Lexicon PCM81 User's Manual
PCM 81 Presets
PCM 81 Presets
PCM 81 presets are organized in 6 Banks (P0-P5) of 50 presets/Bank (numbered 0.0 – 4.9). Press Program Banks repeatedly to cycle through the Banks. Within
each Bank, presets are functionally grouped. Turn SELECT to view all the presets. Press Load/✱ to load any displayed preset.
Each preset has one or more parameters patched to the front panel ADJUST knob. This gives you instant access to some of the most interesting aspects of the
effect. In addition, all of the presets marked with a T can be synchronized to tempo. To set the tempo, press the front panel Tap button twice in time with the beat.
(Tempo can also be dialed in as a parameter value, or it can be determined by MIDI Clock.) Be sure to try these effects synchronized with MIDI sequence and
drum patterns.
Program Bank 0
Multi Effects
0.0 Prime Blue ADJUST: Efx/Rvb X 0–127
Three stereo effects: 6-voice chorus, rhythmic echoes, and
reverb. ADJUST changes the effect smoothly from chorus, to
chorus with echoes, to chorus with echoes and reverb, to
reverb with echoes, then to reverb only. T
0.1 EkoChorus ADJUST: FX Mix 0–127
A 6-voice stereo chorus with echoes and stereo reverb.
0.2 Wet Chorus ADJUST: FX Mix 0–100
A thick wet chorus combined with a small amount of reverb to
produce a large lush sound. Fattens up any track and is
especially good for adding body to guitar.
0.3 Wet Chorus 2 ADJUST: FX Mix 0–100
A variation of Wet Chorus with a subtle amount of delays and
reverb to produce just the right amount of ambience.
0.4 Wet Chorus 3 ADJUST: FX Mix 0–100
A variation of Wet Chorus 2 with even thicker chorus (bordering on a slight flange) and slightly modified delays.
0.5 Chorus Plate ADJUST: KorusMix 0–100
Smooth rolling delays combined with an aggressively modulated reverb tail. Twisted for guitar.
0.6 Chorus Room ADJUST: Decay 0–80
Slow chorus applied to one side of the reverb. The speed of the
modulation follows input level.
0.7 ChorusToRvb ADJUST: Decay 0–127
Input level controls the relative mix of stereo chorus and
reverb. Loud signals are mostly chorus, and the reverb level
comes up as the signal fades away.
0.8 Funkus Room ADJUST: LFO Rate 0–100
Great on electronic pianos / keyboards. Strong modulation
applied to both delays and reverb tail.
0.9 Detune & Room ADJUST: Detune 0–127
A very tight room combined with separate pitch modulation on
the left and right inputs.
1.0 Detune&Dbl ADJUST: Detune 0–127
Similar to Detune & Room, but several delay voices have been
added to produce doubling effects.
1.1 Tight Space ADJUST: SplitWide 0–100
A bright, dry ambience combined with left and right detune and
delay.
1.2 Flange >Rvb ADJUST: FX Mix 0–100
The output of a flanger fed into a concert hall reverb.
1.3 Flange+Rvb ADJUST: FX Mix 0–100
A rich 6-voice chorus in parallel with reverb.
1.4 X Eko Flange ADJUST: X-Fbk 0–100
A stereo flanger with rhythmic echoes feeding into stereo
reverb. ADJUST controls cross-feedback (which causes the
echoes to bounce from side to side as they repeat). T
1.5 Glide > Verb ADJUST: FX Mix 0–100
Three stereo effects in series: gliding delays, rhythmic echoes
and reverb.
1.6 Glide X-Ekos ADJUST: Eko Time 0–100
Similar to Glide > Verb, but ADJUST lets you dial in echo times
from 0-2 seconds. Feedback and cross feedback are combined to create echo patterns that change as they repeat.
