Ensoniq DP4+ DP4 manual

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R e f e r e n c e M a n u a l V e r s i o n 2 . 0

D P / 4 +

D P / 4 + R e f e r e n c e M a n u a l :

Written, designed, and illustrated by: Tom Tracy, Bill Whipple, Jon Dattorro, John Senior

Please record the following information:

Your Authorized ENSONIQ Dealer:___________________________ Phone:_______________

Your Dealer Sales Representative:_________________________________________________

Serial Number of Unit:___________________________ Date of Purchase:_________________

Your Authorized ENSONIQ Dealer is your primary source for service and support. The above information will be helpful in communicating with your Authorized ENSONIQ Dealer, and provide necessary information should you need to contact ENSONIQ Customer Service. If you have any questions concerning the use of this unit, please contact your Authorized ENSONIQ Dealer first. For additional technical support, or to find the name of the nearest Authorized ENSONIQ Repair Station, call ENSONIQ Customer Service at (610) 647-3930 Monday through Friday 9:30 AM to 12:15 PM and 1:15 PM to 6:30 PM Eastern Time. Between 1:15 PM and 5:00 PM we experience our heaviest call load. During these times, there may be delays in answering your call.

This manual is copyrighted and all rights are reserved by ENSONIQ Corp. This document may not, in whole or in part, be copied, photocopied, reproduced, translated, or reduced to any electronic medium or machine readable form without prior written consent from ENSONIQ Corp. The DP/4+ software/firmware is copyrighted and all rights are reserved by ENSONIQ Corp.

Although every effort has been made to ensure the accuracy of the text and illustrations in this manual, no guarantee is made or implied in this regard.

IMPORTANT:

“This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturer's instructions, may cause interference to radio and television reception. It has been designed to comply with the limits for a Class B computing device in accordance with the specifications in Subpart J of Part 15 of FCC rules, which are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures.”

* reorient the receiving antenna * relocate the instrument with respect to the receiver * move the instrument away from the receiver * plug the instrument into a different outlet so that the instrument and receiver are on different branch circuits

“If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful: 'How to Identify and Resolve Radio-TV Interference Problems.' This booklet is available from the U.S. Government Printing Office, Washington, D.C. 20402. Stock No. 004-000-00345-4.”

CAUTION! Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type recommended by the manufacturer. Discard used batteries according to manufacturer's instructions.

In order to fulfill warranty requirements, the DP/4+ should be serviced only by an Authorized ENSONIQ Repair Station. The ENSONIQ serial number label must appear on the outside of the unit, or the ENSONIQ warranty is void.

• ENSONIQ, DP/4+, TS-10, TS-12, and ASR-10 are trademarks of ENSONIQ Corp.

Part # 9310 0177 01 - D Model # MM-86

Table of Contents

Table of Contents DP/4+ List of Tips Preface

Welcome!.................................................................................................................i

The Effects..........................................................................................................i

Parallel Processing..............................................................................................i

Clean Up and Maintenance..................................................................................i

Power.......................................................................................................................ii

Polarization and Grounding.................................................................................ii

AC Line Conditioning................................................................................................iii

Guidelines for using the DP/4+..................................................................................iii

Temperature Guidelines......................................................................................iii

Rack Mounting Guidelines...................................................................................iii

Amplifying Your DP/4+ Through a Home Stereo System............................................iv

Powering Up Your DP/4+ In a MIDI Configuration......................................................iv

Reinitializing the DP/4+....................................................................................v

To reinitialize the DP/4+..............................................................................v

Battery Replacement Guidelines...............................................................................vi

Available Options for Your DP/4+.............................................................................vi

Need More Help?......................................................................................................vii

Section 1 — Controls & Basic Functions

Front Panel Controls..................................................................................................2

Rear Panel Connections..............................................................................................4

DP/4+ RULES...........................................................................................................5

Setting Levels.....................................................................................................5

Setting the Level Switch.....................................................................................5

To set the input level(s).......................................................................................5

To set the output level(s).....................................................................................5

Using Headphones with the DP/4+...........................................................................6

The Input 1 Jack — Front Panel vs. Back Panel............................................................7

A Note About the Input and Output Jacks...................................................................8

Ground Loops.............................................................................................................9

Using XLR Ins and Outs with the DP/4+...............................................................10

A Note about the Foot Switches.................................................................................11

About Mono Foot Switches...................................................................................11

Four-On-The-Floor....................................................................................................12

An Application For Using Two Stereo Foot Switches to Bypass Effects..................12

HOT MODS!.............................................................................................................13

Replace the Mono Foot Switch Plug with a Stereo Plug.........................................13

Build a Splitter Box to Merge Two Mono Foot Switches into One Stereo Jack..........14

DP/4+ Modes......................................................................................................15

Select Mode..................................................................................................15

Edit Mode.....................................................................................................15

System•MIDI Mode......................................................................................15

Button Names...........................................................................................................15

About Select Mode.........................................................................................16

About Edit Mode...........................................................................................17

Edit Buffer..........................................................................................................17

About System•MIDI Mode.............................................................................18

About Presets............................................................................................................19

ENSONIQ DP/4+ Reference Manual 1

Table of Contents

Input Configurations..................................................................................................19

One Source Input Configuration............................................................................19

Two Source Input Configuration............................................................................19

Three Source Input Configuration.........................................................................19

Four Source Input Configuration...........................................................................19

Selecting Config Presets.......................................................................................20

Selecting a Config preset will........................................................................20

To select a Config preset................................................................................20

How the Config Type Affects Selecting Presets.....................................................21

Replacing the Algorithm in a Single Unit............................................................22

Loading a 2 Unit Preset While in a 1 Source Config.....................................................22

About Signal Routing.................................................................................................23

Signal Routing Between Units..............................................................................23

Understanding Serial, Parallel and Feedback Signal Routing...............................24

Serial Routing...............................................................................................24

Parallel Routing...........................................................................................24

Feedback Routing..........................................................................................24

Bypassing Units........................................................................................................25

Quick Tips and Shortcuts.....................................................................................25

Section 2 — Algorithms

List of Algorithms.....................................................................................................28

Understanding DP/4+ Algorithms.............................................................................29

About the Algorithm Parameters...............................................................................29

To Display the Algorithm Parameters.................................................................29

Programming Algorithms..........................................................................................29

When are New Algorithms Loaded into the ESP Chips?............................................30

Algorithm Abbreviations..........................................................................................30

Algorithm Parameters..............................................................................................30

Editing Algorithm Parameters............................................................................31

To modify the parameters of the algorithm in a unit......................................31

Mix and Volume Parameters......................................................................................32

Algorithm Modulators..............................................................................................32

Modulating Effects Parameters with the CV Pedal....................................................33

Crossfading Effects....................................................................................................34

3.3 SEC DDL 2U..................................................................................................35

Using the Instant Replay Feature..................................................................36

8 VOICE CHORUS..............................................................................................37

DE-ESSER..........................................................................................................39

DIGITAL TUBE AMP..........................................................................................41

DUAL DELAY....................................................................................................43

DUCKER / GATE................................................................................................45

DYNAMIC TUBE AMP.......................................................................................47

EQ - CHORUS - DDL..........................................................................................49

EQ - COMPRESSOR............................................................................................51

EQ - DDL - WITH LFO........................................................................................53

EQ - FLANGER - DDL.........................................................................................55

EQ - PANNER - DDL..........................................................................................57

EQ-TREMOLO-DDL...........................................................................................59

EQ - VIBRATO - DDL.........................................................................................61

EXPANDER........................................................................................................63

FAST PITCH SHIFT............................................................................................65

FLANGER..........................................................................................................66

GATED REVERB.................................................................................................67

2 ENSONIQ DP/4+ Reference Manual

Table of Contents

GUITAR AMP 1, GUITAR AMP 2.........................................................................70

GUITAR AMP 3...................................................................................................72

GUITAR AMP 4...................................................................................................74

GUITAR TUNER 2U............................................................................................76

HALL REVERB...................................................................................................77

INVERSE EXPANDER........................................................................................80

KEYED EXPANDER...........................................................................................82

LARGE PLATE....................................................................................................84

LARGE ROOM REV............................................................................................86

MULTI TAP DELAY............................................................................................89

NO EFFECT (BYPASS EFFECT)..........................................................................90

NON LIN REVERB 1, 2, 3....................................................................................91

PARAMETRIC EQ...............................................................................................94

PHASER-DDL....................................................................................................95

PITCH SHIFT 2U................................................................................................97

PITCHSHIFT - DDL............................................................................................99

PITCH SHIFTER.................................................................................................101

REVERSE REVERB 1...........................................................................................103

REVERSE REVERB 2...........................................................................................105

ROTATING SPEAKER........................................................................................107

RUMBLE FILTER................................................................................................109

SINE/NOISE GEN..............................................................................................110

SMALL PLATE....................................................................................................111

SMALL ROOM REV............................................................................................113

SPEAKER CABINET...........................................................................................116

TEMPO DELAY...................................................................................................117

TUNABLE SPEAKER..........................................................................................118

TUNABLE SPEAKER 2.......................................................................................119

VAN DER POL FILTER.......................................................................................121

VCF - DISTORT 1................................................................................................122

VCF - DISTORT 2................................................................................................124

VOCAL REMOVER.............................................................................................126

How to use the Vocal Remover.......................................................................126

VOCODER.........................................................................................................128

How the Vocoder Works................................................................................128

Setting Up the Vocoder.................................................................................129

Making the Right Connections.................................................................129

Selecting the Vocoder Preset..........................................................................129

Using the Vocoder.........................................................................................129

Section 3 — Config Parameters

What is a Config?.....................................................................................................132

Config Presets...........................................................................................................132

About Signal Routing.................................................................................................132

Input Configurations..................................................................................................133

One Source Input Configuration............................................................................133

Two Source Input Configuration............................................................................133

Three Source Input Configuration.........................................................................133

Four Source Input Configuration...........................................................................133

Selecting a Config Preset...........................................................................................134

To select a Config preset......................................................................................134

Editing a Config Preset..............................................................................................134

To edit a Config Preset.........................................................................................134

1 Source Config..........................................................................................................135

ENSONIQ DP/4+ Reference Manual 3

Table of Contents

Available ABCD Routings..................................................................................137

2 Source Config..........................................................................................................140

3 Source Config..........................................................................................................142

4 Source Config..........................................................................................................144

Section 4 — System•MIDI

About System•MIDI..................................................................................................146

To set the System parameters..............................................................................146

Shortcuts for Selecting System•MIDI Parameters.................................................147

Unit Specific Parameters...........................................................................................148

How the DP/4+ Uses MIDI Channels...................................................................149

If it does not seem to be working.................................................................................150

Program Change-to-Preset Map Editor.................................................................151

List of MIDI Controller Names..................................................................................153

System Global Parameters.........................................................................................154

Source List....................................................................................................155

Song Editor.........................................................................................................156

Using the Song Editor Feature........................................................................157

Using a Foot Switch to Alternate Between Two Presets...................................158

System Exclusive Dump.............................................................................................165

System Utility Functions...........................................................................................166

Soft Reset...........................................................................................................166

Initializing the RAM Presets...............................................................................166

To initialize the RAM presets.......................................................................166

Reinitializing the DP/4+....................................................................................167

To reinitialize the DP/4+..............................................................................167

System Diagnostic Parameters...................................................................................167

Section 5 — Storage

Internal Storage........................................................................................................170

The Preset Memory Protect Switch.......................................................................170

Saving Presets...........................................................................................................171

To Name and Save a Preset..................................................................................171

List of Alpha-Numeric Characters......................................................................172

Bailing Out.........................................................................................................172

Advanced Features....................................................................................................173

Switching Preset Types when Saving...................................................................173

Saving a 2 Unit Preset While in a 1 Source Config.................................................173

Swapping 1 Unit Presets......................................................................................173

Copying a 1 Unit Preset to Another Unit...............................................................174

Loading a 2 Unit Preset While in a 1 Source Config...............................................174

Copying Presets...................................................................................................175

To Copy a Preset............................................................................................175

MIDI System Exclusive Storage.................................................................................176

Sending MIDI Sys-Ex Messages to another DP/4+ or to a Storage Device...............176

To Send DP/4+ Data Out via MIDI System Exclusive Dump..................................176

Receiving MIDI System Exclusive Dumps with the DP/4+....................................178

Problems?.....................................................................................................178

Using the Preset Parameter Worksheet......................................................................179

4 ENSONIQ DP/4+ Reference Manual

Table of Contents

Section 6 — Presets

Quick Steps to Hear Presets.......................................................................................183

To Select 1 Unit Presets........................................................................................183

To Select 2 Unit Presets........................................................................................183

To Select 4 Unit Presets........................................................................................183

To Select Config Presets.......................................................................................183

1-Unit RAM Presets...................................................................................................184

1-Unit ROM Presets...................................................................................................186

2-Unit RAM Presets...................................................................................................188

2-Unit ROM Presets...................................................................................................190

4-Unit RAM Presets...................................................................................................192

4-Unit ROM Presets...................................................................................................194

Config RAM Presets...................................................................................................196

Config ROM Presets...................................................................................................198

Appendix

DP/4+ MIDI Implementation.....................................................................................I

Glossary...................................................................................................................III

DP/4+ Algorithm Parameters....................................................................................XI

Specs........................................................................................................................XXIII

Physical.............................................................................................................XXIII

Dimensions.........................................................................................................XXIII

Index

Charts

Song Step Worksheet MIDI Program Change Map Worksheet DP/4+ Preset Parameter Worksheet

ENSONIQ DP/4+ Reference Manual 5

List of Tips

DP/4+ List of Tips

Using Four Mono Foot Switches with the DP/4+.........................................................14

Shortcuts for locating System•MIDI parameters........................................................18

To Get to the First Parameter.....................................................................................25

To Advance by Screens...............................................................................................25

To Quickly Advance Through the Parameters............................................................25

To Undo Your Last Parameter Edit.............................................................................25

To Restore Parameter Settings...................................................................................25

To Quickly Center a Signed Parameter.......................................................................25

A Quick Way to Edit the Program Change Map..........................................................151

Changing Modulation Sources Quickly.......................................................................155

Using Different Combinations of Bypassed/Un-bypassed in a Song.............................156

A Quick Way to get to the Preset Memory Protect display..........................................170

Using the Unit buttons to Select the Alphanumeric Characters for Naming Presets......172

Setting the Preset Memory Protect Switch to Prevent Accidently Erasing Presets.........172

6 ENSONIQ DP/4+ Reference Manual

Welcome!

Congratulations, and thank you for purchasing the ENSONIQ DP/4+ Parallel Effects Processor.

The DP/4+ creates 24-bit digital effects using four independent processors, and features four

independent inputs and outputs with full internal mixing capabilities. The DP/4+ is equally at

home in a professional recording studio, home studio, guitar rig, MIDI setup, or PA system.

The Effects

The ENSONIQ DP/4+ Parallel Effects Processor has over 50 high fidelity fully programmable

digital effect algorithms. Reverb, chorusing, flanging, delay, distortion, pitch shifting and an

assortment of other programs are provided with dynamic control over most of the settings.

There are 400 effect presets; 200 ROM (Read Only Memory) and 200 additional RAM (Random

Access Memory) presets for you to edit or store your own creations.

Parallel Processing

While other multi-effects processors only allow one input signal to be “effected,” the DP/4+’s

four-in, four-out design permits stereo processing of four parallel channels (multi-processing).

There is only one user interface, but up to four different input signals can each go to a separate

internal signal processor. Multiple inputs and outputs also allow for special types of effects, like

vocoding and ducking.

Preface

The DP/4+ can be used as one huge effects box, two stereo-in effects boxes, three effects boxes, or

four separate effects boxes. The routing between the four processing units is completely

programmable, allowing for any combination of serial and parallel effects. The DP/4+ also offers

paths to feedback the signal, and side-chain capability. The variable architecture and rich

assortment of algorithms provide for unusual effect structures not found in fixed routing

systems. The unique output mixing capability can also save you mixer effect return channels by

mixing the stereo outputs of the four effects units down to a single stereo pair (outputs 1 and 2).

The DP/4+ is equipped with an advanced digital signal processing system based on the

ENSONIQ Signal Processor (ESP) chip. The ESP chip is designed specifically for digital audio

signal processing, and in the DP/4+, four ESP chips work in conjunction with 16-bit analog-to-

digital and digital-to-analog converters to provide a studio-quality output signal.

The digital effects processing capability has been designed to complement any input source

(balanced/unbalanced; +4dBu to-10dBV), and all of the algorithms (except the Guitar Tuner) can

have specific parameters modulated by various MIDI and non-MIDI controllers such as a

keyboard’s pitch wheel, a CV Pedal, etc.

Clean Up and Maintenance

Clean the exterior of your DP/4+ with a soft, lint-free, dry (or slightly damp) cloth. You can use

a slightly dampened cloth (with a mild neutral detergent) to remove stubborn dirt, but make sure

that the DP/4+ is thoroughly dry before turning on the power. Never use alcohol, benzene,

volatile cleaners, solvents, abrasives, polish or rubbing compounds.

Thank you again for choosing ENSONIQ. Enjoy the music!

ENSONIQ DP/4+ Reference Manual i

Preface

Power

Insert the line cord into the line

receptacle on the rear panel of the

DP/4+. Plug the other end of the

cable into a grounded AC outlet

(the proper voltage for your DP/4+

is listed on the Serial Number label

on the rear panel). Turn the DP/4+

power on and make sure the

display lights up. If not, check your

connections and power source.

When you turn the power on, the

display will show “ENSONIQ *

DP/4+,” and then go to Select mode

(Select LED on). If you travel,

remember the DP/4+ will only operate on the listed voltage.

Polarization and Grounding

Like many modern electrical devices, your ENSONIQ product has a three-prong power cord with

earth ground to ensure safe operation. Some products have power cords with only two prongs

and no earth ground. To ensure safe operation, modern products with two-prong power cords

have polarized plugs which can only be inserted into an outlet the proper way.

Line

WARNING!

To reduce the risk of fire or electric shock do not expose

this product to rain or moisture.

Thru

Three-prong

PolarizedNon-polarized

with earth ground

Some products, such as older guitar amplifiers, do not have polarized plugs and can be

connected to an outlet incorrectly. This may result in dangerous high voltages on the audio

connections, which could cause you physical harm or damage any properly grounded

equipment to which they are connected, such as your ENSONIQ product.

To avoid shock hazards or equipment damage, we recommend the following precautions:

• If you own equipment with two-pronged power cords, check to see if they are polarized or non-polarized. You might consider having an authorized repair station change any nonpolarized plugs on your equipment to polarized plugs to avoid future problems.

• Exercise caution when using extension cords or plug adapters. Proper polarization should always be maintained from the outlet to the plug. The use of polarized extension cords and adapters is the easiest way to maintain proper polarity.

• Whenever possible, connect all products with grounded power cords to the same outlet ground. This will ensure a common ground level to prevent equipment damage and minimize hum in the audio output.

AC outlet testers are available from many electronic supply and hardware stores. These can be used to check for proper polarity of outlets and cords.

ii ENSONIQ DP/4+ Reference Manual

AC Line Conditioning

As with any computer device, the DP/4+ is sensitive to sharp peaks and drops in the AC line voltage. Lightning strikes, power drops, or sudden and erratic surges in the AC line voltage can scramble the internal memory, and in some cases, damage the unit’s hardware. Here are a few suggestions to help guard against such occurrences:

• A Surge/Spike Suppressor. The cheaper of the options, a surge/spike suppressor absorbs surges and protects your gear from all but the most severe over-voltage conditions. You can get multi-outlet power strips with built-in surge/spike suppressors for little more than the cost of unprotected power strips, so using one is a good investment for all your electronic equipment.

• A Line Conditioner. This is the best, but by far the more expensive way to protect your gear. In addition to protecting against surges and spikes, a line conditioner guards the equipment against excessively high or low line voltages. If you use the DP/4+ in lots of different locations with varying or unknown AC line conditions, you might consider investing in a line conditioner.

Guidelines for using the DP/4+

Temperature Guidelines

The DP/4+ contains a substantial amount of computerized and electronic circuitry that can be susceptible to damage when exposed to extreme temperature changes. When the DP/4+ is brought inside after sitting in a cold climate (i.e. the back seat of your car), condensation builds up on the internal circuitry in much the same way a pair of glasses fogs up when you come inside on a cold day. If the unit is powered up as this condensation occurs, components can short out or be damaged. Excessively high temperatures also pose a threat to the unit, stressing both the internal circuits as well as the case. With this in mind, it is highly advisable to follow these precautions when storing, mounting and setting up your DP/4+:

Preface

• Avoid leaving the DP/4+ in temperatures of less than 50 degrees Fahrenheit or more than 100 degrees Fahrenheit.

• When bringing the DP/4+ indoors after travel, allow the unit at least 20 minutes to reach room temperature before powering up. In the case of excessive outdoor temperatures (below 50 degrees Fahrenheit or above 100 degrees Fahrenheit), allow an hour or more before power up.

• Avoid leaving the DP/4+ inside a vehicle exposed to direct sunlight.

