Kurzweil Music Systems Mangler User Guide

and LaserVerb®, KSP8 ™, K2600™, K2500™, and K2000™ are trademarks of Young Chang Co., Ltd. All other products and brand names are trademarks or registered trademarks of their respective companies. Product features and speciﬁcations are subject to change without notice.

Part Number: 910382 Rev. A

CAUTION

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE THE COVER

NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL

RISK OF ELECTRIC SHOCK

DO NOT OPEN

The lightning flash with the arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated

"dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and

maintenance (servicing) instructions in the literature accompanying the product.

IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS

INSTRUCTIONS PERTAINING TO THE RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS

WARNING - When using electric products, basic precautions should always be followed, including the following:

1) Read these instructions.

2) Keep these instructions.

3) Heed all warnings.

4) Follow all instructions.

5) Do not use this apparatus near water.

6) Clean only with a dry cloth.

7) Do not block any of the ventilation openings. Install in accordance with the manufacturer’s instructions.

8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce

9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the

10) Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they

16) WARNING: To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture.

heat.

other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

exit from the apparatus.

11) Only use attachments/accessories specified by the manufacturer.

12) Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13) Unplug this apparatus during lightning storms or when unused for long periods of time.

14) Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

15) Do not expose this apparatus to dripping or splashing and ensure that no objects filled with liquids, such as vases, are placed on the apparatus.

SAVE THESE INSTRUCTIONS

Young Chang International Contacts

Contact the nearest Young Chang ofﬁce listed below to locate your local Young Chang/ Kurzweil representative.

A N D Music Corp.

P.O. Box 99995 Lakewood, WA 98499-0995 Tel: 1-253-589-3200 Fax: 1-253-984-0245

Young Chang Co., Ltd.

178-55 Gajwa-Dong Seo-Ku, Inchon, Korea 404-714 Tel: 011-82-32-570-1380 Fax: 011-82-32-570-1218

Young Chang America, Inc. (Canadian Division)

3650 Victoria Park Ave. Suite 105 Toronto, Ontario Canada M2H 3P7 Tel: 1-416-492-9899 Fax: 1-416-492-9299

World Wide Web Home Page

http://www.kurzweilmusicsystems.com

iii

RADIO AND TELEVISION INTERFERENCE

Warning: Changes or modiﬁcations to this instrument not expressly approved by Young Chang could void your authority to operate the instrument. Important: When connecting this product to accessories and/or other equipment use only high quality shielded cables. Note: This instrument has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules.

These limits are designed to provide reasonable protection against harmful interference in a residential installation. This instrument generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this instrument does cause harmful interference to radio or television reception, which can be determined by turning the instrument off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the instrument and the receiver.

• Connect the instrument into an outlet on a circuit other than the one to which the receiver is connected.

• If necessary consult your dealer or an experienced radio/television technician for additional suggestions.

NOTICE

This apparatus does not exceed the Class A limits for radio noise emissions from digital apparatus set out in the Radio Interference Regulations of the Canadian Department of Communications.

AVIS

Le present appareil numerique n’emet pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques de la class A prescrites dans le Reglement sur le brouillage radioelectrique edicte par le ministere des Communications du Canada.

Table of Contents

Getting to Know Rumour & Mangler. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1

Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1

Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1

Setting Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

Choosing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

Editing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

Using Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

Making Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-1

The Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-1

Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-1

Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-1

Analog Inputs and Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2

Setting Levels for Analog Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2

Digital Inputs and Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3

Footpedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-4

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-4

Using Your Rumour or Mangler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1

The Front Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1

Input Level Knob & Input Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1

Input Level LEDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1

Output Level Knob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-2

Bypass Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3

Master Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-4

Wet/Dry Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-4

Input Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-5

Digital Clock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-5

Digital Word Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-5

MIDI Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-5

Program Change Receive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6

Program Change Transmit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6

System Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6

MIDI Clock Source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6

Transmit MIDI Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6

Tap Tempo LED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-7

Change Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-7

Bypass Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-7

Show FX Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-7

SysEx ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-8

SysEx Object Dump? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-8

Erase User Banks? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-9

Soft Reset? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-10

Hard Reset?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-10

Table of Contents-1

Enter bootblock? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-11

The Boot Block’s Back Door . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-11

EQ Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-12

Tap (Tempo) Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-13

Setting Durations in Beats-Per-Minute (BPM). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-13

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-14

Digital Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-14

Contrast Knob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-14

Bank Knob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-15

Preset Knob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-16

Cuing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-16

Load Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-16

Store Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-17

Renaming Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-17

Parameter Knobs: Select and Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-18

Backing Up Your Presets using MIDI SysEx. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-19

Restoring Your Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-19

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-20

Effects Tables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-1

Rumour Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-2

Mangler Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-4

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-1

Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-1

Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-1

Analog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-1

Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-1

Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-2

Analog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-2

Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-2

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-2

Power Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-2

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-1

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Index-1

Table of Contents-2

Chapter 1 Getting to Know Rumour & Mangler

Overview

Rumour and Mangler are based on the effects found in the KSP8, Kurzweil's ﬂagship multichannel effects processor, and offer easy-to-use effect presets for any environment. Both models are single rack space units featuring 192 effects presets, 64 locations for user-created presets, balanced stereo analog inputs and outputs, S/PDIF digital I/O, and pre-effect EQ.