1.7 Detuned Ekos ADJUST: Ekos/Beat 1–24
Plate reverb combined with independent stereo delays. The
delay voices are diffused and modulated. The echoes are
rhythmic. T
1.8 StereoEqEkos ADJUST: Ekos/Beat 1–24
Six rhythmic echo voices are EQ’d and panned across stereo
space. ADJUST sets the number of repeats per beat. T
1.9 ADJUpMyEchos ADJUST: EchosLvl 0–10
Concert hall reverb with 4 panned echo voices in the background. T
Modulation Effects
2.0 FSw2 Elevate ADJUST: Feedback 0–99
Multiple echo voices with diffusion, modulation and a touch of
plate reverb. Footswitch 2 is patched to turn on the AR
Envelope which sweeps the master delay. T
2.1 Chorus &Pan ADJUST: LFO Rate 0–100
A moving chorus that shifts the output signal from left to right.
Increasing the Delay Master will smear the delay images.
2.2 Chorus&Amb ADJUST: MstChorus 0–100
Similar to Chorus&Pan but with an added ambience. T
2.3 6 Vox Chorus ADJUST: Less/More 0–50
Starting point for all chorus sounds. The Delay Master opens
or closes the spacing between the 6 delay voices.
2.4 Split C&E ADJUST: InputPan 0–100
The left input is processed into a lush 3-voice chorus with the
voice panners adjusted from center to left. The right input is
processed into a rhythmic 3-voice echo with the output panned
from center to right. ADJUST cross-pans the inputs. 0=L/R
stereo, 50=mono, 100=R/L stereo. T
2.5 Env:PanKorus ADJUST: Chorus 0–127
The AR Envelope drives the speed of the pan based on the
presence or absence of input signal.
2.6 6 Vox Flange ADJUST: MstrDepth 0–100
A rich stereo flanger with a touch of reverb.
2.7 Mod Max ADJUST: Mod Knob 0–50
Multiple parameters modulated together. With stereo input,
the LFO drives the input pans to each delay and reverb
processor. A definite "twist your head off" effect.
2.8 PreciseGlide ADJUST: Resonance 0–100
A very clean stereo gliding delay and reverb. T
2.9 Round 147 ADJUST: RotorRate 0–20
A big wooden rotary speaker cabinet miked fairly close.
3.0 FSw2 Rotary ADJUST: Width 0–100
A dual-rotor speaker cabinet with a very wide stereo spin and
a touch of ambience. ADJUST controls the width and direction
of the spinning rotors. 0=very wide L→R, 64=mono, 127=very
wide R→L. Footswitch 2 toggles slow and fast speeds. The AR
envelope is used to simulate the inertial drag as the rotors
speed up or slow down.
3.1 RotorCabinet ADJUST: Slow/Fast 0–1
Similar to FSw 2 Rotor, but ADJUST is used to toggle the
speed of the rotors between slow and fast. FX Width sets the
width and direction of the spin.
3.2 MIDI Rotary ADJUST: EkoFbk 0–100
Similar to FSw 2 Rotor, but with echoes added and the rotors
patched for MIDI control. MIDI AfterTouch toggles speed.
Press hard to spin fast, press hard again to spin slow. T
3.3 Tiled Rotary ADJUST: Slow/Fast 0–1
The RotorCabinet effect in a tiled room. Try it with background
vocals, as well as keyboard and guitar sources.
3.4 RotoWood ADJUST: Speed 0–10
ADJUST quickly advances the speed of the rotors. Increase
the Feedback Master for more upper rotor “howling”.
3.5 RandomImages ADJUST: ImageKnob 0–127
Individual input notes come out at random locations in the
stereo image. Delays "creep" slowly out to new time values.
Best with solo instruments or voices. T
Special Effects
3.6 Under Water ADJUST: DrownKnob 0–100
Really pulls you under! This will submerge any track.
3.7 Thunder FX ADJUST: FlashTime 0–127
Produces a rolling clap of thunder from a percussive source
(such as tom toms) and ethereal sweeps from synth pads.
Driven by the AR Env, with ADJUST controlling the AR release
rate. T
3.8 Thunder FX 2 ADJUST: FlashTime 0–127
A variation of Thunder FX. Zaps are produced by setting a fast
release rate. T
3.9 ChaosImpuls ADJUST: GldResp 0–100
Chaotic rhythms and detunings produced from the input
source. Try this with individual percussive hits.
4.0 DemonDescent ADJUST: GldResp 0–100
Dark reverb and modulated detuning are combined to create
an eerie special effect.