Rack Mounting Guidelines

Because the DP/4+ operates with an internal transformer, there is a certain amount of heat generated by this unit. For better reliability, we recommend that you do not install this unit beneath devices that are sensitive to heat, or above power amps, tube equipment, or other rackmount units that emit a lot of heat. We recommend leaving a space above the DP/4+, as well.

ENSONIQ DP/4+ Reference Manual iii

Preface

Amplifying Your DP/4+ Through a Home Stereo System

If you are thinking about amplifying your DP/4+ through your home stereo, please be careful. A home stereo is great for playing CDs, albums or tapes — the dynamic range of these media is limited, and your speakers aren’t usually subjected to extreme volume changes and frequency transients. While the dynamic range of CDs is significantly greater than LPs or tapes, the output of a CD player is still conservative compared to output of a pro-level effects processor. Running your DP/4+ (or any pro-level product) through a home stereo at high volume levels can damage your stereo system and/or speakers. If your only means of amplification is your home stereo, set the Level (dBu) switch to the -10 dBV position, set the Output Knobs to around the 12 o’clock position, and try to keep your levels on the conservative side.

Powering Up Your DP/4+ In a MIDI Configuration

Just as you would power up the individual components before turning on the amplifier in your home stereo system, you should first turn on the MIDI data transmitting source (processors, keyboards, modules, etc.) before you power up the receiving MIDI source. For instance, if you’re using the DP/4+ to receive MIDI information from a keyboard/sequencer, you would turn the keyboard on before the DP/4+. This will prevent any unwanted MIDI information from being “spit” out of the transmitting source (keyboard/sequencer) during power up, which could confuse the MIDI receivers, thereby disabling them. If this should occur, turn off the receiving module, and then turn it back on.

iv ENSONIQ DP/4+ Reference Manual

Reinitializing the DP/4+

If your DP/4+ is behaving in peculiar ways (the display is showing alphanumeric characters that shouldn’t be there or unexplainable Unexpected Event messages) and a soft reset (or turning the DP/4+ power off and then on again) won’t cure the problem, try reinitializing the DP/4+.

WARNING! THIS PROCESS WILL ERASE ALL RAM PRESETS! The 200 User Presets in the internal memory (RAM) are automatically loaded with the factory defaults after reinitialization. Good backup habits should be an important part of your routine. Save any important information by using the MIDI System Exclusive Dump feature of the DP/4+, or manually write down the relevant parameters using the provided Preset Parameter Worksheet (or a photo-copy). If you fail to do so, you may accidentally lose the presets you’ve created.

To reinitialize the DP/4+

1. While holding down the {SYSTEM"MIDI} button,

2. Press the {B} button.

3. Press the {>} button. The display shows:

Preface

Hit <WRITE> To Reinitialize!!!!

Press the {CANCEL} button to quit without reinitializing the system, or

4. Press the {WRITE} button to reinitialize the DP/4+. Remember that by doing this you will replace all of the RAM Preset data in the DP/4+, and all System•MIDI parameters will be reset to their default range!

If reinitializing the DP/4+ does not correct the problem, then contact an Authorized ENSONIQ Repair Station.

Note: If the DP/4+ is sitting in an infinite loop of system errors (the display is continually cycling through errors), press the {SYSTEM"MIDI} button to escape this state.

Note: In the unlikely event of a system malfunction, you can save your entire set-up (all Preset Banks and System parameters) with a System Exclusive dump by pressing the {WRITE} button. This will help you restore all of the user-defined parameters. For more information about System Exclusive dumps, see Section 5 — Storage.

ENSONIQ DP/4+ Reference Manual v

Preface

Battery Replacement Guidelines

The reason that the DP/4+ “remembers” configs, presets and system parameters, even when the power is off, is that all of its internal RAM is “battery-backed-up.” The battery that keeps the DP/4+ memory intact is located inside the DP/4+, and when it becomes discharged, the battery must be replaced by an Authorized ENSONIQ Repair Station.

The battery that came in your DP/4+ is good for up to five years. You will know when it needs replacing, because the DP/4+ will tell you so. One day you will switch the power on, and instead of its usual wake-up message, the display will read:

-- WARNING - Battery is Low

This will only appear for a short time, and then you can commence with normal operation. Then, make sure that all custom RAM configs, presets and system parameters are saved, and take the DP/4+ to an Authorized ENSONIQ Repair Station as soon as possible to have the battery replaced.

For more information about saving DP/4+ data, see Section 5 — Storage.

Available Options for Your DP/4+

These optional accessories are available from your Authorized ENSONIQ Dealer:

• CVP-1 Pedal — A Control Voltage Foot Pedal which can be assigned as a modulator to parameters within the DP/4+. The CVP-1 Pedal makes a great “wah wah” pedal.

• SW-10 Dual Damper Foot Switch — Because the DP/4+ has two stereo Foot Switch jacks, you can use two of these two pedal, piano-type foot switches, for ultimate control! The pedals can be programmed independently to act as a bypass effect switch, offering two separately programmable modulation sources or increase/decrease presets.

For a full discussion of these foot switches and how to use them, see Section 1 — Controls & Basic Functions.

Warning!

The use of single (mono) foot switches is not recommended, and can affect the operation and performance of the DP/4+.

If you are considering a foot switch for the DP/4+, we strongly recommend purchasing the SW-10 Dual Foot Switch.

vi ENSONIQ DP/4+ Reference Manual

Need More Help?

Whether you’re an aspiring programmer looking for additional information about basic effect processing techniques and MIDI theory, or a professional sound engineer working with advanced applications, you may want more detailed information that is beyond the scope of this manual. The following books can help enhance your understanding of effect processing, MIDI, and related topics. These, in addition to the numerous monthly magazines, provide a wealth of information. While we don’t endorse any one of these publications, we offer this partial list as a resource for you to draw on.

The Mix Bookshelf

For prices and more information call: 1-800-233-9604

MIDI

HOW MIDI WORKS, Dan Walker MIDI FOR MUSICIANS, Craig Anderton MIDI SYSTEMS & CONTROL, Francis Rumsey MIDI, THE INS, OUTS AND THRUS, Jeff Rona THE MIDI BOOK, Steve De Furia, Joe Scacciaferro THE MIDI HOME STUDIO, Howard Massey THE MIDI MANUAL, David Huber THE MIDI RESOURCE BOOK, Steve De Furia, Joe Scacciaferro THE NEXT MIDI BOOK, Rychner & Walker USING MIDI, Helen Casabona, David Frederick

RECORDING

BUILDING A RECORDING STUDIO, Jeff Cooper DIGITAL DELAYS (And How to Use Them), Douglas Fraser IMPROVING YOUR SIGNAL PROCESSING SKILLS, (cassette & manual) Bill Gibson MASTER HANDBOOK OF ACOUSTICS, F. Alton Everest SOUND RECORDING HANDBOOK, John Woram SOUND REINFORCEMENT HANDBOOK, Davis & Jones

SYNTHESIS

A SYNTHESIST'S GUIDE TO ACOUSTIC INSTRUMENTS, Howard Massey MUSIC & TECHNOLOGY, H.P. Newquist SECRETS OF ANALOG AND DIGITAL SYNTHESIS, Steve De Furia

VIDEOS

SHAPING YOUR SOUND, (video series) Tom Lubin

Preface

Alfred Publishing Company

For prices and more information call 1-818-891-5999

MIDI

ADVANCED MIDI APPLICATIONS, GPI BASIC MIDI APPLICATIONS, GPI WHAT IS MIDI?, GPI

Hal Leonard Publishing

For prices and more information call 1-414-774-3630

MIND OVER MIDI, GPI

ENSONIQ DP/4+ Reference Manual vii

Preface

Monthly Magazines

The following magazines offer many specific articles and columns that can provide a plethora of useful information.

THE TRANSONIQ HACKER

For prices and more information about this independent news magazine for ENSONIQ Users, call 1-503-227-6848

KEYBOARD

For subscription rates and more information call 1-800-289-9919

ELECTRONIC MUSICIAN

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viii ENSONIQ DP/4+ Reference Manual

Section 1 — Controls & Basic Functions

There must be

something better…

This section provides an introduction to the DP/4+’s many controls and rear panel connections; a conceptual overview of the system; a guide to selecting DP/4+ presets; and a discussion of editing various types of parameters. We suggest you read this section carefully — it will help you get the most out of your DP/4+.

ENSONIQ DP/4+ Reference Manual 1

Section 1 — Controls & Basic Functions

MIDI

rear input 1 off

push

.00

51 6 7 98

paralle

DP/

Mute Outputs

phones

Mic Gain

input 1

inst/mic

inputs

outputs

1 2 3 4

3 42

Front Panel Controls

1. Phones

Plug headphones into this 1/4” stereo jack to listen to the DP/4+ in stereo. The signal going to this jack is from the sum of all four rear outputs, even if they are not connected. The 4 rear outputs are mapped to the stereo headphone as follows: 1 and 3 are mostly to the left; 2 and 4 are mostly to the right. Headphone volume is controlled by the Output Knobs. Plugging headphones into this jack does not turn off the audio in the outputs.

☞ Warning: The headphone output circuit is designed to minimize the volume differences between low and high impedance headphones. Because some headphones are more efficient than others, set the Output Knobs accordingly — high output volume levels could damage your hearing.

2. Input 1 — (inst/mic)

This combination balanced XLR mic/unbalanced 1/4” mono input jack is for connecting a guitar, microphone, or any high or low impedance instrument. This jack is routed to the same input circuitry as the Input 1 jack located on the rear panel, and is electrically equivalent.

3. Mic Gain — (rear input 1 off)

This activates the XLR Mic (microphone) input and supplies mic gain to both the Mic and Instrument inputs.

When set to Instrument (LED off):

The XLR Mic Input is disabled. The 1/4” front panel Instrument input is enabled. Rear panel Input 1 is overridden and disabled when the 1/4” front panel Instrument input is connected.

When set to Mic (LED on):

The XLR Mic Input is enabled. Mic Gain will be supplied to the XLR Mic input. The 1/4” front panel Instrument input is enabled. Mic Gain is not supplied to the 1/4” front panel Instrument input. Rear panel Input 1 is overridden and disabled.

peak

signal

Write Cancel

Copy Undo

4. Mute Outputs — (inst/mic)

This button is used to mute the rear panel output jacks. When the LED is on, the output jacks are muted, but the headphone output remains active.

5. Output Knobs

The four Output Knobs control the output level of each channel. If separate signals are being processed in the ENSONIQ DP/4+, these knobs will control the “mixdown” volumes. The maximum output level is +19 dBu.

6. Input Knobs

These four input knobs control the gain applied to the input signals. The input circuitry is designed to work with signals ranging from -34.6 dBV to +22 dBu. Use these knobs to set each input to the optimal level for the signal you are feeding into it.

7. Signal/Peak LEDs

The three LEDs above each knob indicate the level of the input signal being fed into the Analog-to-Digital Converters (ADCs).

• The Signal LED (green) will light when a low level signal (-30dB) is present at the input. Extremely low level input signals may not trigger this LED.

• The middle LED (yellow) will light at -12dB.

• The Peak LED (red) will light when the incoming signal reaches -6dB below the ADC clipping point.

For optimal level, adjust the Input Knob so that the Peak LED flashes only occasionally. Note that the Peak LEDs indicate the levels of the input signals only and will not reflect clipping in the digital processing stages.

8. Write•Copy Button

The {WRITE"COPY} button is used to save or copy presets to the DP/4+’s internal RAM memory.

2 ENSONIQ DP/4+ Reference Manual

Section 1 — Controls & Basic Functions

input configurations

A B C D Config

Select

bypass all

MIDICompare

active

bypassed

1 source 2 source

A B

C D

2 3

3 source

C D

1 2 3

4 4

4 source

Edit System

A B C D

1 2

A B

C D

1 2

A:Hall Reverb

Mix=25 Volume=99

l effects processor

19181716151413121110

9 Cancel•Undo Button

The Cancel•Undo button is used to cancel command functions, return to the selected preset, or to undo your last unit or system parameter edit.

10. Left and Right Arrow Buttons

The Left and Right Arrow buttons are used to change parameters except in the Select mode, where they scroll to the next preset. Also when naming presets, they are used to change the cursor position within the name.

11. LED Numeric and LCD Display

In Select mode, the red, two-digit LED display shows the preset number. In Edit and System•MIDI modes, this display shows the currently active parameter number. This will also show a “--” when the preset number is invalid (i.e. when current settings are not saved).

The yellow, 32-character alphanumeric LCD display shows you information about parameters, presets and may also ask you for additional input.

The MIDI Message Indicator (a little red dot in the LED Display) lights when any MIDI events are received; useful for troubleshooting MIDI connections.

12. Select Button

This is used to select presets which can load effects into the units and set up signal routing parameters, depending on the type of preset selected.

13. Edit Button

This is used to edit preset parameters, edit preset titles and save presets.

14. System•MIDI Button

This is used to view and modify system (or global) and MIDI parameters.

15. Data Entry Knob

In Select mode, turning the Data Entry Knob will select presets. In all other modes, the knob will change value of the currently active parameter. Turning clockwise will increase and counterclockwise will decrease the values.

16. Unit Buttons

The four Unit buttons (A, B, C, and D) correspond to the four separate signal processors in the DP/4+. Use these buttons to activate a particular Unit for selecting presets or editing parameters. The yellow LED above each button will light when that Unit is active. When a Unit button is pressed a second time, it will be bypassed (the red LED will be lit). Pressing again will reactivate that Unit.

17. Config Button

This button allows you to select config presets and edit config parameters. When Config is active, the yellow LED above the button will be lit. By pressing this button a second time, you can bypass all four Units (all red Unit LEDs lit). Pressing this button a third time will reactivate the Units (no red Unit LEDs lit).

18. Power

The power switch turns the DP/4+ on and off.

19. Input Configuration LEDs

One of LEDs above the diagram will be lit, to show the currently selected input configuration.

ENSONIQ DP/4+ Reference Manual 3

Section 1 — Controls & Basic Functions

Rear Panel Connections

Line

MIDI

WARNING!

To reduce the risk of fire or electric shock do not expose this product to rain or moisture.

Thru InOut

3 4 6 7 982 5

Foot

Switch 2

Foot

Switch 1

1. Line

The supplied line cord is connected here.

2. MIDI Thru

“Passes on” all MIDI (Musical Instrument Digital Interface) information received by the DP/4+ to other devices. Information generated by the DP/4+ itself does not go to this jack — the Thru jack merely echoes what comes in at the MIDI In jack.

3. MIDI Out

Sends out MIDI information to other instruments and computers when the System•MIDI parameter “63 Send MIDI PrgChg + Controllers” is set to “ON.”

4. MIDI In

This jack receives MIDI information from other MIDI instruments or computers.

CV•Pedal

TRS Bal/Unbal

Inputs & Outputs

4R3

Outputs

mono

Level (dBu)

2 1

mono

-10

main

L LL L

Inputs

4 3

mono

R R

2 1

6. CV•Pedal

This jack is for connecting an ENSONIQ Model CVP1 Control Voltage Foot Pedal, which is assignable as a modulator to parameters within the DP/4+.

Pedal/CV Specs: 3-conductor (tip = control voltage input, ring = 424. Ohm resistor to +4.25 volts, sleeve = ground). 110. KOhm input impedance, DC coupled. Input voltage range = 0 to 4. volts DC. For use with an external control voltage, use a 2-conductor cable with the voltage on the tip and the sleeve grounded.

7. Output Jacks

The four ground compensated output jacks can be configured in numerous ways. Because the DP/4+ offers fully programmable output control, you can have almost any combination ranging from a single mono output to four mixed stereo signals.

See “A note About the Input and Output Jacks” later in this section.

mono

Front panel Mic Gain button disables rear Input 1

5. Foot Switch 1 and 2 Jacks

These two independent foot switch jacks are designed for dual (stereo) foot switches, and can be assigned to a number of different functions, allowing a total of four independent foot switch controllers (when

8. Level Switch

This switch toggles between +4 dBu and -10 dBV (this affects the rear panel input and output jacks only). Because this switch can accommodate a broader range, it allows an improved signal-to-noise ratio.

two optional SW-10 Dual Foot Switches are connected).

9. Input Jacks

These four balanced input jacks are truly independent

Warning!

The use of single (mono) foot switches is not recommended, and can affect the operation and performance of the DP/4+.

inputs and can be used in a 1 source, 2 source, 3 source, or 4 source configuration.

See “A note About the Input and Output Jacks” later in this section.

See “A note About the Foot Switches” later in this section.

4 ENSONIQ DP/4+ Reference Manual

DP/4+ RULES

Setting Levels

The input and output levels affect the volume of audio signal going into and coming out of the DP/4+, and are controlled by the two rows of four knobs on the left hand side of the front panel. The top row controls the input levels for Inputs 1 to 4, the bottom row controls the output levels for Outputs 1 to 4.

inputs

outputs

Setting the Level Switch

The Level (dBu) switch (found on the rear panel of the DP/4+) toggles between +4 dBu and -10 dBV (this affects the rear panel input and output jacks only). Because this switch can accommodate a broad range, it allows an improved signal-to-noise ratio. This switch should be set to match the gain structure of your mixer/amplifier, or particular application. Consult your product’s manual to determine which is appropriate.

Section 1 — Controls & Basic Functions

Input Knobs

1 2 3 4

Output Knobs

To set the input level(s):

1. With your connections made, send a signal into the DP/4+ and slowly turn the

corresponding Input Knob(s) clockwise. The green Signal LED(s) will begin flashing as soon as a signal is detected.

2. Turn the Input Knob(s) clockwise until the red Peak LED above the knob begins to flash.

This LED flashes when the peak level is reached, indicating that clipping is about to begin.

3. Turn the Input Knob back down (counterclockwise) just enough so that the red LED no

longer flashes. You have now attained the optimum input signal level.

4. Repeat this process for any additional inputs you have connected.

To set the output level(s):

1. With your connections made and the input level properly set, send a signal into the DP/4+

and slowly turn the corresponding Output Knob(s) clockwise. If you are using a stereo output, use both outputs 1 and 2. You should begin to hear signal coming through the DP/4+ into your amplifier, mixer, etc.

2. Continue turning the Output Knob clockwise as far as you can until you hear distortion in

the receiver. To optimize signal-to-noise ratio, it is best to set the output levels of the DP/4+ as high as possible without distortion, turning down the receiving channel if necessary.

3. Turn the Output Knob down (counterclockwise) just enough until there is no distortion.

4. Repeat this process for any additional outputs you have connected. The DP/4+ circuitry is designed so that if the Input and Output Knobs are set to 12:00 (the lines

in the knobs are pointing up), and you have an input signal of +4 dBu, a +4 dBu signal will go out of the DP/4+. With the knobs at 12:00, and an input signal of -10dBV, the output of the DP/4+ will also be -10 dBV. With these settings, any incoming signals slightly above +4 dBu or -10dBV respectively, will result in clipping.

ENSONIQ DP/4+ Reference Manual 5

Section 1 — Controls & Basic Functions

Using Headphones with the DP/4+

Headphones can be used with the DP/4+ when connected to the front panel 1/4” stereo Phones jack to listen to the DP/4+ in stereo. The signal going to this jack is from the sum of all four rear outputs, even if they are not connected. The 4 rear outputs are mapped to the stereo headphone as follows: 1 and 3 are mostly to the left; 2 and 4 are mostly to the right. The outputs are not routed hard left and right, to provide a “mixed stereo” signal:

Left Ear Hears

Outputs 1 & 3 - mostly

Outputs 2 & 4 - a little

Right Ear Hears

Outputs 2 & 4 - mostly

Outputs 1 & 3 - a little

Headphones

Headphone volume is controlled by the Output Knobs. Plugging headphones into the Phones jack does not turn off the audio in the outputs. Remember to turn up the Output Knobs in pairs (1 and 2, 3 and 4) in order to preserve the stereo image. Depending on the rear panel connections, you may need to turn up Outputs 3 and 4.

☞ Warning: The headphone output circuit is designed to minimize the volume differences

between low and high impedance headphones. Because some headphones are more efficient than others, make sure you set the Output Knobs accordingly — high output volume levels could damage your hearing.

6 ENSONIQ DP/4+ Reference Manual

Section 1 — Controls & Basic Functions

The Input 1 Jack — Front Panel vs. Back Panel

The following diagrams show how the front panel Input 1 jack (along with the {MIC_GAIN} button) affects the rear panel Input 1 jack.