Each product offers its own unique palette of effects:

Rumour features a comprehensive set of Kurzweil's ﬁnest reverbs and reverb variations,

including gated, reverse, and reverb/compression combinations, along with Kurzweil's unique LaserVerb 

, and chorus/ﬂange+delay+reverb combinations.

Getting to Know Rumour & Mangler

Quick Start

Mangler focuses on effects other than, but not excluding, reverb. These include chorus, ﬂanger, phaser, tremolo, rotary speaker, panner, delay, ﬁlters, LaserVerb, Pitcher  , synth trigger, ring modulation, distortion, and compression effects, and many combinations.

Take your new Rumour or Mangler out of the box and plug it into a wall socket with the included power supply. The LED in the TAP button will blink to show the current System Tempo. If you don’t want this blinking at you, change the setting of the Tap Tempo LED Master parameter, as described on page 3-13.

Turn the INPUT LEVEL and OUTPUT LEVEL knobs on the far left side of the front panel all the way down (fully counterclockwise, that is).

Make your digital or analog cable connections on the back panel of the device. Refer to “Audio Inputs and Outputs” on page 2-1 if you have questions at this point. If you are using the analog outputs, be sure to read the section on page 2-2 about the –10 dBV / +4 dBU switch on the back panel.

1-1

Getting to Know Rumour & Mangler

Quick Start

Setting Levels

After making audio cable connections to the unit, send audio from your source device to the Rumour or Mangler. Set input source on the Master menu:

1. Press the MASTER button on the front panel of your unit.

2. Turn the SELECT knob until the screen displays “Input Source”.

Input|Source: Analog

Use the VALUE knob to select “Analog” or “Digital”, depending on your input source. If your input source is analog, the Digital Clock parameter (described on page 3-5) should be set to one of the internal clock settings (which it will be by default). For digital inputs, you may need to change the setting of the Digital Clock parameter, depending on your conﬁguration.

For analog input sources, turn the INPUT LEVEL knob until the peaks in the signal cause the yellow LED over the INPUT LEVEL knob to light. Remember to calibrate the input level with the loudest source material that you plan to send to the unit. Also, to get the best signal-to-noise ratio with an analog input, the signal should be as hot as possible (without clipping).

3. After setting the input level, turn the OUTPUT LEVEL knob clockwise to set a useful level for the audio coming out of the Rumour or Mangler (digital and analog). As you turn the knob, the screen will display the output level. A good starting level is 0.0 dB (unity gain). You will, of course, need to coordinate this level with the input level on the receiving device.

The CLIP LED above the OUTPUT LEVEL knob will light to alert you of excessive signal levels.

Choosing Effects

You can access all of the effects in your Rumour or Mangler using the BANK and PRESET knobs on the front panel. Turn the BANK knob to select the general type of effect, for example Small Rooms on the Rumour, or Distortion on the Mangler. Then turn the PRESET knob to display the 16 different effects in the current bank. Appendix A provides a list of the effects included with each unit.

1-2

When you start customizing effects, you’ll be able to store them in the banks labeled User 1 through User 4. Like the other banks, each of the User banks can store 16 different effects.

The banks provided with each unit are listed on page 3-15.

Editing Effects

Getting to Know Rumour & Mangler

Each of the 192 effects provided with your Rumour or Mangler sounds great right out of the box, and is ready to handle whatever live or studio application you throw at it. However, since each effect is based on Kurzweil’s highly-regarded KDFX algorithms (which you may know from the K2500, K2600, or KSP8), you also can control a huge variety of editable parameters for each effect. These parameters are shown on the second line of your unit’s display, underneath the name of the current effect. The Concert Hall reverb on the Rumour, for example, has Wet/ Dry as its ﬁrst parameter (set to a level of 50%, which basically means that the effect level is turned up halfway):

Quick Start

065|Concert|Hall Wet/Dry|||:50%wet

Use the SELECT knob to scroll through parameters, and the VALUE knob to change parameter values.

To keep things manageable, we’ve taken the most commonly tweaked parameters for each effect (up to 16 per) and put them right at your ﬁngertips as “Basic” FX Parameters. This means that they are the ﬁrst parameters you will see as you scroll through the list for each effect. These parameters are also directly controllable using MIDI Continuous Controllers (CCs) 1–16. (To see the full range of parameters for your unit’s effects, set Show FX Parameters to “Extended” in the Master menu, as described on page 3-7).