4.1 RoughIdle FX ADJUST: Speed 0–127
Use this to mutate any steady, broad band source into a poorly
tuned combustion engine.
4.2 RoxStutter ADJUST: FX Mix 0–100
Use on strong rock and roll lead vocals. Trailing echoes on
voices 3 and 4 go longer as the signal disappears. Delays 2
and 5 add more echo presence.
4.3 Split Pitch? ADJUST: SplitWide 0–127
Modulated varispeed in stereo. One side goes low as the other
side goes high. Good for special FX processing of various
sources including synths and dialog.
4.4 TryTalk’n ADJUST: GldResp 0–100
A variation of Split Pitch with highly colored reverb and
additional delay voices.
4.5 AutoInfinite ADJUST: FX Mix 0–100
With signal present, the reverb time runs long. With signal
absent, the infinite process is switched on. Once a source is
running in the infinite process, you can play softer passages
against it which chorus and echo at the same time. T
4.6 Remove Cntr ADJUST: Cntr Fc 0–127
Filters and crosstalk cancellation remove mono material from
a stereo mix. ADJUST controls a low pass filter for the center
channel frequencies — turn it up to add mono material back
into the mix.
4.7 V-Eliminate ADJUST: Cut Zone 0–127
A vocal eliminator. Removes mono material in the vocal range
from a stereo mix. Mono low and high frequencies (kick, bass,
snare cymbals, etc.) are kept in the mix. ADJUST controls the
width of the elimination band. Phase cancellation will occur if
the two outputs are summed to mono.
4.8 NoCenter Eko ADJUST: Center Fc 0–127
Similar to Remove Cntr with delays added to the processed
signal. You can add echoes to the left and right material
without affecting the mono material (vocals, kick, or snare) of
a stereo mix or sub mix. ADJUST controls a low pass filter for
the center channel frequencies. T
4.9 Rvb On L–R ADJUST: Decay 0–127
Similar to NoCenterEko, this effect adds dense plate reverb to
the left and right material without affecting the mono material
in a stereo mix.
© Lexicon, Inc. 1998
Printed in U.S.A.
PCM 81 Presets
Lexicon
Program Bank 1
Rhythmic Echo and Delay Effects
0.0 [n]Ekos/Beat ADJUST: [n] 1–24
Stereo echoes with a touch of reverb. ADJUST controls the
number of echoes per beat. T
0.1 StereoTapDly ADJUST: Mstr Fbk 0–100
A variation of [n]Ekos/Beat, with left and right delay voices. T
0.2 OffBeat Eko ADJUST: DarkKnob 0–127
A variation of [n]Ekos/Beat that produces a syncopated echo
rhythm pattern. ADJUST controls high cut filters in the echo
feedback paths. Great for tape echo effects. T
0.3 OffBeat Eko2 ADJUST: DarkKnob 0–127
Additional rhythmic delay voices are used to create a more
complicated syncopation pattern than OffBeat Eko. T
0.4 Dotted 8ths ADJUST: EchoSlope 0–127
Rhythmic delay voices produce a dotted 8th-note pattern.
ADJUST controls the slope of the first six repeats. 0=loud to
soft (normal echoes), 64=six repeats of equal loudness,
127=soft to loud (reversed echoes). T
0.5 Shuffle Ekos ADJUST: Shufl Lvl 0–127
Creates echoes with a shuffle feel. One repeat on the beat
followed by one repeat off the beat. ADJUST controls the
relative levels of the on and off-beat echoes. T
0.6 Shuffles ADJUST: EchoSlope 0–127
Rhythmic delay voices produce a shuffle pattern. ADJUST
controls the slope of the first six repeats. 0=loud to soft (normal
echoes), 64=six repeats of equal loudness, 127=soft to loud
(reversed echoes). T
0.7 Sliding Eko ADJUST: Slide It! 0–100
This stereo delay effect lets you dial in the perfect “feel” to
match the moment. Two echoes are produced: one is fixed on
the beat, the other can be slid in musical time anywhere in front
of or behind the beat by turning ADJUST. 0-49=in front of the
beat, 50=on the beat, 51–100=behind the beat. T
0.8 Six Trips ADJUST: EchoSlope 0–127
Rhythmic delay voices produce a 6-note triplet pattern. Each
repeat gets progressively louder. ADJUST controls the slope
of the first six repeats. 0=loud to soft (normal echoes), 64= six
repeats of equal loudness, 127=soft to loud (reversed echoes). T
0.9 6 StrokeRoll ADJUST: Attack 0–127
Turn a single drum hit into a six-stroke roll with this effect.