With a 1/4” phone plug connected to the front panel Input 1 jack, and the Mic Gain LED on:

The front panel Input 1 works — the rear panel Input 1 doesn’t work:

push

input 1

inst/mic

With a 1/4” phone plug connected to the front panel Input 1 jack, and the Mic Gain LED off:

The front panel Input 1 works — the rear panel Input 1 doesn’t work:

push

input 1

inst/mic

Mic Gain

rear input 1 off

Mic Gain

rear input 1 off

Inputs

mono

Inputs

mono

With an XLR cable connected to the front panel Input 1 jack, and the Mic Gain LED on:

The front panel Input 1 works — the rear panel Input 1 doesn’t work:

push

input 1

inst/mic

Mic Gain

rear input 1 off

Inputs

mono

With an XLR cable connected to the front panel Input 1 jack, and the Mic Gain LED off:

The front panel Input 1 doesn’t work — the rear panel Input 1 works:

push

input 1

inst/mic

Mic Gain

rear input 1 off

Inputs

mono

With nothing connected to the front panel Input 1 jack, and the Mic Gain LED on:

The front panel Input 1 doesn’t work (nothing’s plugged into it) — the rear panel Input 1 doesn’t work:

push

input 1

inst/mic

Mic Gain

rear input 1 off

Inputs

mono

With nothing connected to the front panel Input 1 jack, and the Mic Gain LED off:

The front panel Input 1 doesn’t work (nothing’s plugged into it) — the rear panel Input 1 works:

push

input 1

inst/mic

Mic Gain

rear input 1 off

Inputs

mono

ENSONIQ DP/4+ Reference Manual 7

Section 1 — Controls & Basic Functions

A Note About the Input and Output Jacks

Use standard balanced (TRS stereo cables) or unbalanced (TS mono cables) for these connections. If there is a problem with hum or buzz, see the following section on ground loops.

TRS Bal/Unbal

Inputs & Outputs

mono

Outputs

2 1

main

Level (dBu)

mono

L LL L

4 3

-10 R R

mono

Inputs

2 1

mono

Front panel Mic Gain button

disables rear Input 1

Output Jacks Input Jacks

As the labels on the Input and Output jacks indicate, the DP/4+ employs extensive automatic switching on each stereo pair of inputs and outputs. That is:

• Normally, Inputs 1 and 2, and Inputs 3 and 4 are treated as stereo inputs. However, if nothing is plugged into 2 or 4, Inputs 1 and 3 will work as mono inputs and will also provide signal to Inputs 2 and 4 respectively.

Note: In some cases, you may not want to have the mono signal plugged into Inputs 1 and/or 3 sent to Inputs 2 and/or 4. To send a discrete mono signal to Input 1 and/or 3, connect a “dummy” cable into the Input 2 and/or 4 jack (a dummy cable is just a standard balanced/unbalanced cable that is not connected to any external device).

• Similarly, Outputs 1 and 2, and Outputs 3 and 4 are normally stereo outputs. If nothing is plugged into Outputs 2 or 4, however, the stereo signal will be summed to mono and sent to Outputs 1 and 3 respectively.

• If nothing is plugged into Output 3, the stereo signals from outputs 3 and 4 will be summed with the stereo signal from outputs 1 and 2 before the automatic switching circuit described above.

Note: In some studio applications (such as when using a patch bay), you may want to have outputs 3 and 4 connected, and still have the stereo signals from outputs 3 and 4 summed with the stereo signal from outputs 1 and 2. There is a parameter in System•MIDI mode that allows you to accomplish this (parameter #60, Mix Output 3/4 onto 1/2). See Section 4 — System•MIDI for more information about this parameter.

8 ENSONIQ DP/4+ Reference Manual

Ground Loops

Sometimes currents flowing through the ground line generate a signal seen by another part of the circuit sharing the same ground. In other words, if there are two identical signal paths within a circuit, they can form a loop which can result in hum and/or noise. If you are using equipment that has 3-prong “grounded” AC power cords, you may suffer from a ground loop resulting from the interconnection of this equipment. The following diagram shows how cascading or “chaining” the output of one 3-prong grounded system into the input of another 3-prong grounded system with a standard, unbalanced 2 conductor cord (like a 1/4” guitar cable) can result in a ground loop.

Section 1 — Controls & Basic Functions

Unbalanced Output to Unbalanced Input. Single conductor shielded cable

3-Prong "Grounded" System

SIGNAL PATH

(circuit ground)

Ground Loop

3-Prong "Grounded" System

Unbalanced Output to Unbalanced Input. Single conductor shielded cable

3-Prong "Grounded" System

SIGNAL PATH

(circuit ground)

2-Prong "UNGrounded"

System

Earth Ground

FIG. 1

Fig. 1 shows a system interconnection where a ground loop can exist. Fig. 2 shows a system interconnection where a ground loop does NOT exist.

The DP/4+ has “ground compensated” outputs, which offer the advantages of balanced outputs (minimized hum and interference), plus the advantage of a transformer isolated output (eliminates ground loop problems). The output connector “grounds” are not hooked directly to the DP/4+ ground, thus eliminating the ground loop. This ground compensating scheme works on both balanced and unbalanced equipment with standard cables.

Ground loops are possible only on the inputs, and only in the following situations:

1. When a standard balanced cable is used from the preceeding piece of equipment (i.e., a standard stereo cable).

Earth Ground

FIG. 2

Standard Balanced Cable

S S

Red

Black

Shield

2. When a standard unbalanced cable is used from the preceeding piece of equipment.

Standard Unbalanced Cable

Red

S S

Shield

This does not mean there will always be an input ground loop problem, just the possibility.

ENSONIQ DP/4+ Reference Manual 9

Section 1 — Controls & Basic Functions

If it exists, input ground loops can be eliminated in the following ways:

1. In balanced applications, disconnect the shield from the connector that is plugged into the output of the source device.

Custom Balanced Cable (to eliminate input ground loop)

(unconnected)

OTHER 1/4" output (balanced)

2. In unbalanced applications, use a special cable with the shield disconnected from the connector that is plugged into the source device. Attach the source device’s ground to the ring of the DP/4+ input connector. The two tips connect normally.

Custom Unbalanced Cable (to eliminate input ground loop)

(unconnected)

OTHER 1/4" output (unbalanced)

3. An audio isolation transformer will fix both balanced and unbalanced input ground loop problems, as long as the two grounds do not connect. Many of these devices have a switch on the unit that can either connect or disconnect the grounds ( a ground lift switch).

Using XLR Ins and Outs with the DP/4+

The DP/4+ ground compensating outputs make things very easy. Use of a standard 1/4” to XLR cable will work fine with no ground loops.

Red

Black

Shield

Red

Black

Shield

ENSONIQ 1/4" input (balanced)

1/4" to XLR Balanced Cable

ENSONIQ 1/4" output

(ground compensated)

As with the 1/4” to 1/4” input connections, the XLR to 1/4” cables can create some problems. Ideally, the connection of the case and pin 1 of the XLR output jack would be standard. Unfortunately, they are not. If you have an input ground loop problem with an XLR to 1/4” cable, the solutions are as follows:

1. Disconnect the cable shield from pin 1 and the case connection as shown below:

Red

Black

Shield

132

Case

3-Pin XLR male input

(balanced)

Custom XLR to 1/4" Balanced Cable

Red

Black

Shield

Case

132

(unconnected)

3-Pin XLR female output (balanced) ENSONIQ 1/4" input (balanced)

2. Use an audio isolation transformer.

If all audio equipment adopted this input/output scheme, ground loops would be a thing of the past.

10 ENSONIQ DP/4+ Reference Manual

A Note about the Foot Switches

Line

WARNING!

To reduce the risk of fire or electric shock do not expose this product to rain or moisture.

The recommended foot switch for use with the DP/4+ is the ENSONIQ Model SW-10 Dual Foot Switch. The SW-10 is a dual (piano-type) foot switch with two separate pedals. When the SW-10 is connected, the pedals can each be programmed independently to act as effect bypass switches, to provide two separately programmable modulation sources or to select presets.

The SW-10 is a

stereo Foot Switch

Thru InOut

Section 1 — Controls & Basic Functions

MIDI

Foot

Switch 2

Foot

Switch 1

The use of single (mono) foot switches is not recommended, and can affect the operation and performance of the DP/4+.

If you are considering using a foot switch, we strongly recommend the ENSONIQ SW-10 Dual Foot Switch.

About Mono Foot Switches

The DP/4+ is designed with two stereo foot switch jacks. When any mono foot switch is plugged in, it functions like the right side of a stereo foot switch, and will act as a permanent shut-off switch for the (non-existent) left side of the foot switch. Many of the quick steps for getting around on the DP/4+ require two simultaneous button presses, and will not work properly because the DP/4+ reads the left foot switch connection as constantly engaged (as if a button is permanently pressed in).

If you have two mono foot switches connected, the DP/4+ will assume that two button presses (the left sides for each foot switch) are continually engaged, and the DP/4+ will not function at all (it will appear to be broken).

and has a

Stereo Plug

SW-10

Warning!

If a mono foot switch is connected to the Foot Switch 1 jack, and the DP/4+ power is switched on, you will briefly see “Button #14” in the display. If a mono foot switch is connected to the Foot Switch 2 jack, and the DP/4+ power is switched on, you will briefly see “Button #15” in the display.

If you must use a mono foot switch, please consider performing one of the two modifications explained in “HOT MODS,” found later in this section.

ENSONIQ DP/4+ Reference Manual 11

Section 1 — Controls & Basic Functions

Four-On-The-Floor

An Application For Using Two Stereo Foot Switches to Bypass Effects

The DP/4+ allows you to employ two stereo foot switches (such as the ENSONIQ SW-10) to turn the DP/4+’s four effects processors on and off. To set up your foot pedals:

1. Connect one foot pedal to the Foot Switch 1 jack on the DP/4+’s back panel.

2. Connect the other foot pedal to the Foot Switch 2 jack.

3. Physically place the two foot pedals side-by-side, with the first to the left of the other.

Foot Switch

1-L

4. Press the {SYSTEM"MIDI} button on the DP/4+’s front panel.

5. Press the {>} or {<} button until the large red number reads “06” and the top line of the display shows “Unit A Bypass=.”

6. Turn the large silver Data Entry Knob to dial in “Ftsw 1-L Toggle.”

7. Press {>} until the red number shows “13” and the display reads “Unit B Bypass=.” Dial in “Ftsw 1-R Toggle.”

8. Press {>} until the red number shows “20” and the display reads “Unit C Bypass=.” Dial in “Ftsw 2-L Toggle.”

9. Press {>} until the red number shows “27” and the display reads “Unit D Bypass=.” Dial in “Ftsw 2-R Toggle.”

Each foot switch is now assigned to its own processor:

Foot Switch

1-R

Foot Switch

2-L

Foot Switch

2-R

turns Unit A

on and off

Note: Whether it’s the effect being added to a sound (bypass/unbypass) — or the sound itself (kill/unkill) —is determined by each Unit’s “(b)ypass and (k)ill” setting. See the description of the Bypass/Kill parameter in Section 3—Config Parameters for more information.

12 ENSONIQ DP/4+ Reference Manual

turns Unit B

on and off

turns Unit C

on and off

turns Unit D

on and off

Section 1 — Controls & Basic Functions

HOT MODS!

Although they are not recommended, mono foot switches such as the ENSONIQ Models SW-2 or SW-6 Foot Switches can be used successfully if you are willing to make either of the following modifications. If you are not comfortable performing the following modifications, we recommend asking a qualified technician for assistance:

Replace the Mono Foot Switch Plug with a Stereo Plug

The advantage of this modification is that you will eliminate the “shorted” left foot switch signal (see “About Mono Foot Switches” earlier).

Before

After

Ring

Sleeve

Tools/supplies required:

soldering iron solder wire cutters 1/4” stereo plug

1. Unscrew the mono plug cover, and slide it out of the way (down the cable).

2. Either with wire cutters or a soldering iron, remove the wires from the mono plug.

3. Replace the mono plug cover with the stereo plug cover on the mono foot switch cable.

4. Solder the “hot” wire (the insulated wire in the center of the cable) to the tip connector, and the ground (shield) wire to the sleeve on the stereo plug as shown in the diagram.

5. Screw the stereo plug cover onto the stereo plug to complete the modification.

Tip

ENSONIQ DP/4+ Reference Manual 13

Section 1 — Controls & Basic Functions

HOT MODS! Build a Splitter Box to Merge Two Mono Foot Switches into One Stereo Jack

The advantage of this modification is that you it will allow you to make two mono foot switches function as one stereo foot switch.

Stereo cable needed from here to either DP/4+ Foot Switch jack

Stereo Jack

Ring

Tip

Sleeve

Tip

Mono Jack

Left mono foot switch

Sleeve

Tip

Sleeve

Mono Jack

Right mono foot switch

Tools/supplies required:

soldering iron solder wire cutters drill and drill bits one plastic housing assembly (must be large enough to mount three jacks) one stereo jack two mono jacks shielded wire 1/4” stereo-to-stereo cable

1. Drill three holes in the housing assembly and mount the stereo and mono jacks.

2. Solder a wire from the tip of the left mono jack to the ring of the stereo jack.

3. Solder a wire from the tip of the right mono jack to the tip of the stereo jack.

4. Solder a wire(s) connecting the sleeves of all three jacks.

5. Connect the mono foot switch(es) to the mono jacks.

6. Connect the stereo-to-stereo cable between the stereo jack and either DP/4+ Foot Switch jack.

7. You might want to mark the housing assembly to easily identify the jacks. Tip: By doubling the above instructions, you could build a splitter box to merge four

mono foot switches into two stereo jacks, for maximum DP/4+ control!

14 ENSONIQ DP/4+ Reference Manual

DP/4+ Modes

The DP/4+ will always be in one of three different modes: Select, Edit, or System•MIDI. You enter one of these modes by pressing its button on the front panel; the current mode is indicated by which LED is lit.

Section 1 — Controls & Basic Functions

Select Mode

Select

Edit System

MIDICompare

Edit Mode

Select

Edit System

MIDICompare

System•MIDI Mode

Select

Edit System

MIDICompare

Press the {SELECT} button to enter Select mode. Its LED will light. In this mode, you select Presets. These can be 1 Unit, 2 Unit, 4 Unit, or Config Presets, depending on the current configuration.

In Select mode, presets can also be copied to new locations by pressing the {WRITE} button, and is explained in detail in Section 5 — Storage.

Press the {EDIT} button to enter Edit mode. Its LED will light. In this mode, you can edit (change the settings of) presets, the algorithm (effect) in each of the four Units ({A}, {B}, {C}, or {D}) and its related parameters, and the config parameters (how the signals are routed). Edit Mode is the easiest place to change the algorithm (by selecting a 1 Unit preset) in a single unit.

In Edit mode, presets that have been edited can be saved by pressing the {WRITE} button, and is explained in detail in Section 5 — Storage.

For specific information about the Algorithms and their related parameters, see

Section 2 — Algorithms. For more information about the Config parameters, see Section 3 — Config Parameters.

Press the {SYSTEM"MIDI} button to enter System•MIDI mode. Its LED will light. In this mode, you can edit MIDI parameters, and parameters which are systemwide, or “global.” The System•MIDI parameters do not change when you select different presets and configs.

For specific information about the System•MIDI parameters, see Section 4 — System•MIDI.

In System•MIDI mode, pressing the {WRITE} button will access the MIDI System Exclusive (SysEx) data transfer function for storage of DP/4+ presets and system parameters.

For information about using SysEx to store DP/4+ data, see Section 5 — Storage.

Button Names

Throughout this manual, when we refer to an actual button, it will appear as a “button” in the text. For example, if the text read something like “press the Edit button,” it would appear as “press the {EDIT} button.” This will help you to quickly skim through familiar sections of the manual as you verify actual button presses.

ENSONIQ DP/4+ Reference Manual 15

Section 1 — Controls & Basic Functions

About Select Mode

In Select mode, you select Presets. These can be 1 Unit, 2 Unit, 4 Unit, or Config Presets, depending on the current config and on which unit buttons ({A}, {B}, {C}, or {D}) have been pressed after pressing the {SELECT} button.

Input Configuration type: What type of presets you can select:

1 source configuration 4-Unit Presets 2 source configuration 2-Unit Presets 3 source configuration two 1-Unit Presets and one 2-Unit Preset 4 source configuration four 1-Unit Presets

In this mode, the display shows the selected preset’s number, name, unit algorithm(s), the currently selected unit and the signal routing. The Data Entry Knob and the {<} and {>} buttons select new presets.

Preset Name Here cmp~REV+ddl⁄ddl

i i i

Preset Number Algorithm and signal routing information

• The red LED display (on the left) shows the preset’s location within the DP/4+ memory. If any parameters have been edited (changed) within this preset, this display will show “- -.”

• The top line of the LCD display (on the right) shows the presets name.

• The bottom line shows which algorithm (effect) is in each unit as well as signal routing information, depending on the current configuration.

In a 2 Unit, or 4 Unit preset, you will notice that one of the abbreviations in your display is capitalized. This shows that the capitalized algorithm is located in the currently selected unit (in the diagram above, it’s Unit B). If none of the algorithm abbreviations are capitalized, it means that the Config is activated. Try pressing the different Unit buttons ({A}, {B}, {C}, and/or {D}) to see the abbreviations change between lower case and upper case. When you press the {CONFIG} button, there are no capitalized algorithm abbreviations.

When a unit is selected by pressing its Unit button ({A}, {B}, {C}, or {D}):

• its algorithm abbreviation is capitalized

• that unit will be selected for editing, if you press the {EDIT} button.

• pressing its button again will bypass the unit (its red LED will light)

16 ENSONIQ DP/4+ Reference Manual

About Edit Mode

In Edit mode, you can edit (change the settings of) presets, the algorithm (effect) in each of the four Units ({A}, {B}, {C}, or {D}) and its related parameters, and the config parameters (how the signals are routed). Edit Mode is the easiest place to change the algorithm (by selecting a 1 Unit preset) in a single unit.

After pressing {EDIT}, pressing ({A}, {B}, {C}, or {D}) or {CONFIG} determines what you will be editing. The display shows:

i i i

Parameter Number Parameters which can be selected and adjusted

• The red LED display (on the left) shows the number of the currently selected parameter. This will change as you press the {<} and {>} buttons (called scrolling) to select different parameters.

• When the algorithm name is selected, the red LED display will flash to differentiate it from the other parameter numbers. The number displayed will show the number of the 1 Unit Preset that will next be selected when the knob is turned.

• The LCD display (on the right) shows one or more parameters, which can be selected and adjusted. The currently selected parameter will always be flashing.

• The Data Entry Knob is used to change the value of the selected parameter.

Section 1 — Controls & Basic Functions

A:Small Room Rev Mix=48 Volume=99

Edit Buffer

As soon as you change a parameter’s value, you will notice that the Edit LED begins flashing. This means that you are now listening to a modified version of the algorithm in the Edit Buffer. The Edit Buffer is a section of RAM where edits are temporarily stored.

By pressing the {EDIT} button you can toggle between the original setting (LED solidly lit) and the newly edited version (LED flashing) of that algorithm. What is visible on the display is the parameter settings that you hear.

ENSONIQ DP/4+ Reference Manual 17

Section 1 — Controls & Basic Functions

About System•MIDI Mode

In System•MIDI mode, you can edit unit-specific MIDI parameters, and parameters which are system-wide, or “global.” The System•MIDI parameters (such as MIDI channels, Controllers, and program change maps) do not change when you select different presets and configs.

For specific information about the System•MIDI parameters, see Section 4 — System•MIDI.

To enter System•MIDI mode, press the {SYSTEM"MIDI} button. The display shows:

Parameter Number Parameter Name

m m

• The red LED display (on the left) shows the number of the currently selected parameter. There are 67 parameters in this mode.

• The LCD display (on the right) shows one or more parameters, which can be selected and adjusted. The currently selected parameter will always be flashing.

• The {<} and {>} buttons scroll through the different parameters. Use them to select the parameter you want to change.

• The Data Entry Knob changes the value of the selected parameter.

Preset Memory Protect=Off

Parameter range which can be selected and adjusted

Tip: Though you can scroll continuously through all 67 System•MIDI parameters using the {<} and {>} buttons, this might get tedious; you can use the following shortcuts to get close to the parameter(s) you desire:

• After pressing {SYSTEM"MIDI}, press {A}, {B}, {C}, {D}, or {CONFIG} to go to unit-specific MIDI parameters relating to them.

• Press {SYSTEM"MIDI} repeatedly to go directly to several convenient locations within the remaining parameter list. Then scroll to the parameter you want.

18 ENSONIQ DP/4+ Reference Manual

About Presets

1 2 3

4 4

4 source

A B

C D

1 2

A B

C D

1 2

3 4

The DP/4+ has 400 presets in its memory, but you can’t get to all of them at any one time. This is because:

• 100 of the presets are Config presets which change the input configuration and routing as well as load new effects algorithms; and

• of the remaining 300 presets, the type(s) of presets available for viewing and selecting depends on the current config type.

Input Configurations

The diagram in the upper right corner of the DP/4+ shows the input configurations. All of the DP/4+ input configurations are based on this diagram:

Section 1 — Controls & Basic Functions

input configurations

1 source 2 source

One Source Input Configuration

In a 1 Source Config, the LED above the 1 source input configuration diagram will light. Use Input 1 for a mono signal (such as a guitar), or Inputs 1 and 2 if your source is a stereo signal (such as a keyboard). The choice of stereo or mono for an input is a 1 Source Config parameter, and will be covered later. Remember, any mono signal (high or low impedance) can be plugged into the jack on the front panel. The Input 1 jack (front panel) will always override the Input 1 jack on the rear panel.

Two Source Input Configuration

In a 2 Source Config, the LED above the 2 source input configuration diagram will light. For your first source, use Input 1 for a mono signal, or Inputs 1 and 2 if your source is a stereo signal. For your second source, use Input 3 for a mono signal, or Inputs 3 and 4 if your second source is a stereo signal. You can choose a stereo or mono input selection for Inputs 1 and 2 and/or Inputs 3 and 4 using the appropriate 2 Source Config parameters.

3 source

B C

1 2

3 4

A B

C D

Three Source Input Configuration

In a 3 Source Config, the LED above the 3 source input configuration diagram will light. Use Inputs 1 and 2 for two independent mono signals. For your third source, use Input 3 for a mono signal (such as a guitar or a microphone), or Inputs 3 and 4 if your source is a stereo signal. The choice of stereo or mono for Inputs 3 and 4 is a 3 Source Config parameter.

Four Source Input Configuration

In a four source config, the LED above the 4 source input configuration diagram will light. Four separate mono sources are plugged into Inputs 1, 2, 3, and 4.

ENSONIQ DP/4+ Reference Manual 19

Section 1 — Controls & Basic Functions

Selecting Config Presets

Of the four Preset types, the most powerful is the Config Preset. The Config preset lets you save, and later recall, the current state of the DP/4+, including all algorithm, signal routing and mixing information.

Selecting a Config preset will

• Reconfigure the DP/4+ inputs and outputs;

• Change the signal routing between units; and

• Load a new algorithm into each of the four Units.

To select a Config preset

1. Press {SELECT}.

2. If the Config LED is not already on, press {CONFIG}.

3. Move the large silver Data Entry Knob, or press the {<} and {>} buttons. The Select LED flashes, indicating that you are previewing presets. The display shows the available Config presets.

4. When the display is showing the preset you want to load, press {SELECT} again. This selects the preset, and the Select LED stops flashing.

Note: The first 10 ROM Config locations (presets #50 to 60) can be used as “starting places” for creating your own configurations, and cover common signal routing set-ups.

20 ENSONIQ DP/4+ Reference Manual

How the Config Type Affects Selecting Presets

The four different config types effectively turn the DP/4+ into 1, 2, 3, or 4 independent effects processors, with a varying number of DP/4+ effects units per “processor”:

Configuration type: Preset Example (s):

Section 1 — Controls & Basic Functions

A B C D

A 1 source config turns the DP/4+ into one giant multi-effects processor, with four effects units all processing the same input signal. These are called 4-Unit Presets.

A B C D

A 2 source config turns the DP/4+ into two multi-effects processors, with two effects units applied to each input signal. These are called 2-Unit Presets.

A B C D

A 3 source config turns the DP/4+ into three effects processors; two with one effects unit a piece (A and B), and one with two effects units (C and D). Units A and B select 1-Unit Presets, and Units C and D select 2-Unit Presets.

Crystal Cave CMP~fla+pit⁄rev

In a 4-Unit Preset, the lower line of the display shows the 3-letter abbreviations for the algorithms in all 4 units. A 4-Unit Preset will load new algorithms into all four units.

Airplane Hangar A:REV ~ B:rev

In a 2-Unit Preset, the lower line shows the 3letter abbreviations for the algorithms in both units, and indicates which 2 units the preset will be loaded into (A&B or C&D).

Vocal Plate 1 A:Large Plate Airplane Hangar A:REV ~ B:rev

In a 1-Unit Preset, the lower line of the display shows the full name of the algorithm in the preset, and indicates which unit the preset will be loaded into (A or B).

In a 2-Unit Preset, the lower line shows the 3letter abbreviations for the algorithms in both units, and indicates which 2 units the preset will be loaded into (A&B or C&D).

A B C D

A 4 source config turns the DP/4+ into four independent effects processors; each of the four Units processes a different input signal and is treated as a separate device.

In a 1-Unit Preset, the lower line of the display shows the full name of the algorithm in the preset, and indicates which unit the preset will be loaded into (A, B, C, or D).

Vocal Plate 1 A:Large Plate

If you think of the outer grey boxes shown above as different “processors,” you’ll notice that each of these configs creates a number of “processors” that are either 1, 2, or 4 Units combined. This determines what presets you can select at any given time. The DP/4+ has 1 Unit, 2 Unit, and 4 Unit presets, and you can only select presets of the type(s) allowed by the current config.

There are two ways that the DP/4+ shows you which type of preset you are selecting:

1. In Select mode, when you press any of the Unit buttons ({A}, {B}, {C}, or {D}), either 1, 2, or 4 of the yellow Unit LEDs will light. The number of lighted LEDs corresponds to the type of preset you will be selecting if you move the Data Entry Knob. The yellow Unit LEDs also tell you which unit(s) will be loaded with a new algorithm if you select a new preset.

2. The display gives you constant feedback. For all preset types, the upper line of the display shows the preset name. The lower line shows how many units are in the preset you are selecting.

ENSONIQ DP/4+ Reference Manual 21

Section 1 — Controls & Basic Functions

Replacing the Algorithm in a Single Unit

You can use Edit mode to easily replace the algorithm in one of the four units without changing the current config or affecting what is in the other units.

To replace the algorithm in a unit:

1. Press {EDIT}.

2. Press Unit {A}, {B}, {C}, or {D} to select that unit for editing. The active unit’s yellow LED should be lit. The display shows:

Unit Preset Number flashing Selected Unit Algorithm Select (flashing)

m m m

A:Algorithm Name Mix=48 Volume=99

The red LED display should flash, indicating the number of the unit preset last selected. The algorithm name should be flashing in the upper line of the LCD display. If neither is flashing, press the {<} button until this is the case.

3. Move the Data Entry Knob to select among the algorithms in memory. The display will change, showing the algorithm name on the top line, and the name of the 1 Unit preset that uses the algorithm on the bottom line. When you stop moving the knob, the algorithm that is showing on the display will be loaded into the Unit, and the display will change back to the one shown above.

Note: When you select algorithms in Edit mode, you are actually picking from the list of 100 1-Unit presets. As you are moving the knob, the red LED display shows the preset numbers of the 1 Unit presets you are loading into the unit. One second after you’ve stopped moving the knob, the algorithm is loaded into the unit and the red LED display will flash the preset number selected.

4. To change the algorithm in another unit, simply press its unit button and repeat the above steps. Note that selecting a unit which is already active causes it to become bypassed. The red bypass LED for that unit will light. Further presses toggle out of and into bypass.

Note: If you accidentally edit the algorithm in a unit, you will lose all of the parameter settings for the old algorithm unless you press {UNDO} to recall the original algorithm and its parameters. You must press {UNDO} before scrolling to another parameter or leaving Edit mode.

Loading a 2 Unit Preset While in a 1 Source Config

When you are using the DP/4+ in a 1 Source Config (where you can only select 4 Unit Presets) it is possible to load the effects combination from a 2 Unit preset (or a 2 Unit algorithm) into A & B or C & D. Here’s how:

1. Press {EDIT} (if you are not already in edit mode).

2. Press either the {A} and {B}, or {C} and {D} buttons at the same time. Both LEDs will light up.

3. Move the Data Entry Knob to display the 2 Unit preset you desire, wait a moment and it will load automatically.

22 ENSONIQ DP/4+ Reference Manual

About Signal Routing

Indicates a feedback 1 connection from the unit on the right back into the unit on the left.

The four audio inputs are analog signals which are fed to four analog-to-digital converters. The four units are digital audio signal processors which have digital inputs and outputs. Routing between the units is digital. The output of a unit is converted back to analog audio for the output jack.

Analog-to-

Inputs

Digital

Converters

A/D A/D A/D A/D

(Not all of the possible signal routings are shown.)

All of the above elements are under complete software control.

Signal Routing Between Units

Depending of the current Config, the four units can be connected to each other in one of five different ways, which are depicted with five different symbols. The routing symbols (shown between each algorithm in Select mode) are:

Units

= Analog = Digital

Converters

Section 1 — Controls & Basic Functions

Digital-to-

Analog

D/A D/A D/A

D/A

Outputs

1 2

Preset Name Here cmp~REV+ddl⁄fla

Two Cool Effects pit*pit cho~pan

Indicates a serial connection from the unit on the left into the unit on the right. The top

example shows a serial connection from Unit A into Unit B. Indicates a parallel connection between the unit on the left and the unit on the right. The

top example shows this between Unit B and Unit C.

⁄

The top example shows a feedback 1 connection from Unit D back into Unit C. Indicates a feedback 2 connection from the unit on the right back into the unit on the left.

Indicates that the two units are “ganged together” using an algorithm that requires more

than one unit of processing power (for instance the PitchShift 2U algorithm). The routing between units cannot be modified as long as such a “ganged” 2 Unit algorithm is active. The bottom example shows this between Units A and B.

(blank space) Indicates that there is no connection between units, and that they are routed separately

(the blank space will not appear in a 1 Source Config, because all four units are always connected together). The bottom example shows that there is no connection between Unit B and Unit C; signifying that this is a 2 source configuration.

ENSONIQ DP/4+ Reference Manual 23

Section 1 — Controls & Basic Functions

Understanding Serial, Parallel and Feedback Signal Routing

When we speak of connecting units together, we are usually referring to one of three types of signal routing, serial, parallel, or feedback. It is very important to understand the difference between these concepts.

Serial Routing

Serial routing means the input signal is routed through the first unit before being sent to the input of the second unit.

This is a serial signal routing between two units:

Input Output Signal Signal

If, for example, the first unit is a chorus, and the second a reverb, you have the signal first going through the chorus, then into the reverb. As a result, you would hear the chorused sound with reverb applied to it.

Parallel Routing

Parallel routing means the same input signal is routed separately to inputs of both units, and then their outputs are mixed together.

This is a parallel signal routing between two units:

Input

Signal Signal

In this example, if the first unit is a chorus, and the second a reverb, you would hear the chorused sound and a sound with reverb, but the chorused sound would not have reverb on it, and the sound coming out of the reverb would not have chorusing.

Feedback Routing

Feedback routing (shown by a ⁄ symbol) is similar to serial routing, with the addition of a feedback signal. See Section 3 — Config Parameters for more on feedback routing.

1st

Unit

1st

Unit

2nd Unit

Output

This is a feedback signal routing between two units:

Input Output

Signal Signal

In this example, if the first unit is a chorus, and the second a reverb, you have the signal first going through the chorus, then into the reverb. There is then an additional tap that sends the processed signal back into the beginning of the first unit (the chorus).

24 ENSONIQ DP/4+ Reference Manual

1st

Unit

2nd Unit

Bypassing Units

At some point while you’re selecting various 4 Unit Presets, you may want to listen to how an individual unit’s effect is processing the incoming audio signal. In this case, you would need to bypass the other three units.

To bypass a single unit’s algorithm:

1. Press the unit button ({A}, {B}, {C}, or {D}) that you want to bypass.

2. Press the same unit button again. The red LED above the unit button will be lit, and the unit will be bypassed.

3. Further presses of the unit button will toggle out of and into bypass.

To completely bypass all of the unit algorithms:

1. Press the {CONFIG} button.

2. Press the {CONFIG} button again. All of the red LEDs above the units will be lit, and the units will be bypassed.

3. Further presses of the {CONFIG} button will toggle all four units out of and into bypass.

Refer to the description of the Bypass/Kill parameter in Section 3 — Config Parameters for more information.

Section 1 — Controls & Basic Functions

Note: Units can also be bypassed, un-bypassed, and killed remotely with MIDI Program Changes by enabling the unit’s MIDI Program Change Map. See Section 4 — System•MIDI for more information.

Quick Tips and Shortcuts

Here are a few quick tips to find your way around the DP/4+.

Tip: To get to the Algorithm Select parameter in Edit mode without having to scroll through lots of parameters, while holding down either the {<} or {>} button, press {CANCEL}.

Tip: When there are several parameters on the screen at one time, and you want to get to the next screen without having to cursor through each parameter, while holding down either the {<} or {>} button, press the other arrow button.

Tip: While holding down either the {<} or {>} button, turn the Data Entry Knob. This lets you move much more quickly through a long list of parameters that by repeatedly pressing the arrow buttons.

Tip: To return the last parameter you edited to its original value, press the {CANCEL} button. This will only work as long as you still have that parameter selected. If you have scrolled to another parameter, this undo function will no longer work.

Tip: If you accidentally change the algorithm in a unit, you will lose all of the parameter settings for the old algorithm unless you press {CANCEL} to recall the original algorithm and its parameters. You must press {CANCEL} before scrolling to another parameter or leaving Edit mode.

Tip: If you double-click on the {CANCEL} button, a signed parameter (one that has a range of -99 to +99) will put the level to +00 (the center position).

ENSONIQ DP/4+ Reference Manual 25

Section 1 — Controls & Basic Functions

26 ENSONIQ DP/4+ Reference Manual

Section 2 — Algorithms

09 — Comp Noise Gate Off Below Range: -96 to +00 dB

Sets the lower threshold level at which the noise gate shuts off the audio.

10 — Comp Noise Gate On Above Range: -96 to +00 dB

Sets the upper threshold level at which the noise gate passes audio. This higher second threshold prevents false “turn ons.”

11 — Gate Release Time Range: 1ms to 10.0s

Determines how long it takes for the gate to be fully released after the input signal drops below the threshold level. Lower settings yield a quick gate.

12 — Bass Fc Range: 0 to 1000 Hz

Sets the cutoff frequency of the lower frequency band shelving filter.

13 — Bass EQ Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to the low shelving filter.

14 — Treble Fc Range: 01KHz to 16KHz

Sets the cutoff frequency of the upper frequency band high shelving filter.

15 — Treble EQ Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to the high shelving filter.

16 — EQ Input Level Trim Range: -24 to +00 dB

Adjusts the input volume of the EQs, to eliminate the possibility of clipping boosted signals.

17 — Mod1 Source 21 — Mod2 Source 18 — Mod1 Destination 22 — Mod2 Destination 19 — Mod1 Param Range Min 23 — Mod2 Param Range Min 20 — Mod1 Param Range Max24 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators earlier in this section.

ENSONIQ DP/4+ Reference Manual 27

Section 2 — Algorithms

Right

Right Delay

Main Outputs

Left

Delay

Cross Regen

Input Level Trim

LFO

Right

Delay

Input

(On/Off)

Regen

Damping

(LPF)

Damping

(LPF)

Output Level

EQ - DDL - WITH LFO

EQ-DDL-withLFO features a parametric EQ and a stereo digital delay (similar to Dual Delay) that provides LFO modulation of a wide range of delays. This algorithm sounds great with an electric piano, but try it with any source!

EQ-DDL-withLFO Signal Routing

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section.

03 — DDL+LFO Left Delay Time Range: 0 to 845 ms

Determines the amount of time between the input signal and the left delay output.

04 — DDL+LFO Right Delay Time Range: 0 to 845 ms

Determines the amount of time between the input signal and the right delay output. Set this differently from parameter 03 to achieve syncopated repeats.

05 — DDL+LFO LFO Rate Range: 00 to 99

Controls the rate of pitch modulation which is the LFO. To achieve a chorusing effect, this rate must be very slow.

06 — DDL+LFO LFO Width Range: 00 to 99

Controls the excursion of pitch modulation. Since the rate is usually very slow, then the width is usually large.

07 — Left/Right LFO Range: Out-of-Phase or In-Phase

When this parameter is In-Phase, the left and right choruses will modulate their detunes together. When set to Out-of-Phase, the detune on the left channel will go up while the detune on the right will go down.

28 ENSONIQ DP/4+ Reference Manual

Section 2 — Algorithms

08 — DDL+LFO Delay Regen Range: -99 to +99

Controls the amount of regeneration applied to the delay time taps. The sign of the value determines the polarity of the regen.

09 — DDL+LFO Delay Cross Regen Range: -99 to +99

Allows you to feedback the delayed signals to their opposite sides; the left voice crosses to the right voice, and the right voice crosses to the left voice. A setting of +99 or -99 will cause infinite repeats. Be careful, if the delay regen is set too high, it may cause this parameter to “blow up.” Also, too high of a setting in parameters 08 and 09 will cause a DC offset, which will make this algorithm shut down.

10 — DDL+LFO Regen Damping Range: 00 to 99

Adjusts the cut off of a low pass filter on the feedback signal, which controls the amount of damping to the feedback signals. The higher the number, the more the signals are damped.

11 — DDL+LFO Right Delay Input Range: Off or On

Disables the input into the right side delay line. The right delay line will still get input from the Cross Regen. This allows a ping-pong delay effect.

12 — DDL+LFO Right Output Level Range: 00 to 99

This parameter controls the right output signal level.

13 — Bass Fc Range: 0 to 1000 Hz

Sets the cutoff frequency of the lower frequency band shelving filter.

14 — Bass EQ Gain Range: -48 to +24 dB

This parameter sets the amount of boost or cut applied to the low shelving filter.

15 — Treble Fc Range: 01KHz to 16KHz

This parameter sets the cutoff frequency of the high shelving filter.

16 — Treble EQ Gain Range: -48 to +24 dB

This parameter sets the amount of boost or cut applied to the high shelving filter.

17 — EQ Input Level Trim Range: -24 to +00 dB

Allows you to adjust the input volume of the EQs to avoid clipping signals.

18 — Mod1 Source 22 — Mod2 Source 19 — Mod1 Destination 23 — Mod2 Destination 20 — Mod1 Param Range Min 24 — Mod2 Param Range Min 21 — Mod1 Param Range Max25 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators, found in the beginning of this section.

ENSONIQ DP/4+ Reference Manual 29

Section 2 — Algorithms

EQ - FLANGER - DDL

EQ-Flanger-DDL combines an EQ with a flanger and a digital delay. Use flanging to get that “jet aircraft woosh” effect.

EQ - Flanger - DDL Signal Routing

Echo

Level

Main Outputs

Left

Input Level Trim

Right

The signal enters an input level trim (parameter 20) followed by a programmable EQ, and then is routed to the flanger. The flanger is routed directly to the output. The left channel signal passes through the delay and is routed back into the flanger. Another signal from the delay is routed to the output on the right side. One feedback parameter (12) controls both delay levels. There are two discrete echoes that are sent to the left and right outputs respectively. The signal from both echoes has one level control (parameter 15). There is also an external dry signal (not shown) that goes directly from the input to the output and is controlled with the mix parameter (01).

Flanger

Delay

Feedback

Echo

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. We recommend a Mix setting of 99.

03 — Flanger LFO Rate Range: 00 to 99

Controls the rate of modulation of the flanger effect.

04 — Flanger LFO Width Range: 00 to 99

Controls the range of the high to low frequency sweep in the flanger effect.

05 — Flanger Center Range: 00 to 99

Controls the sweep center of the flanger effect. The larger the flanger center, the wider will be the available width.

06 — Flanger Feedback Range: -99 to +99

Controls the amount of feedback applied from the output to the flanger input. The sign of the value determines the polarity of the feedback.

07 — Flanger Notch Depth Range: -99 to +99

Controls the depth of the notches created by the flanging effect. A setting of +00 will disable the flanging effect, and also provide a doppler effect for wide, moderately slow LFO rates.

30 ENSONIQ DP/4+ Reference Manual

Section 2 — Algorithms

08 — Left/Right LFO Range: Out-of-Phase or In-Phase

Determines whether the flanger on the left and right channels is modulating in or out-of phase.

09 — Flanger Sample & Hold Rate Range: Off, 001 to 100

Controls the sample rate of a sample and hold network. This is applied to the LFO within the flanger. When in hold, the effect will be to create momentarily fixed notches within the frequency spectrum (if the notch depth is not 00). A setting of 001 will have the largest space between samples. Higher values will increase the number of holds per second, making the flanging flow more smoothly. The sample and hold function can be turned off.

10 — Flanger Left Delay Time Range: 0 to 1500 ms

Controls the time delay for the left channel regen delay. This is the “ping.”

11 — Flanger Right Delay Time Range: 0 to 1500 ms

Controls the time delay for the right channel regen delay. This is the “pong.”

12 — Flanger Delay FeedbackRange: -99 to +99

Controls the level of the delay time taps. The sign of the value determines the polarity of the feedback.

13 — Flanger Left Echo Time Range: 0 to 1500 ms

Controls the flanger echo time for the left side. Higher values yield a deeper echo.

14 — Flanger Right Echo Time Range: 0 to 1500 ms

This parameter controls the flanger echo time for the right side.

15 — Flanger Echo Level Range: 00 to 99

Controls the volume of the discrete echoes. A setting of 00 would eliminate any audible echo.

16 — Bass Fc Range: 0 to 1000 Hz

Sets the cutoff frequency of the lower frequency band shelving filter.

17 — EQ Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to the low shelving filter.

18 — Treble Fc Range: 01KHz to 16KHz

Selects the cutoff of the upper frequency band high shelving filter.

19 — EQ Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to the high shelving filter.

20 — EQ Input Level Trim Range: -24 to +00 dB

Adjusts the input volume of the EQs to eliminate the possibility of clipping boosted signals.

21 — Mod1 Source 25 — Mod2 Source 22 — Mod1 Destination 26 — Mod2 Destination 23 — Mod1 Param Range Min 27 — Mod2 Param Range Min 24 — Mod1 Param Range Max28 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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EQ - PANNER - DDL

EQ-Panner-DDL combines an EQ with a panning effect and a digital delay. If this algorithm doesn’t sound like it’s panning, check parameter 05 to see if it’s in-phase or out-of-phase; a mono signal will only work “in-phase.”

EQ - Panner - DDL Signal Routing

Echo

Level

Main Outputs

Left

Input Level Trim

Right

The signal enters an input level trim (parameter 17) followed by a programmable EQ, and is then routed to the panner. The panner is routed directly to the output. The left channel signal passes through the digital delay and is routed back into the delay. There is another signal from the delay that is routed to the output on the right side. One regen parameter (09) between the delay sends controls both delay levels. There are two discrete echoes that are sent to the left and right outputs respectively. The signal from both echoes has one level control. This configuration of delays and echoes provides the “ping-pong”effect. There is also an external dry signal (not shown) that goes directly from the input to the output and is controlled with the mix parameter (01).

Panner

Delay

Echo

Regen

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section.

03 — Panner Rate Range: 00 to 99

This parameter sets the rate of panning from left to right. Higher values create a faster movement. High values of this parameter used in conjunction with the Sample & Hold rate yield interesting staccato effects.

04 — Panner Width Range: 00 to 99

Sets the width of the excursion from left to right. Because this algorithm features a multi-shaped LFO, optimal settings are around 50. Higher values create a wider separation of the LFO curve.

05 — Left/Right LFO Range: Out-of-Phase or In-Phase

This parameter selects an in-phase (like windshield wipers) or an out-of-phase (opposing wipers) LFO. In-Phase pans both left and right to left, then right. Out-Of-Phase pans left to left and right to right, and then left to right and right to left; at the halfway point, both channels are in the center, and a stereo signal becomes mono. Switch between the two settings until it sounds right for your routing config.

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06 — Panner Sample & Hold Rate Range: Off, 001 to 100

Controls the sample rate of a sample and hold network applied to the LFO within the panner. When in hold, the stereo image will be momentarily fixed (if the width is not 00). A setting of 001 will have the largest space between holds. Higher values will increase the number of holds per second, making the panning flow more smoothly. This parameter can also be turned off.

07 — Panner Left Delay Time Range: 0 to 1500 ms

Controls the time delay for the left channel regen delay, independent of the pan effect.

08 — Panner Right Delay Time Range: 0 to 1500 ms

Controls the time delay for the right channel regen delay, independent of the pan effect.

09 — Panner Delay Regen Range: -99 to +99

Controls the amount of regen applied to the delay time taps. The sign of the value determines the polarity of the regen. A value of +00 will eliminate any audible delay.

10 — Panner Left Echo Time Range: 0 to 1500 ms

This parameter controls the echo time for the left side. Higher settings yield a slower echo. There are two discrete echoes, one to the left and one to the right.

11 — Panner Right Echo Time Range: 0 to 1500 ms

This parameter controls the echo time for the right side.

12 — Panner Echo Level Range: 00 to 99

Controls the volume of the discrete echo for both the left and right sides. Higher values offer louder echo, while a value of 00 will eliminate the echo.

13 — Bass Fc Range: 0 to 1000 Hz

Selects the cutoff frequency of the low EQ.

14 — Bass EQ Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to the low EQ.

15 — Treble Fc Range: 01KHz to 16KHz

Selects the cutoff frequency of the high EQ.

16 — Treble EQ Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to the high EQ.

17 — EQ Input Level Trim Range: -24 to +00 dB

Adjusts the input volume to the EQs to eliminate clipping signals.

18 — Mod1 Source 22 — Mod2 Source 19 — Mod1 Destination 23 — Mod2 Destination 20 — Mod1 Param Range Min 24 — Mod2 Param Range Min 21 — Mod1 Param Range Max25 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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Section 2 — Algorithms

EQ-TREMOLO-DDL

EQ-Tremolo-DDL combines an EQ and a tremolo effect, which is a pulsating change in volume, with a digital delay.

EQ-Tremolo-DDL Signal Routing

Echo Level

Main Outputs

Left

Input Level Trim

Right

The signal enters an input level trim (parameter 17) followed by a programmable EQ, and is then routed to the tremolo. The tremolo is routed directly to the output. The left channel signal passes through the digital delay and is routed back into the delay. There is another signal from the delay that is routed to the output on the right side. One Regen parameter (09) between the delay sends controls the left and right delay level. This constitutes the “ping-pong” effect. There are two echoes that are sent to the left and right outputs respectively. The signal from the two discrete echoes has one level control. There is also an external dry signal (not shown) that goes directly from the input to the output and is controlled with the mix parameter (01).

Tremolo

Delay

Regen

Echo

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section.

03 — Tremolo Rate Range: 000 to 200

Sets the rate of modulation. Mid values create a faster wavering sound. High values will raise the level up into the audio range, creating a ring modulation (amplitude modulation) effect. This parameter, when used in conjunction with the Sample & Hold Rate parameter, can create some interesting staccato effects.

04 — Tremolo Depth Range: 00 to 99

This parameter sets the depth of amplitude modulation. Because this algorithm features a multishaped LFO, optimal settings are around 50. Higher values create a wider separation of the LFO curve.

05 — Left/Right LFO Range: Out-of-Phase or In-Phase

Controls whether the left and right channels of the stereo tremolo will modulate in or out-of-phase.

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06 — Tremolo Sample & Hold Rate Range: Off, 001 to 100

Controls the sample rate of a sample and hold network applied to the LFO within the tremolo. When in “Hold,” the effect will be to fix the instantaneous amplitude (if the depth is not 00). A setting of 001 will have the largest space between holds. Lower settings create a staccato effect, whereas higher values will increase the amount of samples, making the tremolo flow more smoothly. This parameter can also be turned off.

07 — Tremolo Left Delay Time Range: 0 to 1500 ms

This parameter controls the time delay for the left channel regen delay, independent of the tremolo effect.

08 — Tremolo Right Delay Time Range: 0 to 1500 ms

This parameter controls the time delay for the right channel regen delay.

09 — Tremolo Delay Regen Range: -99 to +99

Controls the amount of regen applied to the delay time taps. The sign of the value determines the polarity of the regen. A value of +00 will eliminate the audible delay.

10 — Tremolo Left Echo TimeRange: 0 to 1500 ms

Controls the tremolo echo time for the left side. Higher settings yield a slower echo.

11 — Tremolo Right Echo Time Range: 0 to 1500 ms

This parameter controls the tremolo echo time for the right side.

12 — Tremolo Echo Level Range: 00 to 99

Controls the volume of the discrete echo for both the left and right sides.

13 — Bass Fc Range: 0 to 1000 Hz

Selects the cutoff frequency of the low EQ.

14 — Bass EQ Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to the low EQ.

15 — Treble Fc Range: 01KHz to 16KHz

Selects the cutoff frequency of the high EQ.

16 — Treble EQ Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to the high EQ.

17 — EQ Input Level Trim Range: -24 to +00 dB

Adjusts the input volume to the EQs to prevent clipping boosted signals.

18 — Mod1 Source 22 — Mod2 Source 19 — Mod1 Destination 23 — Mod2 Destination 20 — Mod1 Param Range Min 24 — Mod2 Param Range Min 21 — Mod1 Param Range Max25 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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Section 2 — Algorithms

EQ - VIBRATO - DDL

EQ-Vibrato-DDL combines an EQ and a vibrato effect (a pitch shifter modulating over a very small range), with a digital delay. Many vintage guitar amplifiers offered a vibrato control, but don’t feel that this algorithm is limited to guitars; try this with other sources as well. There is a sample & hold parameter that doesn’t hold the instantaneous pitch shift, but if set properly will provide a “chirping” effect when acting on the input signal.

EQ - Vibrato - DDL Signal Routing

Echo

Main Outputs

Left

Input Level Trim

Right

The signal enters a programmable EQ, which is preceded by an input level trim (parameter 17). The signal is then routed to the vibrato. The vibrato is routed directly to the output. The vibrato also passes through the delay which is then regenerated back into the delay. A different delay signal is routed to the output on the right side. This constitutes a “ping-pong” delay effect. The Regen parameter between the delay sends controls the delay feedback amount. There are also two echoes that are sent to the left and right outputs respectively. The signal from the two echoes has one level control. There is also an external dry signal (not shown) that goes directly from the input to the output and is controlled with the mix parameter (01).

Vibrato

Regen

Vibrato

EchoDelay

Level

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. This algorithm sounds best when set to 100% wet (Mix=99).

03 — Vibrato Rate Range: 00 to 99

Sets the rate of modulation. Higher values create a faster vibrating rate.

04 — Vibrato Width Range: 00 to 99

This parameter adjusts the amount of the modulation.

05 — Left/Right LFO Range: Out-of-Phase or In-Phase

Controls the vibrato pitch direction of the left and right channels. When Out-of-Phase, the (quadrature) pitch change on the left channel will lag 90˚ from the right. When In-Phase, both channels will change pitch together.

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06 — Vibrato Sample & Hold Rate Range: Off, 001 to 100

Controls the sample rate of a sample and hold network. This is applied to the LFO within the vibrato. When in hold (low values), it causes rhythmic chirps in the pitch of the audio signal. Higher values will increase the number of holds per second, making the vibrato flow more smoothly. The sample and hold function can also be turned Off.

07 — Vibrato Left Delay Time Range: 0 to 1500 ms

Controls the time delay on the left regenerated delay.

08 — Vibrato Right Delay Time Range: 0 to 1500 ms

Controls the time delay on the right non-regenerated delay.

09 — Vibrato Delay Regen Range: -99 to +99

Controls the amount of positive or negative feedback applied to the regenerated delay. The sign of the value determines the polarity of the feedback. A value of +00 will eliminate any feedback. This parameter controls both left and right levels.

10 — Vibrato Left Echo Time Range: 0 to 1500 ms

Controls the echo time for the left side. Higher settings yield a deeper echo. There are two discrete echoes, one to the left and one to the right.

11 — Vibrato Right Echo Time Range: 0 to 1500 ms

Controls the echo time for the right side.

12 — Vibrato Echo Level Range: 00 to 99

Controls the volume of the discrete echo for both the left and right sides. A setting of 00 will eliminate any audible echo.

13 — Bass Fc Range: 0 to 1000 Hz

Selects the cutoff frequency of the low shelving filter.

14 — Bass EQ Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to the low shelving filter.

15 — Treble Fc Range: 01KHz to 16KHz

Selects the cutoff of the upper frequency band high shelving filter.

16 — Treble EQ Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to the high shelving filter.

17 — EQ Input Level Trim Range: -24 to +00 dB

Adjusts the input volume before the EQs to eliminate the possibility of clipping boosted signals.

18 — Mod1 Source 22 — Mod2 Source 19 — Mod1 Destination 23 — Mod2 Destination 20 — Mod1 Param Range Min 24 — Mod2 Param Range Min 21 — Mod1 Param Range Max25 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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Section 2 — Algorithms

EXPANDER

Expander performs downward expansion of an input signal’s dynamic range. For high expansion ratios this algorithm functions as a gate. This algorithm operates by reducing the level of signals below the threshold and passing the signals above the threshold. The Threshold is a definable parameter. This algorithm can be used to eliminate noise. There is no EQ in the audio path; high and low pass filtering are provided on the side chain only. This algorithm possesses two special features:

1. The ADSR (envelope generator) in this algorithm has Attack, Sustain, and Release (the sustain is new and is called the Hold Time).

2. This algorithm contains a trigger mask function. This function is used primarily to extract a click track from drum tracks. Once triggered, this function inserts a zero signal level into the side chain detector for an amount of time determined by the user. This function becomes triggered if Trigger Mask is enabled and if side chain signal falls below the Trigger Mask Threshold.

Signal Level

Threshold

Time

Pass

Attenuate

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. We recommend a setting of 99.

03 — Exp Ratio Range: 1:1 to 1:40, infinity

Sets the amount of expansion. The range is based on decibels (dB) below the threshold. If this is set to 1:4 for example, it will expand changes in signals below the threshold by a factor of four. When this is set to infinity, it acts as a gate. A setting of 1:1 offers no expansion.

04 — Exp Threshold Range: -96 to +00 dB

This parameter sets the threshold level. Signals that exceed this level will be unaffected, while signals that are below will be expanded. To turn off the expander, set the level to -96 dB.

05 — Gain Change Range: N/A

This read-only parameter displays the amount of gain reduction in real time.

06 — Exp Attack Range: 50µs to 100ms

Determines the attack rate after the initial signal has been detected and before the expansion takes affect.

07 — Exp Release Range: 1ms to 10.0s

Determines the release rate after the signal has been detected below the threshold level. This is generally chosen longer than the attack time (parameter 06).

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08 — Expander Gate Hold Time Range: 1ms to 10.0s

This is the detection sustain time in the ADSR which constitutes attack, sustain, and release.

09 — Sidechain EQ Gain Range: -48 to +48 dB

Controls the amount of boost applied to the output signal of the high/low pass filter. This accounts for insertion loss through those filters.

10 — HighPass Fc Range: 4 to 8000 Hz

This sets the cutoff frequency of the lower frequency band high pass shelving filter.

11 — LowPass Fc Range: 100 Hz to 16 KHz

Sets the amount of boost or cut applied to the low pass filter.

12 — Trigger Mask Range: Off or On

This parameter enables the trigger mask function. Once triggered, the side chain detector will see no input signal for a duration specified by parameter 13.

13 — Time Range: 1ms to 10.0s

Sets the duration over which the side chain detector will be blacked out. This parameter is useful for isolating the first beat of a drum track.

14 — Trig Mask Lower Threshold Range: -96 to +00 dB

This sets the trigger mask threshold level. Signals that fall below this level will trigger the mask function. The trigger mask function uses the Expander Threshold (04) as upward hysteresis. Therefore, the Trigger Mask Threshold should always be set lower than the Expander Threshold.

15 — Expander Output Gain Range: -48 to +48 dB

Sets the amount of loss (negative values) or gain (positive values) applied to the expander on the output volume. We recommend a starting application of +00 dB.

16 — Mod1 Source 20 — Mod2 Source 17 — Mod1 Destination 21 — Mod2 Destination 18 — Mod1 Param Range Min 22 — Mod2 Param Range Min 19 — Mod1 Param Range Max23 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators earlier in this section.

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Section 2 — Algorithms

FAST PITCH SHIFT

FastPitchShift has a transport delay of only 10 msec and a maximum detune ratio of one semitone. Try shifting the voices slightly in both positive and negative values (parameters 03 and

06) to create a fat sound. This algorithm can be used for pitch correction (for instance, try

hooking up a mod wheel for MIDI).

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. This algorithm sounds best with a Mix of wet and dry. Try using a modulation controller for the Mix parameter to bring in or fade out the pitch shifted signal.

03 — PitchShifter Vc 1 Fine Range: -99 to +99

This parameter allows you to fine tune the pitch of Voice 1.

04 — PitchShifter Vc 1 Level Range: 00 to 99

Adjusts the volume of Voice 1. A setting of 00 would eliminate any audible pitch shift.

05 — PitchShifter Vc 1 Pan Range: -99 to +99

Allows you to assign the location of Voice 1 in the stereo field. A value of -99 would be far left, and +99 would be far right.

06 — PitchShifter Vc 2 Fine Range: -99 to +99

This parameter allows you to fine tune the pitch of Voice 2.

07 — PitchShifter Vc 2 Level Range: 00 to 99

Adjusts the volume of Voice 2. A setting of 00 would eliminate any audible pitch shift.

08 — PitchShifter Vc 2 Pan Range: -99 to +99

This parameter allows you to assign the location of Voice 2 in the stereo field. A value of -99 would be far left, and +99 would be far right.

09 — PitchShifter LFO Rate Range: 00 to 99

Controls the rate of pitch modulation which creates a chorusing effect. To achieve chorusing, this rate must be very low.

10 — PitchShifter LFO Width Range: 00 to 99

Controls the excursion (amount) of pitch modulation. Since the rate is usually very low, then the width is usually very large.

11 — Mod1 Source 15 — Mod2 Source 12 — Mod1 Destination 16 — Mod2 Destination 13 — Mod1 Param Range Min 17 — Mod2 Param Range Min 14 — Mod1 Param Range Max18 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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FLANGER

Flanger is a fat digital flanger. The DP/4+ offers two different flanger algorithms. This flanger has deeper notches and requires less feedback than the EQ-Flanger-DDL algorithm.

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. The flange depth can be changed somewhat by changing the Mix level.

03 — Flanger LFO Rate Range: 00 to 99

This parameter controls the rate of modulation of the flanger notches.

04 — Flanger LFO Width Range: 00 to 99

Controls the range of the high to low frequency sweep about the flanger center in the flanger effect.

05 — Flanger Center Range: 00 to 99

This parameter controls the sweep center of the flanger effect.

06 — Flanger Regen Range: -99 to +99

Controls the amount of feedback applied from the output to the input of the flanger. The sign of the value determines the polarity of the feedback.

Section 2 — Algorithms

07 — Mod1 Source 11 — Mod2 Source 08 — Mod1 Destination 12 — Mod2 Destination 09 — Mod1 Param Range Min 13 — Mod2 Param Range Min 10 — Mod1 Param Range Max14 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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Section 2 — Algorithms

GATED REVERB

Gated Reverb provides an excellent gated reverb. When the output of a reverb is muted partway through it’s decay, it creates a gated sound. To achieve this gated effect, both the Gated and Reverse reverbs must gate a number of internal parameters, not just the output amplitude envelope. It is however, the output amplitude over which the user has control. The DP/4+ offers a highly controllable gated reverb, optimized for percussive instruments, but useful for any signal. The gate is first opened when the input signal passes the trigger threshold. This trigger threshold should be set as low as possible, so that none of the input signal is missed. The gated reverb is distinguished from the reverse reverb by retriggering whenever the input signal passes a retrigger (user programmable) threshold (see diagrams). The gate will stay open as long as the input signal remains above the retrigger threshold, and all the input signals will be accumulated under this gate until the total input signal level falls below the retrigger threshold. When this happens, the Hold Time will begin (as shown in the diagram below). The reason for two thresholds is to eliminate false retriggering and to ensure precise hold time durations. If you desire a separate gate on each and every note, use the Non Lin reverbs. The topology for the Gated Reverb is derived from the Plate Reverb.

Gated Reverb with a High Retrigger Threshold

Hold Time

Attack Time

Release

Level

Signal

Time

Gated Reverb with a Low Retrigger Threshold

Hold Time

Level

Hold Time

Signal

Retrigger

Trigger

Retrigger Trigger

Time

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section.

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03 — Attack Range: 1ms to 10.0s

Sets the attack time of the gated reverb once the incoming signal has reached the trigger level. Generally the attack should be short and not set longer than the Hold Time. This parameter should not be used to achieve a reverse reverb envelope, because here the attack volume increases whereas in the Reverse reverb the attack volume accelerates.

04 — Hold Time Range: 1ms to 10.0s

Sets the amount of time that the reverb will hold after the retrigger and before the release. The Hold Time will begin again if retriggered (see diagrams).

05 — Decay Range: 0.20 to 100.0 sec.

Sets the decay rate much like in the Reverse Reverb algorithm. In general, the decay rate is set very high. Decay rate is not offered as a controllable parameter in the Reverse Reverb, but the DP/4+ brings it out here for special effect when low values are used.

06 — Release Time Range: 1ms to 10.0s

Sets the amount of time after the Hold Time has elapsed for the gated reverb to shut down. Generally these times are very short.

07 — Trigger Threshold Range: -96 to +00 dB

Sets the signal level that triggers the gated reverb. When the incoming signal reaches this value, it triggers (starts) the gated reverb. Higher values would require a stronger incoming signal. Set this parameter as low as possible to work with your particular source, but not too low so as to cause false triggering.

08 — Retrigger Threshold Range: -96 to +00 dB

This parameter sets the level at which the gated reverb will retrigger. For precise Hold Time that begins at the onset of the incoming source, this parameter should be set higher than the incoming signal to prevent retriggering (as shown in the diagrams). After the incoming signal reaches the trigger threshold, the gated reverb is activated. Every time the signal reaches the retrigger threshold, the gated reverb will retrigger causing the Hold Time to restart.

If the level of this parameter is set lower than the incoming signal, the gated reverb will continue to retrigger as shown in the diagrams. With a high Decay Rate (parameter 05), this adds a cavernous quality to percussion instruments.

09 — HF Damping Range: 00 to 99

Controls the rate of attenuation of high frequencies in the decay of the reverb. Increasing the value of this parameter will gradually filter out increasing amounts of high frequency energy. We recommend a setting of 00.

10 — Diffusion 1 Range: 00 to 99

Smears the transients, so as to diffuse and smooth the sound. Lower values will cause impulsive sounds to appear as a series of discrete echoes, while higher values tend to increase the smear (smoother sounding). Recommended setting is approximately 50.

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11 — Diffusion 2 Range: 00 to 99

This parameter, similar to and in series with Diffusion 1, performs the same way but controls lower frequency ranges. Recommended setting is approximately 50.

12 — Decay Definition Range: 00 to 99

Controls the rate of echo density build up in the reverb decay. If set too high, the echo density will build at a rate that exceeds the decay rate. A general rule of thumb: Definition should not exceed the Decay Rate. We recommend settings between 25 and 50.

13 — Slapback Range: 0 to 500 ms

Controls the delay time of an internal dry stereo signal to create a slapback. In general, the slapback is greater or equal to the Hold Time (parameter 04) to achieve a reverse effect.

14 — Slapback Level Range: 00 to 99

Adjusts the volume of the slapback (internal dry) signal. A value of 00 would eliminate any audible slapback.

15 — Early Reflections 1 16 — Early Reflections 2 17 — Early Reflections 3 18 — Early Reflections 4 Ranges: -99 to +99

These parameters control four early reflection levels. Setting these levels to lower values will produce a wetter sound.

19 — Left/Right Balance Range: -99 to +99

Controls the left/right stereo balance of the gated reverb signal. A setting of -99 would offer hard left, whereas a setting of +99 would offer hard right. A setting of +00 would place the reverb in the center of the stereo spectrum.

20 — Mod1 Source 24 — Mod2 Source 21 — Mod1 Destination 25 — Mod2 Destination 22 — Mod1 Param Range Min 26 — Mod2 Param Range Min 23 — Mod1 Param Range Max27 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators, in the beginning of this section.

44 ENSONIQ DP/4+ Reference Manual

GUITAR AMP 1, GUITAR AMP 2

These algorithms recreate the warm sound of a tube guitar amplifier. They do this by emulating tube distortion characteristics. These algorithms are good for all stringed instruments. Guitar Amp 1 offers more distortion than Guitar Amp 2.

Guitar Amp 1 is designed for Hard Rock sounds. Guitar Amp 2 is optimized for “bluesy” type sounds.

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section.

03 — Amp Preamp Gain Range: -48 to +48 dB

Adjusts the amount of boost or cut applied to the incoming signal. We recommend a setting of 00 dB, since these emulations were optimized for distortion there. Lower preamp gains will result in less distortion, while higher preamp gains will yield clipping distortion. For low preamp gain, it may be desirable to use low tube bias values.

04 — Output Level Range: 00 to 99

This parameter controls the output level of the main amp before the output EQ.

Section 2 — Algorithms

05 — Amp Tube Bias Range: 00 to 99

For preamp gains approximately 00 dB, this parameter controls the emphasis of even to odd harmonics which determines the tone of the amp; mid values emphasize even harmonics and offer a warmer (“glowing tube”) sound, while the highest values may sound like tubes going bad. Tube bias and preamp gain are independent parameters. For low preamp gain, it may be desirable to use low tube bias values, because this more closely imitates the operation of a real amplifier.

06 — Pre-EQ Input Level TrimRange: -24 to +00 dB

Controls the input level to the pre-amp EQ to eliminate the possibility of clipping boosted signals.

07 — Pre-EQ High Pass Cutoff Range: 4 to 1000 Hz

Filters out the low frequencies before the preamp. The higher the value, the less low frequencies pass through.

08 — Pre-EQ Fc Range: 100 to 9999 Hz

This parameter determines the center frequency of the parametric filter before the preamp. Higher values have a brighter sound.

09 — Pre-EQ Gain Range: -48 to +24 dB

Adjusts the amount of boost or cut applied to the parametric filter in front of the preamp.

10 — Pre-EQ Q Range: 01 to 18

Determines the width of the resonant peak at the parametric filter center frequency. While the Filter center parameter determines where (at what frequency) this peak will occur, the Q setting controls the presence of the peak.

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11 — Noise Gate Off Below Range: -96 to +00 dB

Sets the lower threshold level at which the noise gate shuts off the audio.

12 — Noise Gate On Above Range: -96 to +00 dB

Sets the upper threshold level at which the noise gate passes the audio. The higher second threshold prevents false “turn ons.”

13 — Gate Release Time Range: 1ms to 10.0s

This parameter sets the amount of time after the signal has elapsed for the noise gate to shut down. For a longer sustain, set this parameter higher.

14 — Speaker High Pass Cutoff Range: 4 to 1000 Hz

This parameter filters out the low frequencies of the main amp prior to the speaker. The higher the value, the less low frequencies pass through.

15 — OutEQ1 Fc Range: 100 to 9999 Hz

This parameter determines the filter center frequency of the parametric in the main amp stage. Higher values have a brighter sound.

16 — OutEQ1 Gain Range: -48 to +24 dB

This parameter adjusts the amount of boost or cut applied to the main amp parametric.

17 — OutEQ1 Q Range: 01 to 18

Determines the width of the resonant peak of the filter center. While the Filter center parameter determines where (at what frequency) this peak will occur, the Q setting controls the presence of the peak.

18 — OutEQ2 Fc Range: 100 to 9999 Hz

This parameter determines the filter center frequency of the second parametric in the main amp stage. Higher values have a brighter sound.

19 — OutEQ2 Gain Range: -48 to +24 dB

This parameter adjusts the amount of boost or cut applied to the second main amp parametric.

20 — OutEQ2 Q Range: 01 to 18

This parameter determines the width of the resonant peak of the second filter center.

21 — Speaker Low Pass Cutoff Range: 2.0 to 16.0 KHz

Filters out the high frequencies of the speaker. The lower the value, the less high frequencies pass through. This speaker filter is less selective than the speaker cabinet emulation algorithms.

22 — Mod1 Source 26 — Mod2 Source 23 — Mod1 Destination 27 — Mod2 Destination 24 — Mod1 Param Range Min 28 — Mod2 Param Range Min 25 — Mod1 Param Range Max29 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators earlier in this section.

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GUITAR AMP 3

Guitar Amp 3 combines an inverse expander with a bright distortion for amp lead sounds. The inverse expander may be thought of as a compressor that amplifies all signals below the threshold. This algorithm is good for heavy metal and hard rock guitar solos.

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section.

03 — Preamp Gain Range: -48 to +48 dB

Adjusts the amount of boost or cut applied to the EQ’d incoming signal. Lead sounds are obtained using high gain.

04 — Output Level Range: 00 to 99

This parameter controls the output level before the output EQ.

05 — PreEQ Input Level Trim Range: -24 to +00 dB

Controls the input level to the preamp EQ to eliminate the possibility of clipping boosted signals.

06 — Pre-EQ Fc Range: 100 to 9999 Hz

Determines the filter center frequency of the parametric in the preamp stage. Higher values have a brighter sound.

Section 2 — Algorithms

07 — Pre-EQ Gain Range: -48 to +24 dB

This parameter adjusts the amount of boost or cut applied to the preamp parametric.

08 — Pre-EQ Q Range: 01 to 18

Determines the width of the resonant peak at the filter center. While the Filter center parameter determines where (at what frequency) this peak will occur, the Q setting controls the presence of the peak.

09 — ExpndRatio Range: 1:1 to 40:1, infinity

Sets the amount of inverse expansion. Expansion occurs below the threshold. If this is set to 3:1 for example, it will expand the change in signals below the threshold by three times in an attempt to make the signal amplitude approach the threshold level.

10 — Threshold Range: -96 to +00 dB

Sets the inverse expander threshold level. Signals beneath this level will be expanded, while signals that are above will be unaffected. As the input signal dies away below the threshold, the expander will increase the gain of the signal.

11 — Gain Change Range: N/A

This read only parameter shows the level of the signal.

12 — Noise Gate Off Below Range: -96 to +00 dB

Sets the lower threshold level at which the noise gate shuts off the audio.

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Section 2 — Algorithms

13 — Noise Gate On Above Range: -96 to +00 dB

Sets the upper threshold level at which the noise gate passes audio. This higher second threshold prevents false “turn ons.”

14 — Gate Release Time Range: 1ms to 10.0s

Sets the amount of time after the signal has elapsed for the noise gate to shut down. For a longer sustain, set this parameter higher.

15 — Speaker High Pass Cutoff Range: 4 to 1000 Hz

Filters out the low frequencies of the main amp prior to the speaker. The higher the value, the less low frequencies pass through.

16 — OutEQ1 Fc Range: 100 to 9999 Hz

Determines the filter center frequency of the parametric in the main amp stage. Higher values have a brighter sound.

17 — OutEQ1 Gain Range: -48 to +24 dB

This parameter adjusts the amount of boost or cut applied to the main amp parametric.

18 — OutEQ1 Q Range: 01 to 18

19 — OutEQ2 Fc Range: 100 to 9999 Hz

Determines the filter center frequency of the second parametric in the main amp stage. Higher values have a brighter sound.

20 — OutEQ2 Gain Range: -48 to +24 dB

Adjusts the amount of boost or cut applied to the second main amp parametric.

21 — OutEQ2 Q Range: 01 to 18

Determines the width of the resonant peak of the second filter center.

22 — Speaker Low Pass Cutoff Range: 2.0 to 16.0 KHz

This parameter filters out the high frequencies of the speaker. The lower the value, the less high frequencies pass through. True speaker emulations are provided as separate algorithms.

23 — Mod1 Source 27 — Mod2 Source 24 — Mod1 Destination 28 — Mod2 Destination 25 — Mod1 Param Range Min 29 — Mod2 Param Range Min 26 — Mod1 Param Range Max30 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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GUITAR AMP 4

Guitar Amp 4 is designed to recreate the warm sound and “touch” of vintage class “A” tube guitar amplifiers. This is done by carefully emulating their distortion characteristics. The waveshaping table used in creating this guitar amp simulation is a symmetrical table. A symmetrical table produces odd harmonics (no even harmonics). The Amp Tube Bias parameter is very important to this algorithm as it is used to dynamically alter the symmetry, thus producing even harmonics.

We recommend following this algorithm with any of the speaker algorithms.

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section.

03 — Amp Preamp Gain Range: -48 to +48 dB

Adjusts the amount of boost or cut applied to the incoming signal. We recommend a gain of 20 dB, since these emulations were optimized for distortion there. Lower preamp gains will result in less distortion, while higher preamp gains will yield more distortion. For low preamp gain, it may be desirable to use low tube bias values.

04 — Output Level Range: 00 to 99

This parameter controls the output level of the main amp before the output EQ.

Section 2 — Algorithms

05 — Amp Level Detect Attack Range: 50µs to 100ms

Controls the time it takes for the incoming signal to get to the Amp Tube Bias. Generally the attack should be short.

06 — Amp Level Detect Release Range: 1ms to 10.0s

Sets the amount of time after the incoming signal has ceased for the amp level to shut down. Generally these times are longer than the attack times.

07 — Amp Tube Bias Range: 00 to 99

For preamp gains approximately 00 dB, this dynamic parameter controls the emphasis of even to odd harmonics which determines the tone of the amp; mid values emphasize even harmonics and offer a warmer (“glowing tube”) sound, while the highest values may sound like tubes going bad. Tube bias and preamp gain are independent parameters. For low preamp gain, it may be desirable to use low tube bias values, because this more closely imitates the operation of a real amplifier.

08 — Pre-EQ InputLevel Trim Range: -18 to +06 dB

Controls the input level to the pre-amp EQ to eliminate the possibility of clipping boosted signals.

09 — Pre-EQHighPass Cutoff Range: 4 to 1000 Hz

Filters out the low frequencies before the preamp. The higher the value, the less low frequencies pass through.

10 — Pre-EQ Fc Range: 5 to 9999 Hz

This parameter determines the center frequency of the parametric filter before the preamp. Higher values have a brighter sound.

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Section 2 — Algorithms

11 — Pre-EQ Gain Range: -48 to +24 dB

Adjusts the amount of boost or cut applied to the parametric filter in front of the preamp.

12 — Pre-EQ Q Range: 01 to 18

13 — Noise Gate Off Below Range: -96 to +00 dB

Sets the lower threshold level at which the noise gate shuts off the audio. This parameter also automatically sets the noise gate to turn back on at 6 dB higher than the defined range, thus preventing hysteresis.

14 — Gate Release Time Range: 1ms to 10.0s

This parameter sets the amount of time after the signal has elapsed for the noise gate to shut down. For a longer sustain, set this parameter higher.

15 — Speaker HighPass Cutoff Range: 4 to 1000 Hz

This parameter filters out the low frequencies of the main amp prior to the speaker. The higher the value, the less low frequencies pass through.

16 — OutEQ1 Fc Range: 5 to 9999 Hz

This parameter determines the filter center frequency of the parametric in the main amp stage. Higher values have a brighter sound.

17 — OutEQ1 Gain Range: -48 to +24 dB

This parameter adjusts the amount of boost or cut applied to the main amp parametric.

18 — OutEQ1 Q Range: 01 to 18

19 — OutEQ2 Fc Range: 5 to 9999 Hz

This parameter determines the filter center frequency of the second parametric in the main amp stage. Higher values have a brighter sound.

20 — OutEQ2 Gain Range: -48 to +24 dB

This parameter adjusts the amount of boost or cut applied to the second main amp parametric.

21 — OutEQ2 Q Range: 01 to 18

This parameter determines the width of the resonant peak of the second filter center.

22 — Speaker Low Pass Cutoff Range: 2.0 to 16.0 KHz

The parameter acts like a speaker, and filters out the high frequencies of the guitar signal. The lower the value, the less high frequencies pass through. This speaker filter is less selective than the speaker cabinet emulation algorithms.

23 — Mod1 Source 27 — Mod2 Source 24 — Mod1 Destination 28 — Mod2 Destination 25 — Mod1 Param Range Min 29 — Mod2 Param Range Min 26 — Mod1 Param Range Max30 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators earlier in this section.

50 ENSONIQ DP/4+ Reference Manual

GUITAR TUNER 2U

GuitarTuner2U is a utility algorithm specifically optimized to tune a guitar, or a bass guitar. In Select mode, when a preset that uses this algorithm is selected, it automatically takes you to parameter 03, for instant tuning ability.

Guitar Tuner Signal Routing

Section 2 — Algorithms

Unhappy Guitarist

Guitar Tuner 2U

Happy

Guitarist

01 — Mix Range: 00 to 99

This parameter could be thought of as a reversed volume control. When this parameter is set to 99, the signal is muted. If it is desired that the algorithm pass signal, set the Mix to 00 (or bypass the unit).

02 — Volume Range: 00 to 99

Adjusts the volume of the dry external signal — 00 is silent and 99 is full volume.

03 — Note Range: A to G#

This parameter automatically detects the note being played, and interprets if the signal is sharp or flat. When the meter rests on the center line, you are tuned to the displayed note.

04 — Range Range: Bass or Guitar

This parameter optimizes the frequency-detection range for bass (low signals) and guitar (high signals).

06 — Reference Range: A438 to A445

Determines the reference pitch based on A=440 (the default setting). Different countries use different reference points, and this parameter allows the fine adjustment of that point.

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Section 2 — Algorithms

Diffuser

Right

LPF

Definition

(Decay Diffuser)

Echo TimeEcho Time

HALL REVERB

Hall Reverb is a large acoustic space, and provides a high density reverb.

Hall Reverb Signal Routing

Echo TimeEcho Time

LPF

Diffuser

Definition

(Decay Diffuser)

Left

LPF

Main Outputs

The signal enters a low pass filter, and goes directly through the diffusers which smear the signal. The signal is then routed to a larger decay diffuser, known as Definition, and is diffused over a period of time (creating a decay). There are taps from both the left and right Definition that are routed to the output to create a synthesized stereo output. A signal from the Definition goes through a low pass filter followed by a low frequency decay parameter, which controls the rate of decay of the low frequencies. There is also a parameter at this stage that controls the decay time of both the left and right signals. The left and right signals are routed back into the Definition. There are two echo times between the diffuser and the definition that can be routed directly to the output, or sent back through the definition. There is also an external dry signal (not shown) that goes directly from the input to the output and is controlled with the mix parameter (01).

01 — Mix 02 — Volume

These parameters are explained in detail under the Mix and Volume Parameters description, found in the beginning of this section. Reverbs sound best with a Mix of wet and dry.

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Section 2 — Algorithms

03 — Decay Range: 0.70 to 250.0 sec.

Controls the amount of time it takes for the reverberation to decay away to a very low level after the input signal stops. Higher values are recommended for the hall reverb.

04 — Predelay Time Range: 0 to 450 ms

Controls the amount of time it takes for the original signal to be presented to the reverb. Higher values denote a longer delay.

05 — LF DecayTime Range: -99 to +99

Functions as a tone control and boosts (when set to a positive value) or cuts (when set to a negative value) the rate at which low frequencies will decay.

06 — HF Damping Range: 00 to 99

Controls the rate of attenuation of high frequencies in the decay of the reverberation. As natural reverb decays, some high frequencies tend to get absorbed by the environment. Increasing the value of this parameter will gradually filter out (dampen) more and more high frequency energy.

07 — HF Bandwidth Range: 01 to 99

The high frequency bandwidth acts as a low pass filter on the signal going into the reverb, controlling the amount of high frequencies that will pass into the effect. The higher the setting, the more high frequencies are allowed to pass. This functions like a tone control on a guitar.

08 — Diffusion1 Range: 00 to 99

This parameter smears the input signal transients, to diffuse and smooth the sound. Lower values will cause impulse sounds to appear as a series of discrete echoes, while higher values tend to increase the smear (smoother sounding with fewer discrete echoes). We recommend settings of 50 for starters.

09 — Diffusion2 Range: 00 to 99

This parameter, similar to and in series with Diffusion1, performs the same way but controls lower frequency ranges. Experiment with different levels between the diffusion parameters to find the settings that are right for your source.

10 — Decay Definition Range: 00 to 99

Controls the rate at which echo density is increased with time. Setting this parameter too high can cause the echo density to build at a rate which exceeds the decay rate. A general rule of thumb is this: Definition should not exceed the LF Decay Time added to the Decay Time.

11 — Detune Rate Range: 00 to 99

Controls the LFO rate of detuning introduced into the reverberation decay. Detuning creates a slight oscillating pitch shift into the decay, giving it a more natural sound by breaking up resonant modes.

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12 — Detune Depth Range: 00 to 99

Controls the depth of the detuning, that is, how much the pitch will change. Low values yield a metallic sound. Some sounds may require very low values, while others sound more natural with higher values.

13 — Primary Send Range: -99 to +99

Controls the level of the diffused input signal into the reverb definition.

14 — Ref 1 Time Range: 0 to 120 milliseconds

Controls the delay time for the first pre-echo. Pre-echoes are the first sounds which have been reflected back from the walls or reflective “live” surfaces. Higher values delay the diffused signal more.

15 — Ref 1 Level Range: 00 to 99

Controls the level of the first pre-echo. This pre-level controls the echo send to the Definition.

16 — Ref 1 Send Range: 00 to 99

Controls the level of the first pre-echo, with the echo routed directly to the output.

17 — Ref 2 Time Range: 0 to 120 milliseconds

Controls the delay time for the second pre-echo.

18 — Ref 2 Level Range: 00 to 99

Controls the level of the second pre-echo. As a signal continues to bounce off the different reflective surfaces (walls), it decreases in volume. Set this parameter to a lower value than Ref 1 Level, in order to create a natural sounding echo.

19 — Ref 2 Send Range: 00 to 99

Controls the level of the second pre-echo, with the echo routed directly to the output.

20 — Position Balance (1) 21 — Position Balance (2) 22 — Position Balance (3) Ranges: -99 to +99

These parameters simulate the depth of the hall. Think of these parameters as three different microphones placing at various distances within the hall (parameter 20 is closest to the front, and parameter 22 is farthest from the front). When the range (volume) is higher for parameter 20, the sound appears closer to the front, whereas a higher setting for parameter 22 appears farther from the front, suggesting a deeper (wetter) hall.

23 — Mod1 Source 27 — Mod2 Source 24 — Mod1 Destination 28 — Mod2 Destination 25 — Mod1 Param Range Min 29 — Mod2 Param Range Min 26 — Mod1 Param Range Max30 — Mod2 Param Range Max

These modulation control parameters are identical for all of the algorithms and are explained in detail under the Algorithm Modulators description, found in the beginning of this section.

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INVERSE EXPANDER

InversExpander creates sustain by expanding the signal so that the signal levels above threshold are passed and levels below threshold are boosted to create a more even sound. A traditional expander would have the opposite effect: that is a signal level below threshold would be attenuated. An inverse expander is much like a compressor in so far as they both can be used to create sustained sounds, and de-emphasize transient signals. EQ exists in both signal and side chain paths, in contrast to the Expander which has filtering in only the side chain path.

Section 2 — Algorithms

Signal Level

Threshold

Time

Pass

Boost

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. We recommend a Mix setting of 99.

03 — Expnd Ratio Range: 1:1 to 40:1, Infinity

This parameter sets the amount of expansion. The range is based on decibels (dB) below the threshold. If this is set to 3:1 for example, it will expand the changes in signals that are below the threshold level 3 dB for each 1 dB change in the output. We recommend starting with settings near 1:1 (a setting of exactly 1:1 disables expansion).

04 — Threshold Range: -96 to +00 dB

This sets the threshold level. Signals below this level will be boosted, while signals that are above will be unaffected. As the input signal dies away below the threshold, the expander will increase the signal gain. To turn off the inverse expander set the threshold to -96dB.

05 — Gain Change Range: N/A

This read-only parameter displays a gain increase meter.

06 — Exp Attack Range: 50µs to 100ms

Determines the time after the initial signal amplitude has been detected for the expansion to occur.

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Section 2 — Algorithms

07 — Exp Release Range: 1ms to 10.0s

Determines how long it takes for the expansion to be fully deactivated after the input signal rises above the threshold level. This is generally longer than the attack time.

08 — Exp Noise Gate Off Below Range: -96 to +00 dB

This parameter sets the lower threshold level at which the noise gate shuts off the audio.

09 — Comp Noise Gate On Above Range: -96 to +00 dB

Sets the upper threshold level at which the noise gate passes audio. This second parameter provides hysteresis.

10 — Bass Fc Range: 0 to 1000 Hz

Sets the cutoff frequency of the lower frequency band shelving filter.

11 — Bass EQ Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to the low shelving filter.

12 — Treble Fc Range: 01KHz to 16KHz

Sets the cutoff frequency of the upper frequency band high shelving filter.

13 — Treble EQ Gain Range: -48 to +24 dB

This parameter sets the amount of boost or cut applied to the high shelving filter.

14 — EQ Input Level Trim Range: -24 to +00 dB

Adjusts the input volume of the EQs, to eliminate the possibility of clipping boosted signals.

15 — Mod1 Source 19 — Mod2 Source 16 — Mod1 Destination 20 — Mod2 Destination 17 — Mod1 Param Range Min 21 — Mod2 Param Range Min 18 — Mod1 Param Range Max22 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators at the beginning of this section.

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KEYED EXPANDER

Keyed Expander operation is identical to the Expander. The only difference is that the left signal (Input 1) is expanded as determined by the key. The key is the right channel signal (Input 2). This effect is often used in studios to “tighten” rhythm tracks (e.g., a rhythm guitar in Input 1 is tightened by a different signal, like a drum machine connected to Input 2).

☞ Important: This special algorithm is only made available in the DP/4+ as a 2-Unit ROM

Preset (location #86), because it requires special input signal routing.

Keyed Expander Signal Routing

Section 2 — Algorithms

Main Output

Left

Right

Expander

Filtering

(side chain)

Side Trim

Keyed

Expander

Output

Mixer

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. The Mixer works as in all the other algorithms, and is distinct from the output mixer shown in the diagram above.

03 — Exp Ratio Range: 1:1 to 1:40, infinity

04 — Exp Threshold Range: -96 to +00 dB

Sets the threshold level. Signals that exceed this level will be unaffected, while signals that are below will be expanded. To turn off the expander, set the level to -96 dB.

05 — Gain Change Range: N/A

This read-only parameter displays the amount of gain reduction in real time.

06 — Exp Attack Range: 50µs to 100ms

Determines the attack rate after the initial signal has been detected and before the expansion takes affect.

07 — Exp Release Range: 1ms to 10.0s

Determines the release rate after the signal has been detected below the threshold level. This is generally chosen longer than the attack time (parameter 06).

08 — Expander Gate Hold Time Range: 1ms to 10.0s

This is the detection sustain time in the ADSR which constitutes attack, sustain, and release.

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Section 2 — Algorithms

09 — Sidechain EQ Gain Range: -48 to +48 dB

Controls the amount of boost applied to the output signal of the high/low pass filter. This accounts for insertion loss through those filters.

10 — HighPass Fc Range: 4 to 8000 Hz

Sets the cutoff frequency of the lower frequency band high pass shelving filter.

11 — LowPass Fc Range: 100 Hz to 16 KHz

Sets the amount of boost or cut applied to the low pass filter.

12 — Trigger Mask Range: Off or On

Enables the trigger mask function. Once triggered, the side chain detector will see no input signal for a duration specified by parameter 13.

13 — Trigger Time Range: 1ms to 10.0s

This parameter sets the duration over which the side chain detector will be blacked out. This parameter is useful for isolating the first bar of a drum track.

14 — Trigger Mask Threshold Range: -96 to +00 dB

Sets the trigger mask threshold level. Signals that fall below this level will trigger the mask function. The trigger mask function uses the Expander Threshold (04) as upward hysteresis. Therefore, the Trigger Mask Threshold should always be set lower than the Expander Threshold.

15 — Expander Output Mix Range: 00 to 99

Mixes the output of the left signal (Input 1) with the output of the right signal (Input 2). This is the output mixer which is shown in the diagram.

16 — Expander Output Gain Range: -48 to +48 dB

Sets the amount of cut (negative values) or boost (positive values) applied to the expander on the output volume. We recommend a starting application of +00 dB.

17 — Mod1 Source 21 — Mod2 Source 18 — Mod1 Destination 22 — Mod2 Destination 19 — Mod1 Param Range Min 23 — Mod2 Param Range Min 20 — Mod1 Param Range Max24 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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LARGE PLATE

A plate reverb takes the vibrations from a metal plate and uses them to create a metallic sounding reverb. Large plate reverbs are often used to enhance a vocalist’s performance.

Large Plate simulates a larger plate reverb.

Large Plate Reverb Signal Routing

Section 2 — Algorithms

Diffuser

Left

Diffuser

Right

The two plate reverb algorithms share exactly the same signal routing topology. The internal values of the components (not user programmable) differentiate the large and small plate reverbs. The signal goes directly through the diffusers which smear the signal. The signal is then routed to a larger decay diffuser, known as Definition, and is diffused over a period of time (creating a decay). The signal is then routed to the output, and then goes through a low pass filter. There is a parameter that controls the decay time of both the left and right signals (shown as triangles above). This signal is then routed back into the definition. There is also an external dry signal (not shown) that goes directly from the input to the output and is controlled with the mix parameter (01).

Definition

(Decay Diffuser)

Definition

(Decay Diffuser)

LPF

Main Outputs

LPF

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, found earlier in this section.

03 — Decay Range: 0.40 to 140.0 sec.

Controls the amount of time it takes for the reverberation to decay. High values of decay sound good on these algorithms.

04 — Predelay Time Range: 0 to 430 ms

Controls the amount of time it takes for the input signal to be presented to the plate reverb. A value of 0 would offer no delay.

05 — HF Damping Range: 00 to 99

Increasing the value of this parameter will gradually filter out increasing amounts of high frequency energy. Higher values yield an abrupt decay. This parameter controls the cut off of a low pass filter in series with the decay within the definition.

06 — HF Bandwidth Range: 01 to 99

This parameter acts as a low pass filter on the output of the plate reverbs, controlling the amount of high frequencies present. The higher the setting, the more high frequencies are allowed to pass through, offering a brighter ringing sound. Some interesting effects can be created by using a mod controller over a large range.

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Section 2 — Algorithms

07 — Diffusion 1 Range: 00 to 99

Smears the input signal to create a smoother sound. Lower values will cause impulse sounds to appear as a series of discrete echoes, while higher values tend to increase the smear, making the echoes less apparent.

08 — Diffusion 2 Range: 00 to 99

This Diffuser, similar to and in series with the previous one, offers control over lower frequency ranges. Plate reverbs tend to sound metallic, and the diffusers help to smear the signal, eliminating the metallic sound.

09 — Decay Definition Range: 00 to 99

Controls the rate at which echo density increases with time. Higher values can cause the echo density to build at a rate that exceeds the decay rate. For the best results, try to select the highest value that works with your sound source.

10 — Early Ref Level 1 11 — Early Ref Level 2 12 — Early Ref Level 3 13 — Early Ref Level 4 Ranges: -99 to +99

Control four early reflection levels. Setting these levels to lower values will produce a wetter sound. These four reflection levels are close to the input of the Decay Definition.

14 — Left/Right Balance Range: -99 to +99

Controls the left/right stereo balance of the plate reverb signal. A setting of -99 would offer hard left, whereas a setting of +99 would offer hard right. A setting of +00 would place the reverb in the center of the stereo spectrum.

15 — Mod1 Source 19 — Mod2 Source 16 — Mod1 Destination 20 — Mod2 Destination 17 — Mod1 Param Range Min 21 — Mod2 Param Range Min 18 — Mod1 Param Range Max22 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators, found in the beginning of this section.

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LARGE ROOM REV

Diffuser

Right

LPF

Definition

(Decay Diffuser)

Echo TimeEcho Time

Large Room Rev, larger than Small Room Rev, provides ambience.

Large Room Rev Signal Routing

Section 2 — Algorithms

Echo TimeEcho Time

LPF

Diffuser

Definition

(Decay Diffuser)

Left

LPF

Main Outputs

01 — Mix 02 — Volume

These parameters are explained in detail under the Mix and Volume Parameters description, found in the beginning of this section. Reverbs sound best with a Mix of wet and dry.

03 — Decay Range: 0.20 to 150.0 sec.

Controls the amount of time it takes for the reverberation to decay away to a very low level after the input signal stops. In room reverbs, we don’t recommend higher settings, which tend to create an infinite and unnatural sustain. Since most ambient room reverbs don’t naturally have a large decay, set this low for the best sound.

04 — Predelay Time Range: 0 to 450 ms

Controls the amount of time it takes for the original signal to be presented to the reverb. Higher values denote a longer delay.

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Section 2 — Algorithms

05 — LF DecayTime Range: -99 to +99

Functions as a tone control and boosts (when set to a positive value) or cuts (when set to a negative value) the rate at which low frequencies will decay.

06 — HF Damping Range: 00 to 99

07 — HF Bandwidth Range: 01 to 99

08 — Diffusion1 Range: 00 to 99

09 — Diffusion2 Range: 00 to 99

10 — Decay Definition Range: 00 to 99

11 — Detune Rate Range: 00 to 99

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Section 2 — Algorithms

12 — Detune Depth Range: 00 to 99

13 — Primary Send Range: -99 to +99

Controls the level of the diffused input signal into the reverb definition.

14 — Ref 1 Time Range: 0 to 120 milliseconds

15 — Ref 1 Level Range: 00 to 99

Controls the level of the first pre-echo. This pre-level controls the echo send to the Definition.

16 — Ref 1 Send Range: 00 to 99

Controls the level of the first pre-echo, with the echo routed directly to the output.

17 — Ref 2 Time Range: 0 to 120 milliseconds

Controls the delay time for the second pre-echo.

18 — Ref 2 Level Range: 00 to 99

19 — Ref 2 Send Range: 00 to 99

Controls the level of the second pre-echo, with the echo routed directly to the output.

20 — Position Balance (1) 21 — Position Balance (2) 22 — Position Balance (3) Ranges: -99 to +99

These parameters simulate the depth of the room. Think of these parameters as three different microphones placing at various distances within the room (parameter 20 is closest to the front, and parameter 22 is farthest from the front). When the range (volume) is higher for parameter 20, the sound appears closer to the front, whereas a higher setting for parameter 22 appears farther from the front, suggesting a deeper (wetter) room.

23 — Mod1 Source 27 — Mod2 Source 24 — Mod1 Destination 28 — Mod2 Destination 25 — Mod1 Param Range Min 29 — Mod2 Param Range Min 26 — Mod1 Param Range Max30 — Mod2 Param Range Max

These modulation control parameters are identical for all of the algorithms and are explained in detail under the Algorithm Modulators description, found in the beginning of this section.

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Section 2 — Algorithms

MULTI TAP DELAY

MultiTap Delay produces four independent controllable delays. This algorithm requires only one unit, allowing the other three units to be free for other algorithms.

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. This algorithm sounds best with a Mix of wet and dry.

03 — MultiTap 1 Time 07 — MultiTap 2 Time 11 — MultiTap 3 Time 15 — MultiTap 4 Time Ranges: 0 to 1834 ms

These four parameters set the amount of delay time for the independent delays. Experiment with the different settings to find the right mix for your sound source and application. Some interesting effects can be created by using a real time modulation controller for these parameters.

04 — MultiTap 1 Level 08 — MultiTap 2 Level 12 — MultiTap 3 Level 16 — MultiTap 4 Level Ranges: 00 to 99

These four parameters adjust the volume of the delayed signals against the original dry signal. Levels of 00 will offer no audible delay.

05 — MultiTap 1 Regen 09 — MultiTap 2 Regen 13 — MultiTap 3 Regen 17 — MultiTap 4 Regen Ranges: 00 to 99

These parameters determine the amount of signal that will be fed from the output back into the input, increasing the number of repeats in the delays. A setting of 99 would offer an infinite delay.

06 — MultiTap 1 Pan 10 — MultiTap 2 Pan 14 — MultiTap 3 Pan 18 — MultiTap 4 Pan Ranges: -99 to +99

These parameters determine the location of the four controllable delays in the stereo spectrum. A value of -99 is panned far left, and +99 is far right.

19 — Regen Damping Ranges: 00 to 99

Controls the cutoff of a low pass filter on the feedback signal, which adjusts the amount of damping to the feedback signals. The higher the number, the more the signals are damped.

20 — Mod1 Source 24 — Mod2 Source 21 — Mod1 Destination 25 — Mod2 Destination 22 — Mod1 Param Range Min 26 — Mod2 Param Range Min 23 — Mod1 Param Range Max27 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators, in the beginning of this section.

NO EFFECT (BYPASS EFFECT)

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Section 2 — Algorithms

No Effect will bypass the unit, providing no effect. Whether or not this utility algorithm passes audio (bypass) or squelches it (kill) is controlled in the Edit/Config parameters and is explained in more detail in Section 3 — Config Parameters.

01 — Mix Range: 00 to 99

Controls the mix of silence with a dry audio signal. In other words, this algorithm has two signals, one that is silent, and a signal that is not. When this parameter is set to 00, you select the audible signal. When set to 99, you select the silent signal. This parameter could be thought of as a reversed volume control.

02 — Volume Range: 00 to 99

Adjusts the volume of the dry external signal — 00 is silent and 99 is full volume.

03 — Mod1 Source 07 — Mod2 Source 04 — Mod1 Destination 08 — Mod2 Destination 05 — Mod1 Param Range Min 09 — Mod2 Param Range Min 06 — Mod1 Param Range Max10 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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Section 2 — Algorithms

NON LIN REVERB 1, 2, 3

Non Linear reverbs can be used to obtain blooming reverb, gated reverb, reverse reverb and early reflections. In general, they do not produce an exponentially decaying reverb. Unlike the hall, room and plate reverbs, Non Lin 1, 2, and 3 pass the input signal through the reverb diffusers only once. For this reason the reverb diffusers are called Density, to distinguish them from the other reverb diffusers (called Definition). Density controls the amount of echo density, as opposed to the rate of increase of echo density. Other reverbs give limited control of early reflections. For more control, try using these algorithms in serial or parallel with other reverbs to emphasize the early reflections. The Non Lin reverbs purposely impose a coloration on the resulting sound.

Non Lin 1 is optimized for shorter duration effects (approx. 0.5 sec.). Non Lin 2 offers approx. a 1.5 sec. duration. Non Lin 3 is sonically similar to Non Lin 1, but there is less stereo movement, making it better

suited for drum tracks.

Non Lin Reverb Signal Routing

Echo Time

Diffuser

Left

Diffuser

Echo Time

Density

LPF

Main Outputs

LPF

Right

Echo Time

The signal goes directly through a diffuser which smears the signal. The signal is then routed to a decay diffuser (Density), and is diffused over a period of time. Within the density the signal goes through a high frequency damper. The signal is then routed to the output. After the density, the signal passes through a low pass filter. There are two echo times between the diffuser and the density. There is also an external dry signal (not shown) that goes directly from the input to the output and is controlled with the mix parameter (01).

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section.

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LEVEL

ENVELOPE LEVEL 1

SIGNAL

TIME

ENVELOPE LEVEL 9ENVELOPE LEVEL 2

03 — Envelope Level 1 04 — Envelope Level 2 05 — Envelope Level 3 09 — Envelope Level 4 07 — Envelope Level 5 08 — Envelope Level 6 09 — Envelope Level 7 10 — Envelope Level 8 11 — Envelope Level 9 Ranges: 00 to 99

These parameters control the output tap levels sequenced in time across the density from input to output. Envelope Level 1 is tapped right after the diffusers and before the echoes (see the topology). If this is undesirable, set Envelope Level 1 to 00. Envelope Levels 8 and 9 are positioned at the very end of the Density; setting these too high can cause excessive ringing. Envelope Levels 8 and 9 are also very dry. Set all nine tap levels to find the envelope for your application. We recommend the average Envelope Level not to exceed a value of 45 to prevent overdriving these three reverbs.

12 — NonLin HF Damping Range: 00 to 99

The HF Damping is located within the density. This parameter selects the amount of high frequency energy to be filtered out.

13 — NonLin HF Bandwidth Range: 01 to 99

The high frequency bandwidth parameter acts as a low pass filter on the output signal, controlling the amount of high frequencies that will be heard. The higher the setting, the more high frequencies are heard. This works the same way that a tone control would work on a guitar.

14 — NonLin Diffusion1 Range: 00 to 99

This parameter smears the input signal transients of higher frequency ranges. Higher values are recommended for smoother percussion. Very low values will give a highly repetitive echo-like sound. Diffusion1 and 2 exist within each diffuser block (see diagram).

15 — NonLin Diffusion2 Range: 00 to 99

Diffusion2 is similar to Diffusion1, but offers control of lower frequencies. In general a setting of 50 can be considered an equal mix of dry/diffused sound; this setting is a good starting point.

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16 — NonLin Density 1 Range: 00 to 99

Density 1 controls the number of echoes.

17 — NonLin Density 2 Range: 00 to 99

Density 2 controls the number of echoes in a lower frequency range. In general, to get the smoothest sound, Density 2 is usually less than the value of Density 1.

18 — NonLin Primary Send Range: -99 to +99

Controls the level of the diffused input signal which is nearly instantaneous with respect to the input. This signal is injected directly into the Density at the specified level.

19 — Reflection 1 Time Non Lin 1, 3 Range: 0 to 600 ms

Non Lin 2 Range: 0 to 85 ms

Controls the amount of time it takes for the first pre-echo to be injected into the Density. Preechoes are the sounds which have been reflected back from the walls or other reflective surfaces.

20 — Reflection 1 Send Range: -99 to +99

This parameter controls the level of the first pre-echo.

21 — Reflection 2 Time Non Lin 1, 3 Range: 0 to 600 ms

Non Lin 2 Range: 0 to 85 ms

This controls the amount of time it takes for the second pre-echo to be injected into the Density.

22 — Reflection 2 Send Range: -99 to +99

This parameter controls the level of the second pre-echo. Experiment with both positive and negative on all echoes to change the tonal character of the results.

23 — Left/Right Balance Range: -99 to +99

Controls the left/right stereo balance of the reverb signal. A setting of -99 would offer hard left, whereas a setting of +99 would offer hard right. A setting of +00 would place the reverb in the center of the stereo spectrum.

24 — Mod1 Source 28 — Mod2 Source 25 — Mod1 Destination 29 — Mod2 Destination 26 — Mod1 Param Range Min 30 — Mod2 Param Range Min 27 — Mod1 Param Range Max31 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators earlier in this section.

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PARAMETRIC EQ

Parametric EQ offers a minimum phase four band parametric EQ.

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. For this algorithm, we recommend a setting of 99.

03 — Bass Fc Range: 0 to 1000 Hz

Sets the center of the low frequency EQ.

04 — Bass Gain (loShv) Range: -48 to +24 dB

Sets the amount of boost or cut applied to this low frequency parametric.

05 — Mid1 Fc Range: 100 to 9999 Hz

Sets the center of the mid frequency parametric.

06 — Mid1 Gain Range: -48 to +24 dB

Sets the amount of boost or cut applied to this mid frequency parametric.

Section 2 — Algorithms

07 — Mid1 Q Range: 01 to 18

This parameter is a bandwidth control that determines the width of the resonant peak at the center frequency band. This parameter is equal to the cutoff frequency divided by the bandwidth. By raising the value, you can produce a narrower bandwidth.

08 — Mid2 Fc 09 — Mid2 Gain 10 — Mid2 Q

These three parameters are identical to the previous three parameters, and are used to control different bandwidths within the mid range.

11 — Treble Fc Range: 01 to 16 KHz

Sets the center frequency of the high frequency parametric.

12 — Treble Gain (HiShv) Range: -48 to +24 dB

Sets the amount of boost or cut applied to this high frequency parametric.

13 — EQ Input Level Attenuation Range: -24 to +00 dB

Adjusts the input level trim to the EQs to eliminate the possibility of clipping boosted signals.

14 — Mod1 Source 18 — Mod2 Source 15 — Mod1 Destination 19 — Mod2 Destination 16 — Mod1 Param Range Min 20 — Mod2 Param Range Min 17 — Mod1 Param Range Max21 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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PHASER-DDL

Phaser-DDL combines a phaser with a digital delay. The phaser creates non-harmonically spaced moving notches in the signal spectrum, whereas a flanger creates harmonic spacing. This phaser implements a stereo twelve pole phasing network to achieve time delay which is a function of frequency (i.e., phase delay); this is what differentiates the phaser from the flanger. The phasing effect is achieved within the phaser topology, so it does not depend upon the external mix. A delay is included at the left output of the phaser which feeds back into the phaser (see the diagram). Setting the phaser delay feedback parameter (shown at the knobs) to 00 will disable this delay function. The delay feedback also controls the delay feed forward level of another tap sent to the right channel. This delay topology achieves a 1.5 second ping-pong effect, and is very effective as a “poor man’s reverb.”

Phaser - DDL Signal Routing

Delay Feedback

Control

Phaser

(LFO)

Left

Delay

Phaser Feedback

Control

Delay Feedback

Phaser

(LFO)

Right

Main Outputs

Control

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. For this algorithm we recommend a Mix setting of 99.

03 — Phaser LFO Rate Range: 00 to 99

The LFO is within the phaser network. This parameter controls the rate of modulation of the phaser poles. The higher the value, the faster the rate. Lower values work best with sustained signals.

04 — Phaser LFO Width Range: 00 to 99

Controls the width of the notch excursion. For large excursions set this parameter to 99. Doing so can give a very high “woosh” and a very low “woosh.”

05 — Phaser Center Range: -99 to +99

Controls the phaser pole center. High values raise the nominal spectral location of the “woosh” sound, while low values lower the “woosh.” The range from high to low is controlled with the phaser width.

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06 — Phaser Feedback Range: -99 to +99

Controls the amount of feedback applied to the left and right channel phaser. The sign of the value determines the polarity of the feedback.

07 — Phaser Notch Depth Range: -99 to +99

Controls the depth of the notches created by the phasing. Deep notches occur in the phased spectrum when the parameter is set to 99. When this parameter is set to +00, there exists no phasing (i.e. notches), but there is a doppler effect with higher LFO rates.

08 — Left/Right LFO Range: Out-of-Phase or In-Phase

Determines whether the phaser on the left and right channels is modulating in or out-of phase.

09 — Phaser Sample & Hold Rate Range: Off, 001 to 100

Controls the sample rate of a sample and hold network applied to the LFO within the phaser. When in hold, the effect will be to create momentarily fixed notches within the frequency spectrum (if the notch depth is not +00). A setting of 001 will have the largest space between samples. Higher values will increase the number of holds per second, making the phasing flow more smoothly. The sample and hold function can be turned off.

10 — Phaser Left Delay Time Range: 0 to 1600 ms

This parameter sets the delay time for the left side. This is the “ping.”

11 — Phaser Right Delay Time Range: 0 to 1600 ms

Controls the feed forward delay time for the right side. This is the “pong.”

12 — Phaser Delay Feedback Range: -99 to +99

Controls the feedback amount for the delay effect. The sign of the value determines the polarity of the feedback. A value of +00 will eliminate the delay effect. This parameter also controls the feed forward level (see diagram).

13 — Mod1 Source 17 — Mod2 Source 14 — Mod1 Destination 18 — Mod2 Destination 15 — Mod1 Param Range Min 19 — Mod2 Param Range Min 16 — Mod1 Param Range Max20 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators, found earlier in this section.

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PITCH SHIFT 2U

Pitch Shifters allow you to change the pitch of a signal to any pitch desired within a range of one octave in either direction. Pitch Shift 2U is a splicer-type incorporating zero crossing detection.

Pitch Shift 2U has incorporated one ESP chip for zero crossing (pitch) detection for splice synchronization, having an optimal detection range of 55 to 555Hz. Splicer type pitch shifters are popular because for low pitch shift ratios, splicing is infrequent. These pitch shifters can create very interesting stereo fields — by panning each of two pitch shifted voices selectively, and because of the inherent time delay modulation of the algorithm. Pitch Shift 2U takes the left channel input as Voice 1, and the right channel input as voice 2.

Pitch Shift 2U Signal Routing

Vc 1 Pitch Shifter

Left

Pan

Main Outputs

Right

Vc 2 Pitch Shifter

Pan

Main Outputs

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. These algorithms sound best with a Mix of wet and dry. Try using a modulation controller for the Mix parameter to bring in or fade out the pitch shifted signal.

03 — PitchShifter Vc 1 Semi Range: -12 to +12

Allows you to adjust the pitch of Voice 1 up to an octave above or below the original pitch in semi-tones (half steps).

04 — PitchShifter Vc 1 Fine Range: -99 to +99

This parameter allows you to fine tune the pitch of Voice 1.

05 — PitchShifter Vc 1 Level Range: 00 to 99

Adjusts the volume of Voice 1. A setting of 00 would eliminate any audible pitch shift.

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06 — PitchShifter Vc 1 Pan Range: -99 to +99

Allows you to assign the location of output Voice 1 in the stereo field. A value of -99 would be far left, and +99 would be far right.

07 — PitchShifter Vc 2 Semi Range: -12 to +12

Adjusts the pitch of Voice 2 up to an octave above or below the original pitch in semi-tones.

08 — PitchShifter Vc 2 Fine Range: -99 to +99

This parameter allows you to fine tune the pitch of Voice 2.

09 — PitchShifter Vc 2 Level Range: 00 to 99

Adjusts the volume of Voice 2. A setting of 00 would eliminate any audible pitch shift.

10 — PitchShifter Vc 2 Pan Range: -99 to +99

Allows you to assign the location of output Voice 2 in the stereo field. A value of -99 would be far left, and +99 would be far right.

11 — PitchShifter LFO Rate Range: 00 to 99

This parameter controls the rate of pitch modulation which creates a chorusing effect. To achieve chorusing, this rate must be very low.

12 — PitchShifter LFO Width Range: 00 to 99

This parameter controls the excursion of pitch modulation. Since the rate is usually very low, then the width is usually very large.

Mod1 Source Mod2 Source Mod1 Destination Mod2 Destination Mod1 Param Range Min Mod2 Param Range Min Mod1 Param Range Max Mod2 Param Range Max

See the descriptions under the Algorithm Modulators earlier in this section.

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PITCHSHIFT - DDL

PitchShift-DDL combines a pitch shifter with a digital delay. PitchShift-DDL uses a continual crossfading technique of pitch shifting. This technique maintains the stereo field exactly. Of the one unit pitch shifters, this one works best for large pitch shift ratios, in some circumstances. Another feature of this algorithm is a digital delay that feeds back into the pitch shift. This feature allows spiraling upward or downward pitch shifts.

PitchShift-DDL Signal Routing

Vc 1

Stereo

Left

Shifter

Dry to DDL

Regen

Delay

Mix

Pan

Main Outputs

Right

Vc 2 Stereo Shifter

Regen

Pan

Main Outputs

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters earlier in this section. This algorithm sounds best with a Mix of wet and dry. Try using a modulation controller for the Mix parameter to fade in or fade out the pitch shifted signal.

03 — PitchShift Vc 1 Semi Range: -12 to +12

Adjusts the pitch of Voice 1 up to an octave above or below the original pitch in semi-tones.

04 — PitchShift Vc 1 Fine Range: -99 to +99

This parameter allows you to fine tune the pitch of Voice 1.

05 — PitchShift Vc 1 Level Range: 00 to 99

This parameter adjusts the volume of Voice 1.

06 — PitchShifter Vc 1 Pan Range: -99 to +99

Allows you to assign the location of Voice 1 in the stereo field. A value of -99 would be far left, and +99 would be far right. This is actually a balance control which determines how much of the left and right inputs will be fed to Vc1.

07 — PitchShift Vc 2 Semi Range: -12 to +12

Allows you to adjust the pitch of Voice 2 up to an octave above or below the original pitch in semi-tones.

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08 — PitchShift Vc 2 Fine Range: -99 to +99

Allows you to fine tune the pitch of Voice 2. Slight shifts create something like a chorused effect.

09 — PitchShift Vc 2 Level Range: 00 to 99

This parameter adjusts the volume of Voice 2.

10 — PitchShifter Vc 2 Pan Range: -99 to +99

Allows you to assign the location of Voice 2 in the stereo field. A value of -99 would be far left, and +99 would be far right. This is actually a balance control which determines how much of the left and right inputs will be fed to Vc2.

11 — PitchShift Dry Level to DDL Range: 00 to 99

Lets you bypass the pitch shifter with an internal dry signal, and send it through the digital delay. Higher values would send more of the dry signal to the delay. The purpose of this parameter is to mix the dry signal appropriately with the pitch shifted delay signals.

12 — PitchShift Left Delay Time Range: 0 to 1500 ms

Controls the amount of time for the pitch shifted signal to delay from the left input.

13 — PitchShift Right Delay Time Range: 0 to 1500 ms

Controls the amount of time for the pitch shifted signal to delay from the right input.

14 — PitchShift Delay Mix Range: 00 to 99

Controls the mix between the delay signal and the pitch shifted signal. A setting of 00 would be all pitch shifter, and no delay. A setting of 99 will be all delay and no direct pitch shift.

15 — PitchShift Delay Regen Range: -99 to +99

Controls the amount of feedback from the output of the delay back into the input of the pitch shifter. This allows you to create special effects with ascending/descending delays.

16 — Mod1 Source 20 — Mod2 Source 17 — Mod1 Destination 21 — Mod2 Destination 18 — Mod1 Param Range Min 22 — Mod2 Param Range Min 19 — Mod1 Param Range Max23 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators earlier in this section.

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PITCH SHIFTER

A pitch shifter allows you to change the pitch of a signal to any pitch desired within a range of one octave in either direction. Pitch Shifter offers a 1 unit splicer type pitch shifter.

Try the different pitch shifters until you find the one that works best with your sound source, and for your application. A “splicer type” of pitch shifter will drop or add small sections of the original signal to the effect. Pitch Shifter uses only one unit, but does not incorporate zero crossing detection. This pitch shifter is best used for a doubling effect. Splicer type pitch shifters are popular because for low pitch shift ratios, splicing is infrequent. These pitch shifters can create very interesting stereo fields by panning each of two pitch shifted voices selectively, and because of the inherent time delay modulation of the algorithm. This pitch shifters takes the left channel input as Voice 1, and the right channel input as voice 2.

Pitch Shifter Signal Routing

Left

Vc 1 Pitch Shifter

Pan

Main Outputs

Right

Vc 2 Pitch Shifter

Pan

Main Outputs

01 — Mix 02 — Volume

03 — PitchShifter Vc 1 Semi Range: -12 to +12

Allows you to adjust the pitch of Voice 1 up to an octave above or below the original pitch in semi-tones (half steps).

04 — PitchShifter Vc 1 Fine Range: -99 to +99

This parameter allows you to fine tune the pitch of Voice 1.

05 — PitchShifter Vc 1 Level Range: 00 to 99

Adjusts the volume of Voice 1. A setting of 00 would eliminate any audible pitch shift.

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06 — PitchShifter Vc 1 Pan Range: -99 to +99

Allows you to assign the location of output Voice 1 in the stereo field. A value of -99 would be far left, and +99 would be far right.

07 — PitchShifter Vc 2 Semi Range: -12 to +12

Adjusts the pitch of Voice 2 up to an octave above or below the original pitch in semi-tones.

08 — PitchShifter Vc 2 Fine Range: -99 to +99

This parameter allows you to fine tune the pitch of Voice 2.

09 — PitchShifter Vc 2 Level Range: 00 to 99

Adjusts the volume of Voice 2. A setting of 00 would eliminate any audible pitch shift.

10 — PitchShifter Vc 2 Pan Range: -99 to +99

Allows you to assign the location of output Voice 2 in the stereo field. A value of -99 would be far left, and +99 would be far right.

11 — Delay vs Quality Range: Long/Smoother or Short/Coarser

Allows you to choose between a long/smoother setting, or a short/coarser setting. A smooth setting would sound best with slower sustaining chords, whereas a coarse setting would enhance a rapidly played musical passage. Depending on your sound source and musical needs, set this parameter accordingly. This parameter actually controls the effect transport delay; smooth yields a long transport delay, coarse yields a short transport delay.

PitchShifter LFO Rate Range: 00 to 99

This parameter controls the rate of pitch modulation which creates a chorusing effect. To achieve chorusing, this rate must be very low.

PitchShifter LFO Width Range: 00 to 99

This parameter controls the excursion of pitch modulation. Since the rate is usually very low, then the width is usually very large.

Mod1 Source Mod2 Source Mod1 Destination Mod2 Destination Mod1 Param Range Min Mod2 Param Range Min Mod1 Param Range Max Mod2 Param Range Max

See the descriptions under the Algorithm Modulators earlier in this section.

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SIGNAL

REVERSEREVERB1

ReverseReverb1 produces a reverberation that gradually increases, simulating a backwards sound with a maximum duration of several seconds. When a signal enters this algorithm, the plate reverb (from which this algorithm is derived) is almost instantaneously turned on, and then the output volume is ramped up. This algorithm will only trigger one time. ReverseReverb1 is triggered by an input signal level (threshold) determined by the user. Once triggered, the reverse envelope will proceed to completion, and ignore subsequent trigger levels. If you are looking for a reverse effect that will retrigger, try using Reverse Reverb 2. The topology of the Reverse Reverb is similar to the Plate Reverb.

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, found earlier in this section.

LEVEL

HOLD TIME

ATTACK TIME

RELEASE

TIME

03 — Envelope Hold Time Range: 1ms to 10.0s

Controls the amount of time that the reverse will sound after it has been triggered. Rule of thumb: Don’t set the hold time much longer than the attack time (see diagram above).

04 — Envelope Attack Range: 1ms to 10.0s

Sets the duration over which the reverb builds. It is recommended that you set this value less than the hold time (parameter 03).

05 — Envelope Release Range: 1ms to 10.0s

Determines the release time after the hold time has elapsed. Generally this time is very short. Lower values offer an abrupt cutoff.

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06 — Trigger Threshold Range: -96 to +00 dB

Set this parameter as low as possible to work with your particular sound source. To eliminate false triggering, it should not be set too low. When the input signal rises above this threshold, the reverse envelope will begin.

07 — HF Damping Range: 00 to 99

This parameter sounds best when it’s set to low values. It has the same function as in the Plate Reverb, which is to filter out more and more high frequency energy. For the most natural sounding reverse effect, we recommend a setting of 00.

08 — Diffusion 1 Range: 00 to 99

Diffusion 1 smears the input signal making a smoother sounding reverb. This parameter controls the high frequency ranges. For percussion sounds, high values are recommended.

09 — Diffusion 2 Range: 00 to 99

Similar to and in series with Diffusion 1, this parameter controls lower frequency ranges.

10 — Decay Definition Range: 00 to 99

Controls the rate at which echo density is increased with time. If set too high, the echo density will build at a rate that exceeds the decay rate. This can be used for a special effect.

11 — Slapback Range: 0 to 530ms

Controls the delay time of an internal dry signal to create a slapback. This effect helps to simulate a backwards reverb, since now the dry signal appears at the end. In general, we recommend the Mix (parameter 01) be set all wet (99) for this effect. Rule of thumb: Set this parameter at about the same value as the Envelope Hold Time (parameter 03).

12 — Slapback Level Range: 00 to 99

Adjusts the volume of the slapback (internal dry) signal. A value of 00 would eliminate audible slapback.

13 — Mod1 Source 17 — Mod2 Source 14 — Mod1 Destination 18 — Mod2 Destination 15 — Mod1 Param Range Min 19 — Mod2 Param Range Min 16 — Mod1 Param Range Max20 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators, in the beginning of this section.

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REVERSE REVERB 2

Reverse Reverb 2 is identical to Reverse Reverb, except this algorithm will retrigger by an assigned input signal level (threshold) determined by the user. Once triggered, the reverse envelope will proceed to completion, unless retriggered by subsequent input signals. If you are looking for a reverse effect that will not retrigger, try using the previous Reverse Reverb algorithm.

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, found earlier in this section.

03 — Envelope Hold Time Range: 1ms to 10.0s

Controls the amount of time that the reverse will sound after it has been triggered. Rule of thumb: Don’t set the hold time much longer than the attack time.

04 — Attack Range: 1ms to 10.0s

This sets the duration over which the reverb builds. It is recommended that you set this value less than the hold time (parameter 03).

05 — Release Range: 1ms to 10.0s

Determines the release time after the hold time has elapsed. Generally this time is very short. Lower values offer an abrupt cutoff.

06 — Trigger Threshold Range: -96 to +00 dB

07 — Pre-Trigger Memory Range: 0 to 530 ms

Used to capture transients which occur before the trigger. This parameter is critical to the sound quality. You can determine how much pretrigger sound will be injected into the reverse reverb tank.

08 — HF Damping Range: 00 to 99

This parameter sounds best when set to low values. Its function is to filter out more and more high frequency energy. For the most natural sounding reverse effect, we recommend a setting of

00.

09 — Diffusion 1 Range: 00 to 99

Smears the input signal making a smoother sounding reverb. This parameter controls the high frequency ranges. For percussion sounds, high values are recommended.

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10 — Diffusion 2 Range: 00 to 99

Similar to and in series with Diffusion 1, this parameter controls lower frequency ranges.

11 — Decay Definition Range: 00 to 99

Controls the rate at which echo density is increased with time. If set too high, the echo density will build at a rate that exceeds the decay rate. This can be used for a special effect.

12 — Mod1 Source 16 — Mod2 Source 13 — Mod1 Destination 17 — Mod2 Destination 14 — Mod1 Param Range Min 18 — Mod2 Param Range Min 15 — Mod1 Param Range Max19 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators, in the beginning of this section.

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ROTATING SPEAKER

Rotating Spkr adds the famous classic rotating speaker sound to any instrument. A tunable distortion is added to the input signal and is also passed through the rotors.

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. For this algorithm we recommend higher Mix settings.

03 — Rotating Speaker Slow Speed Range: 01 to 55

Determines the rate of the rotary speaker when in the “Slow” setting (parameter 05). This parameter determines the manual level for the rotary speaker rate when Speed=Slow, or when the selected modulator is at zero output level. The higher the value, the faster the rate. By assigning a modulation controller to this parameter, you can change the slow speed in real time.

04 — Rotating Speaker Fast Speed Range: 01 to 55

Determines the rate of the rotary speaker when in the “Fast” setting (parameter 05). The higher the value, the faster the rate. By assigning a modulation controller to this parameter, you can change the fast speed in real time.

05 — Rotating Speaker SpeedRange: Slow or Fast

Determines how the rotating speaker will switch between slow and fast speeds. The behavior of this switch accurately reflects an actual rotary speaker, taking time to speed up or slow down, based on the value of the Inertia parameter (06). By assigning a modulation controller to this parameter, you can change between the slow and fast speeds in real time.

06 — Rotating Speaker InertiaRange: 00 to 99

Determines how long it will take for the rotor effect to speed up or slow down after switching from slow to fast or vice versa. Adjust this parameter to simulate the effect of the rotary speaker gradually picking up speed.

07 — Distortion Level In Range: -48 to +48 dB

Determines the input signal gain into the amplifier simulation, creating a tube-like overdrive. Higher settings yield more distortion.

08 — Distortion Level Out Range: 00 to 99

Controls the output of the amplifier distortion. There is a (fixed) clean path in parallel with the distortion). Therefore, to eliminate distortion, set this parameter to 00.

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09 — Rotating Speaker Distortion Tone Range: 000 to 127

This parameter is the distortion tone control. High settings will yield a more raspy distortion tone, whereas mid settings will give that “amp growl.” When this parameter is set to 000, there is no distortion.

10 — Rotating Speaker Stereo Spread Range: 00 to 99

Controls the apparent width of the stereo image created by the rotating speaker effect. A setting of 99 yields a right to left synthetic stereo spread, a setting of 00 yields a left to right synthetic stereo spread, and a setting of 50 yields a mono signal.

11 — Mod1 Source 15 — Mod2 Source 12 — Mod1 Destination 16 — Mod2 Destination 13 — Mod1 Param Range Min 17 — Mod2 Param Range Min 14 — Mod1 Param Range Max18 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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RUMBLE FILTER

Rumble Filter is a high pass filter in cascade with a low pass filter, fourth order (24dB per octave). The high pass filter is good for eliminating turntable rumble. The low pass filter is good for eliminating hiss. Alternatively, these filters can be used in a feedback routing with any other effect.

01 — Mix 02 — Volume

See the descriptions under the Mix and Volume Parameters, in the beginning of this section. For this algorithm, we recommend mid values of the Mix.

03 — HighPass Fc Range: 4 to 8000 Hz

Controls the boost or cut of the high pass filter frequency applied to the input signal.

04 — LowPass Fc Range: 100 Hz to 16 KHz

Controls the boost or cut of the low pass filter frequency applied to the input signal.

05 — Filter Gain Range: -48 to +48 dB

Because the cascade of high pass with low pass causes an insertion loss, this parameter allows you to boost the filtered output signal.

06 — Mod1 Source 10 — Mod2 Source 07 — Mod1 Destination 11 — Mod2 Destination 08 — Mod1 Param Range Min 12 — Mod2 Param Range Min 09 — Mod1 Param Range Max13 — Mod2 Param Range Max

See the descriptions under the Algorithm Modulators in the beginning of this section.

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Ensoniq DP4+ DP4 manual

Specifications and Main Features

Frequently Asked Questions

User Manual