The algorithm number for each preset is listed in Appendix A of this manual. You can download the complete (and hefty) documentation for all KDFX algorithms and their parameters from the www.kurzweilmusicsystems.com web site.

Using Equalization

The Rumour and Mangler offer pre-effect EQ that you can set globally for your unit. Press the EQ button on the front panel to access the ﬁrst EQ screen, then use the SELECT knob to move between parameters and the VALUE knob to change the settings of the parameters. When you make EQ changes, they take place immediately.

Equalization is explained in greater detail on page 3-12.

1-3

Getting to Know Rumour & Mangler

Quick Start

1-4

Chapter 2 Making Connections

This chapter explains how to make all power, audio, MIDI, and pedal connections on the rear panel of your Rumour or Mangler. Both devices offer the same I/O options, described in detail in this chapter.

The Rear Panel

Below is a picture of the Mangler’s rear panel. The Rumour offers all of the same connectors.

Making Connections

Audio

Power

Audio

The power supply is a standard 9V AC 2-amp external supply. There is no power switch; your Rumour or Mangler will be ready to use as soon as you plug it in.

You can attach both analog and digital input cables to the unit, although you can use only one type of input at a time. Set the Input Source parameter on the Master menu (see page 3-5) to tell the unit which inputs it should use.

Also, you may want to check the setting of the Wet/Dry Mode parameter (see page 3-4), depending on whether you’ve connected the unit to your mixer as a direct insert or as a send/ return (bus) effect.

Analog and Digital outputs are always available, so that you can use both at the same time.

2-1

Making Connections

Audio

Analog Inputs and Outputs

1/4” TRS plug for balanced connections 1/4” TS plug for unbalanced connections

Setting Levels for Analog Outputs

Stereo analog inputs and outputs are balanced 1/4” jacks that will accept either balanced TRS (tip-ring-sleeve) or unbalanced TS (tip-sleeve) connectors, as shown below:

When you plug a single cable (i.e., a mono signal) into either analog input, the unit sends that signal to both input channels (provided that Input Source is set to Analog, of course) .

Set the analog input level using the knob on the front panel of the unit (see page 3-1).

The –10 dBV / +4 dBU switch on the rear panel selects between pro (+4 dBU Balanced) and consumer (–10 dBV Unbalanced) signal levels for the analog outputs. When you set this switch to -10dBV, the unit gives unity gain with an unbalanced output (with a -10dBV input and level settings). Setting the switch to +4 dBU gives unity gain with a balanced output (given a +4dBU input and level settings).

Here are two examples of how to set Rumour or Mangler for unity gain with analog inputs and outputs:

For +4 dBU balanced analog input and output:

- Use balanced audio input (TRS cables).

- Set Input Level to minimum.

- Set Output Level set to 0dB.

- Set Output Level switch set to +4dBU.

- Use balanced audio output (TRS cables).

2-2

For -10dBV unbalanced analog input and output:

- Use unbalanced audio input (TS cables).

- Set Input level to approximately half way.

- Set Output level set to 0dB.

- Set Output level switch to -10dBV.

- Use Unbalanced audio output (TS cables).

Making Connections

Audio

Digital Inputs and Outputs

Make S/PDIF Digital input and output connections with the RCA-style jacks on the back panel.

For digital signals, set the level by adjusting the output level on the sending device. The setting of the EQ gain parameter (see page 3-12) will also have a bearing on the digital signal level coming into the effects section of the unit.

You can set Digital Clock to an internal or an external source (see page 3-5).

2-3

Making Connections

MIDI

Footpedal

Plug either a single or double pedal into your Rumour or Mangler’s Pedal jack for a convenient way to tap in a system tempo and perform effects bypass.

To use a pedal for tapping a tempo, you must ﬁrst press the TAP button on the front panel.

With a single pedal you can tap a system tempo for use by time-based effects (see page 3-13 for information on Tap Tempo). If you plug the pedal halfway in, it works just like the BYPASS button on the front panel of your unit (see page 3-3).

With two footpedals (either a double pedal with a single TRS plug – such as the KFP-2S available from Kurzweil, or two regular pedals and a Y-cable with jacks for each pedal and a TRS plug) you will have bypass and tap tempo pedals available. The connector on the back panel of your unit is wired as follows:

•

Tip = Tempo

•

Ring = Bypass

MIDI

2-4

There are two MIDI jacks: MIDI In and MIDI Out. The MIDI Out jack also doubles as MIDI Thru; use the Thru/Out switch on the rear panel to change the setting of this jack. When you set this switch to MIDI THRU, however, you need to keep in mind that MIDI data generated by your Rumour or Mangler (such as program change commands, MIDI clock, and SysEx) will not be merged with the external MIDI data being passed through. In this case, only the external MIDI data will be sent out the MIDI Out/Thru port.

If you ever need to update your unit’s software, you’ll do this using MIDI, as described on page 3-11.

You can also use MIDI for SysEx storage of any presets you create. See page 3-8.

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