ADJUST controls the attack of the first five repeats. 0=loud to
soft (normal echoes), 64= five repeats of equal loudness,
127=soft to loud (reversed echoes). T
1.0 TapGated Rvb ADJUST: Gate dB 0–85
A tempo-controlled LFO is used as a rhythmic gate to the
inputs of a large stereo chamber. The gate is opened every
other beat for a duration of 1 eighth-note. Use this to add reverb
to selected beats of a stereo source. (Try synchronizing to
MIDI with a drum machine as a source.) ADJUST controls the
input levels in dB to the reverb when the gate is closed.
0=always open (0dB), 85=fully closed (-85dB). T
1.1 TapEkoGate 1 ADJUST: GateDepth 0–127
A tempo-controlled LFO is used as a rhythmic gate to the
inputs of a delay/reverb combination. The gate is opened once
every four beats for a duration of 1 eighth-note. ADJUST
determines the portion of the four beats in which the gate is
open. 0=open for all four beats, 127=open for only the first 16th
note of four beats. T
1.2 TapEkoGate 2 ADJUST: GateWidth 0–127
A variation of TapEkoGate 1 with different echo rhythms. T
1.3 TapEkoClear ADJUST: GateWidth 0–127
Similar to the two TapEkoGates, except that the rhythmic gate
is also patched to clear the delay voices when it opens. This
allows very high delay feedback values to be used without
creating long echo trails. T
1.4 Tap Chamber1 ADJUST: Width 0–90
A tight chamber with liveness that is tempo controlled.
ADJUST controls the width of the reverb within the overall
stereo image of the effect (0=mono, 45=stereo, 90=surround).
Use this to open up sampled drum mixes. T
1.5 Tap Chamber2 ADJUST: Decay 0–127
A version of Vox Chamber with a rhythmic twist. The width of
the reverb within the overall stereo image of the effect is
changed rhythmically by Sw1. T
1.6 LatchedEkos ADJUST: EchoWidth 1–99
The inputs and outputs of stereo delays are gated on and off
by two rhythmic switches. The AR envelope alternates the left
and right delay outputs. ADJUST controls how long the inputs
to the delays remain open over a period of four beats. T
1.7 X-PanEQ BPM ADJUST: Low Tone 0-60
Inputs cross-panned between independent left and right band
pass filters with some bright, highly diffused reverb. The pan
rate is tempo controlled. ADJUST controls the low frequency
limits of both bands. T
1.8 Pan->Eko BPM ADJUST: DarkKnob 0–127
Inputs are panned across the stereo inputs of a reverb and
independent left and right delays, each with slightly different
EQ. The pan rate is tempo controlled. ADJUST controls the
high frequency limits of both bands. T
1.9 Tempo Verb ADJUST: Liveness 0–40
A tempo-based reverb effect with decay changing in tempo. T
2.0 Tempo Gate ADJUST: High Cut 0-50
A heavily gated reverb effect with duration set by tempo. T
2.1 Tape Echo ADJUST: DarkKnob 0–127
Simulates a stereo tape echo. The echo rate is tempocontrolled. ADJUST controls high frequency damping. T
2.2 NonLinear 1 ADJUST: EchoSlope 0–127
Produces echoes with non linear decay. ADJUST controls the
decay slope. 0=loud to soft (normal echoes), 64=six repeats
of equal loudness, 127=soft to loud (reversed echoes). The
slope is set to produce a simple reversed echo effect. The
repeat rate is tempo-controlled. T
2.3 NonLinear 2 ADJUST: EchoSlope 0–127
Chorus and reverb have been added to NonLinear 1, and the
delays bounce from side to side as they repeat. The slope is
set to 64 to produce repeats of equal loudness. T
2.4 NonLinear 3 ADJUST: EchoSlope 0–127
A variation of NonLinear 2 with more radical processing and an
inverted slope. T
2.5 Six Across ADJUST: Spacing 0-100
A multi-tap delay effect that filters each voice to a specific
bandbass with each tap positioned succesively across the
panoramic spectrum.
2.6 BandEko Rvb ADJUST: Center Fc 0–127
The outputs of a stereo band pass filter are sent to left and right
rhythmic delays in the reverb diffusor loop. Produces diffuse,
highly colored echoes and reverb. T
2.7 BandEkoSweep ADJUST: Mstr Fbk 0–100
A variation of BandEko Rvb. The center frequency of the band
pass filter is swept by the LFO, producing echoes of shifting
colors. Reverb and diffusion are turned off. T
2.8 LFO EQ Echo ADJUST: LC Depth 0–100
A stereo rhythmic effect created by modulating low cut and
high cut filters with the LFO sine and cosine waves. Interesting
on rhythm tracks and individual instruments. T
2.9 Chase Echo ADJUST: ChaseRate 0–100
LFO EQ Echo with panning added to the filtered delay outputs.
T
3.0 Panned Dlys ADJUST: Mstr Fbk 0–100
A pair of delays are panned to produce echoes that drift across
stereo space. T
3.1 X-Pan Delays ADJUST: Mstr Fbk 0–100
The outputs of the delay pair are cross-panned. Mono material
produces echoes that repeat, but remain in the center. Stereo
material slowly swaps left and right as it repeats. T
3.2 Dly>EQ>Pans ADJUST: Mstr Fbk 0–100
The input signal is split into two frequency bands which are
sent through different rhythmic delays with their outputs
panned in opposite directions. This effect deconstructs the
tone of input material, except when the panning and delay
rhythms align in the center of the stereo field. Try it with a drum
mix or other broadband material. T
3.3 Ekoz 4 Drums ADJUST: FX Mix 0–100
A space setter for percussive instruments. Combines a short
plate reverb effect with four high density echoes which are
highly diffused. T
3.4 Haas PanKnob ADJUST: L=0, R=127 0–127
A panner that uses the slight differences in left and right
channel delay to produce panning without changing relative
levels.
3.5 Dial a Delay ADJUST: Delay 0–100
Your basic delay. Use ADJUST to dial-in up to 2.5 seconds of
stereo delay.
3.6 PrecisionDly ADJUST: L ms/100 0–100
Provides precise alignment of left and right channel audio.
ADJUST allows you to offset the left channel by up to 1 ms in
100 increments.
Ambience Effects
3.7 PhoneOrRoom? ADJUST: Pick One 0–1
Use ADJUST to choose between a mono telephone filter and
a small room with stereo ambience.
3.8 CheapTV Room ADJUST: The Walls 1–10
Simulates the sound of a Lo-Fi TV in a small room. Use
ADJUST to change the reflectivity of the walls.
3.9 Empty Stage ADJUST: Liveness 0–127
Made for creating live sounding spaces. ADJUST opens the
space to be more reflective and airy.
4.0 Tomb Room ADJUST: The Walls 1–10
Places source material within a very reflective tomb. ADJUST
moves the source deeper into this scary space.
4.1 Comb Room ADJUST: Tone 0–100
A tunable comb filter and reverb produce a highly colored
ambience. Use ADJUST to change the tuning of the comb
filter.
4.2 Zoom Over ADJUST: Speed 1–25
Run an effect (or even a continuous synthesizer drone) into
this preset, and the sound will approach you from the center,
spread out to the sides as it passes overhead, and recede into
the distance behind you. ADJUST controls the speed of the flyby. This effect will image properly in either 2-channel or
Surround mixes.
4.3 OneShotCarBy ADJUST: Speed 1–100
Input level triggers this left-to-right drive-by. When signal is
detected, it will move from left to right. Doppler pitch shift is
simulated as the image moves across the stereo field. Once
audio has been detected, the effect will cycle once. To drive by
again, stop and restart the audio track. To reverse the direction
of the effect, set the Width parameter to –45.
4.4 AmbientCarBy ADJUST: Speed 1–100
A variation of OneShotCarBy, enhanced by some stereo
ambience. This effect repeats automatically. ADJUST controls the speed of the drive-by.
4.5 HeadOn CarBy ADJUST: Speed 1–100
Less ambience than ZoomOver, and more appropriate for
things that approach on the road. This effect will image
properly in either 2-channel or Surround mixes.
4.6 2WayStreet ADJUST: Speed 1–100
Produces both L→R and R→L drive-by effects — like listening
to the sound of traffic on a two-way street. The speed for each
direction is slightly different. ADJUST is a master speed
control for both eastbound and westbound traffic.
4.7 IntoTunnel ADJUST: Speed 1–25
Simulates the sound of a source approaching you from the
side, passing you, then entering a tunnel. ADJUST controls
the speed of the source. To reverse the direction of the effect,
set the Width parameter to –45.
4.8 2WayTunnel ADJUST: Speed 1–100
A variation of IntoTunnel. The source approaches and enters
the tunnel, then turns around and comes back.
4.9 FinishLine ADJUST: Speed 1–100
Two pairs of stereo delays added to the basic drive-by effect
simulate the 1st, 2nd, and 3rd place cars crossing the finish
line. ADJUST controls the speed. Try this and the other driveby effects with different types of source material. Almost any
continuous source will produce interesting spatial sound effects. Low, buzzy synthesizer tones work particularly well.
Program Bank 2
PCM 81 Presets
EQEffects
0.0 StereoLoPass ADJUST: CutOff 0–127
A stereo low pass filter and a stereo reverb in parallel. Add
reverb by changing FX Mix. T
0.1 Low Pass HiQ ADJUST: Cutoff 0–127
The same basic effect as StereoLoPass, but with feedback
adjusted to produce a more resonant filter. T
0.2 Low Pass LFO ADJUST: Depth 0–127
The cutoff of the stereo low pass filter is swept with a rhythmic
LFO sine wave. ADJUST controls the low frequency limit of the
sweep. T
0.3 StereoHiPass ADJUST: Cutoff 0–127
A stereo high pass filter and a stereo reverb in parallel. Add
reverb by changing FX Mix.
0.4 StereoB-Pass ADJUST: Center 0–127
A stereo band pass filter and a stereo reverb in parallel. Add
reverb by changing FX Mix.
0.5 Stereo Notch ADJUST: Center 0–127
A variation of StereoB-Pass which combines a phase inverted
output of the band pass filter with unprocessed signal to create
a notch filter. ADJUST sets the center frequency.
0.6 SweptNotches ADJUST: Rate 0–100
Produces vowel-like sounds by sweeping two pairs of notches
with two independent time switches. Very unusual tonal variations from broad band sources (rich pads, drums, industrial
sound effects, etc.) Generates a good deal of spatial movement within a stereo or Surround mix.
0.7 Env Notches ADJUST: Release 0–100
Produces vocalization effects from dynamic sources. The
inputs are summed to mono, and the notch filters, which are
tuned to vocal formants, are swept by the resulting input
envelope.
0.8 BandReject 4 ADJUST: FX Mix 0–100
Three independent modulators are used to sweep filters and
pan the outputs, resulting in an effect with constantly changing
tonal and spatial characteristics.
0.9 WaaPedalEko ADJUST: FeedBack 0–10
Wah-wah with echoes. Foot Pedal is patched to filter cutoff. T
1.0 RotorWaa ADJUST: Rate 0–10
A tempo-controlled wah-wah effect. ADJUST controls the
rhythm of the modulator. T
Spatial Effects
1.1 Movable Echo ADJUST: Position 0-127
Designed for use with either stereo or Surround mixes, this
dual delay can be positioned anywhere between the center,
side and rear channels. ADJUST sets the position. 0=center,
64=side channels, 127=rear channel.
1.2 Movable Hall ADJUST: Position 0–127
Similar to Movable Echo, this concert hall reverb effect can be
positioned anywhere between the center, side and rear channels.
1.3 Go Away ADJUST: How Far? 0–127
Take a stereo source and move it anywhere from in your face
to far, far away. Use ADJUST to move the source. 0=unprocessed stereo, 127=far away. Compatible with stereo and
Surround mixes.
1.4 Circular Pan ADJUST: Rate 0–100
Similar to Go Away, this preset sums the inputs to mono and
uses the LFO to control EQ, reverb and stereo width to pan the
sound through a circular orbit. From right through center,to left
through rear, to right. As the sound approaches the center, it
grows brighter, louder and dryer. As it recedes towards the
rear, it grows darker, softer and more reverberant. In a Surround mix, the center and rear positions of the orbit will feed
only the center and rear channels of the mix.
1.5 Spatial Hall ADJUST: Position 0–35
A multi-dimensional preset which changes as you increase or
decrease ADJUST. Not mono compatible.
1.6 Rear of Hall ADJUST: Decay 0–60
A really huge space, and you’re in the back of it. ADJUST
changes the reverberation characteristics, making it boomier.
1.7 Backstage ADJUST: How Far? 0–127
Remember what the concert sounded like from the green
room? This effect will take you there and let you wander
around. Turn up ADJUST to travel further from the stage until,
finally, you’re out in the parking lot.
1.8 Steered Rear ADJUST: Decay 0–10
The Width parameter steers this plate effect from front to back
after the AR releases based on input level. Due to the strong
spatial positioning at the end of the decay, this preset is not
mono compatible.
1.9 Too Deep! ADJUST: Decay 0–40
Left and right envelope followers control the post delay glides
while the AR generator controls reverb width.
2.0 Dyna-Hall ADJUST: Decay 0–30
A tamer version of Too Deep! No envelope chorusing. Good,
beautiful, straight ahead, and spacious.
2.1 RotoRox ADJUST: FX Mix 0-100
Crossfades deeper into two delay voices when input is absent.
Great vocal effects for thickly-produced rock and roll.
2.2 RotoRoomVox ADJUST: Decay 0–100
A medium large sized room that continuously changes width
according to LFO speed. Nice roomy effect for background
vocals.
2.3 RotoRoom ADJUST: Decay 0–60
Similar to RotoRoomVox, except the speed of the spatial width
modulation is stable, with the speed of the LFO constant.
Room is smaller, more dense-sounding and brighter.
2.4 RotoRoom#2 ADJUST: Rt & Rate 0–60
Way cool on a stinger sound effect! Dynamically spacious. Not
mono compatible.
Gain Effects
2.5 Tremolo Tap1 ADJUST: Depth 0–127
A basic tremolo effect with a small amount of ambience. Left
and right channels are processed separately to maintain the
image of stereo source material. The tremolo rate is tempo
controlled (2 cycles/beat). T
2.6 X-TremoloTap ADJUST: Depth 0-127
A variation of TremoloTap1 with left and right modulation 90°
out-of-phase, producing a stereo effect that doesn’t collapse in
a mono mix. If the input source is mono, the sound will seem
to move from side to side. If the input source is stereo (or two
different mono sources) the left and right channels will alternately grow loud and soft. T
2.7 Panner BPM ADJUST: Pan Phase 0–1
A tempo-controlled auto panner with inputs independently
panned left and right. If the input source is mono it will pan from
side to side. If the input source is stereo (or two different mono
sources), the two sources will chase each other between the
speakers. Set ADJUST to 0 for “normal” auto panning. T
2.8 Nice Pan! ADJUST: FX Mix 0-100
Combines static time-based delays which move back and forth
in the stereo field with a short, bright chorus plate. Great for
acoustic guitars.
2.9 Spin & Duck ADJUST: Spin Rate 0–127
Panning combined with 6-voice chorus delays and reverb to
produce a rich spacious effect. Delays are tempo-controlled
and ducked by input level. They won’t be heard during active
passages, but will fade up in the spaces between phrases. T
3.0 MultiFxFade ADJUST: FX Mix 0–100
AR envelope is used to create a moderate fade-in of chorus,
delay and reverb effects. Try this with guitars and keys. T
3.1 Ghost ADJUST: FadeShape 0–100
Source material is accompanied by a ghostly image of itself.
Not quite reverb, not quite backwards audio. Works well with
short percussive sources as well as more sustained ones.
3.2 Ghost Flange ADJUST: FadeShape 0–100
A variation of Ghost with some flanging added. Try this with
lead guitar.
3.3 GhostVibrato ADJUST: FadeShape 0–100
Another Ghost variation. This one will produce a delayed
vibrato on sustained notes.
3.4 AutoFadeIn 1 ADJUST: FX Mix 0–100
Input level produces an automatic volume swell into a chorus/
delay reverb effect. Great with guitar and keyboard
chords.The fade in rate is moderate. T
3.5 AutoFadeIn 2 ADJUST: Fade Rate 0–100
A variation of AutoFadeIn with adjustable fade-in rate. T
3.6 AutoFadeIn 3 ADJUST: Rvb Lvl 0–127
A variation of AutoFadeIn 1 with shorter delay times and a
lighter touch on the chorus effect. T
3.7 ChordSwells ADJUST: Rvb Lvl 0-127
A more dramatic version of AutoFadeIn. The fade time is quite
long, and the chorus and delay effects are fairly strong. Try it
with sustained piano or guitar chords. T
3.8 BowedChords ADJUST: FX Mix 0–100
A subtler version of AutoFadeIn. Chorusing is turned off and
delays are more subdued. Essentially a volume swell into
reverb. Use it to pull cello-like tones from sustained notes or
block chords. Very nice with grand piano. T
3.9 BowedEchoes ADJUST: FX Mix 0–100
Input level controls feedback and triggers the fade-in, producing echoes with soft attacks that appear when the input signal
drops. T
4.0 Pedal Swell ADJUST: FX Mix 0–100
A combination of four 400 ms delays, a slight amount of
chorus, and a hint of reverb. The Foot Pedal is patched to left
and right input levels for majestic volume swells.
Resonant Chord Effects
4.1 Rez Climber ADJUST: Tuning 0–60
Try this with dialog or unpitched source material. AR Envelope, triggered by mono input level, dynamically sweeps the
resonators through the 2nd – 5th pitches of the harmonic
series. ADJUST sets the fundamental pitch for the series. T
4.2 Chord Walk ADJUST: High Cut 0–50
Resonators are used to generate a rhythmic chord pattern
from unpitched source material. Sw 1 and Sw 2 are used to
change the chord root-note and mode, and to vary the rhythm.
Try this with a simple kick, snare and hi-hat pattern. T
4.3 Mars Bars ADJUST: High Cut 0–50
Resonators are used to create a truly weird and spacey
special effect. Use on any continuous sound effect, dialog, or
even instrumental track. The tuning of the resonators is swept
slowly through a series of pitches by the LFO. T
4.4 ModalImpulse ADJUST: Tone 0–50
Resonators are tuned to arpeggiate a modal 7th chord. The
rhythm of the arpeggio is tempo-controlled. Works well with
single percussion hits (such as kick or snare). Change key,
scale and root note of the arpeggio with the Pitch parameters.
T
4.5 Major Minor ADJUST: Tone 0–50
A 6-note modal chord built one note at a time. Use a single
percussion hit as an input source (a slowly repeating snare hit
works well). The notes in the chord are added slowly over 24
beats. The effect is tempo-controlled. As the chord builds, it is
changed rhythmically between major and minor scales. The
root note of the chord is also changed in a rhythmic manner.
The LFO controls the rate of the build and the major minor shift.
Sw 2 controls the changing root notes. T
4.6 MIDIChords ADJUST: Sparkle 0–5
Driven by MIDI Note Number. Resonators follow the note in a
diatonic tone cluster. If the audio source is the same as the
MIDI source (a synthesizer), the effect is a little like harmonization. Will pass audio if there is no MIDI input.
4.7 LvlSweeper ADJUST: Color 0–34
Driven by level. Any input that exceeds the input threshold will
cause a little burst of resonators that quickly swirl through the
stereo field. T
4.8 Sweeper ADJUST: Pitch 0–24
A resonant arpeggiator in which a tempo-driven LFO controls
the resonator pitches.T
4.9 MIDISustain ADJUST: Bright 0–5
Resonators are assigned as the notes are played. (When
playing chords, it's best to spread them a little.) Footswitch 2
works like a piano damper pedal. When the audio source is the
same as the MIDI source, the effect is a little like playing a
piano while holding down the pedal. This preset requires MIDI
note input or it will not pass audio.
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