.50" (88 mm) H x 9.25" (234 mm) D Net Weight: 10.25 lbs (4.64 kg.) Shipping Weight: 13.0 lbs. (5.90 kg.)

Section 5 - Appendix

Studio 400 Owner's Manual

HARMONY INTERVAL CHARTS



üOct



ü7th

ü6th

ü#5th

ü#4th

ü3rd

ü2nd

Ref

¨ı2nd

¨ı3rd

¨3rd

¨b5th

¨b6th

¨b7th

¨Oct

Lydian

Aug.

C B

A G# F# E

D C

A G# F#



Int.



üOct

ü6th

ü5th

ü3rd

ü2nd

Ref

¨ı3rd

¨4th

¨ı6th

¨ı7th

¨Oct



Major Pent.

C A

G E

D C A G E D C



Int.



üOct

üb7th

ü5th

ü4th

üı3rd

Ref

¨2nd

¨4th

¨5th

¨6th

¨Oct



Minor

Pent.

B b

E b

B b

E b



Int.



üOct

üı7th

ü5th

üı5th

ü4th

üı3rd

Ref Ref Ref Ref

¨2nd

¨4th

¨b5th

¨5th

¨6th

¨Oct

Blues

B b

E b

C B

E b

  ¨7th ¨ı7th



Int.

¨ı5th

¨ı6th

¨ı7th

¨Oct



¨4th

¨ı5th

¨ı6th

¨6th

¨Oct

¨3rd

¨ı5th

¨5th

¨6th

¨Oct



üOct

üı7th

ü#5th

ü#4th

ü3rd

ü2nd



¨2nd

¨3rd



Whole

Tone

C A# G#

D C A#



Int.

üOct

üı7th

ü6th

ü5th

ü#4th

ü3rd

ü#2nd üı3rd

ü2nd



¨2nd

¨ı3rd



¨ı2nd

¨ı3rd



Hlf-Whl

Dim.

B b

E E b

D b

B b



Int.

üOct

ü6th

ü5th

üı6th

üı5th

ü4th



ü2nd

Whl-Hlf

C B A

E b

D C B A

Int.

Dim.

E b

D C

G F# E

D b



üOct ü7th ü6th üOct üOct üOct üOct

Ref

¨2nd ¨3rd ¨4th ¨5th ¨6th ¨7th ¨Oct

Major

C B A G

F E D C B A G

F E D C

A b

D C

A b

D C

C B

D C B

D C

C B A

D C B A

D C

A G F E D C

C B A G

E D C B A G

E D C

Minor Harm.Minor Mel.Minor Dorian Mixolydian LydianInterval

Section 5 - Appendix

Studio 400 Owner’s Manual

USER NOTES....

Section 5 - Appendix

Studio 400 Owner's Manual

USER NOTES...

Section 5 - Appendix

Studio 400 Owner’s Manual

8760 South Sandy Parkway

Sandy, Utah, 84070

Telephone (801) 566-8800

FAX (801) 566-7005

International Distribution: 3 Overlook Dr Unit 4

Amherst, New Hampshire 03031 U.S.A.

FAX (603) 672-4246

DigiTech™, Studio 400, and S-DISC™ are registered trademarks

of DOD Electronics Corporation

DOD Electronics Corporation

Printed In U.S.A. 11/95

Manufactured in the U.S.A.

Studio 400 18-2153-A

DigiTech STUDIO 400 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual