Oberheim GM-1000 Operating Manual
24 BIT DIGITAL SIGNAL PROCESSOR
GM-1000
OPERATING MANUAL
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING! TO REDUCE THE DANGER OF ELECTRIC SHOCK:
DO NOT REMOVE COVER (OR BACK)
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
NO USER SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL
This simbol is intended to
alert the user to the presence
of important operating and
maintenance (servicing)
instructions in the literature
accompanying the appliance.
This simbol is intended to alert
the user to the presence of
uninsulated “dangerous
voltage“ within the product’s
enclouser that may be of
sufficient magnitude to
constitute a risk of electronic
shock to persons.
“INSTRUCTIONS PERTAINING TO A RISK OF FIRE,
ELECTRIC SHOCK, OR INJURY TO PERSONS“
IMPORTANT SAFETY INSTRUCTIONS
“INSTRUCTIONS
PERTAINING TO A RISK OF FIRE,
ELECTRIC
SHOCK, OR INJURY TO PERSONS“
IMPORTANT
SAFETY INSTRUCTIONS
WARNING:
When using electric products, basic precautions should always be
fallowed, including the following:
1) Read all instructions before using the product.
2) To reduce risk of injury, close supervision is necessary when product is used near
children.
3) Do note this product near water – for example, near a batnub, washbowl, kitchen
sink, in a wet basement, or near a swimming pool, or the like.
4) This product, either alone or in combination with an amplifier and headphones or
speakers, may be capable of producing sound levels that could cause permanent
hearing loss. Do not operate for a long period of time in high volume level or at a
level that is unconfortable. If you experience any hearing loss or ringing in the
ears, you should consult an audiologist.
5) This products should be located away from heat sources such as radiators, heat
register, or other products that produce heat.
6) The power supply cord of the instrument should be unplugged from the outlet
when left unused for a long period of time.
7) Care should be taken so that objects do not fall and liquids are not spilled into the
enclosure of the instrument.
8) The products should be serviced by qualified personnel when:
a. The power supply cord or the plug has been demaged; or
b. Objects have fallen, or liquid has been spilled into the product; or
c. The products has been exposed to rain; or
d. The products does not appear to operate normally or exibist a marked
change in performance; or
e. The products has been dropped, or the enclosure demaged.
9) Do not attemp to service the product beyond that described in the usermaintenance instructions. All other servicing should be referred to qualified
personnel.
OBERHEIM GM 1000
Digital Signal Processor
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CONTENTS
1. Introduction
1.1 Precautions ............................................................................................ page 81
2. Description of controls and connectors
2.1 Front panel ............................................................................................ page 82
2.2 Rear panel ............................................................................................ page 83
3. Installation and instructions for use
3.1 Connection examples ............................................................................ page 84
3.2 Some advice about correct use of the GM 1000 ................................... page 85
3.3 Structure of the GM 1000 ...................................................................... page 86
4. Play mode
4.1 Keys and controls .................................................................................. page 88
4.2 Selecting a memorized patch ................................................................ page 89
4.3 Programming ......................................................................................... page 89
5. Edit mode
5.1 Keys and controls .................................................................................. page 91
5.2 Master level ........................................................................................... page 93
5.3 Memorizing a patch ............................................................................... page 94
6. Effects:
6.1 Compressor (CMP) ................................................................................ page 95
6.2 Distortion (DST) ..................................................................................... page 101
6.3 Equalizer (EQ) ....................................................................................... page 103
6.4 Amp simulator (AMP) .............................................................................page 107
6.5 Modulation (MOD) ................................................................................. page 109
6.6 Special effects 1 (SP1) .......................................................................... page 114
6.7 Special effects 2 (SP2) .......................................................................... page 119
6.8 Delay (DLY) ........................................................................................... page 125
6.9 Reverberation (REV) ............................................................................. page 132
6.10 Noise gate (NG) ................................................................................... page 140
6.11 The Midi Foot Controller page ............................................................. page 140
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Digital Signal Processor
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7. Utility Mode:
7.1 Midi Settings........................................................................................... page 142
7.2 Program Table ....................................................................................... page 144
7.3 Dump ..................................................................................................... page 144
7.4 Midi Monitor ........................................................................................... page 145
8.Tools
8.1 Tuner ..................................................................................................... page 146
8.2 Analyzer ................................................................................................. page 147
9. Tips and Tricks
9.1 Level and digital technology...................................................................page 150
9.2 Programming..........................................................................................page 151
9.3 Writing the patches.................................................................................page 151
10 Initialization procedure:
10.1 Factory settings....................................................................................page 153
10.2 Dsp self-test .........................................................................................page 153
11. Annex:
11.1 The types of connectos used................................................................page 154
11.2 Glossary of terms used.........................................................................page 154
12. Technical specifications
......................................................................page 155
OBERHEIM GM 1000
Digital Signal Processor
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1. INTRODUCTION
1.1 PRECAUTIONS
The following i s a list of a number of simpl e precautions to be adopted when using and
maintaining the instrument in order to avoid damage to its mechanical and electronic
structures:
•
To avoid the risk of electric shock, never make the connections or use the instrument
with wet hands.
•
Never apply excessive force to the instrument's mechanical parts and keys.
•
Do not stress the instrument in transit or during use.
•
Do not pl ace the instrument cl ose to heat sources, in excessi vely damp or dusty places
or close to strong magnetic fields.
•
When possible, do not place the instrument close to units which generate strong
interference, such as radio and TV sets, monitors, etc.
•
Never insert foreign bodies or liquids of any kind inside the instrument, for any reason.
•
Never use solvents on the instrument's finishes. To clean, use only a soft cloth dipped
in water.
•
The inside of the instrument does not contain any parts requiring maintenance by the
user. Never attempt to carry out repairs or modifications to the instrument; always
contact qualified personnel for any repairs.
•
Only connect foot-switches with normally open contact. Prolonged use of unsuitable
pedal units causes serious damage to the instrument's electronic components.
•
Use the power supply lead supplied or an equivalent with earth. Never use the
instrument unless it is connected to an adequate earth connection. Before making the
connection, check that the mains voltage is as indicated on the body of the adaptor.
•
Disconnect the power supply lead from the mains socket if the instrument is to be out of
use for long periods.
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Digital Signal Processor
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2. DESCRIPTION OF CONTROLS AND CONNECTORS
2.1 FRONT PANEL
1.
Phones Output
: this socket is a headphones output which allows the GM 1000 to
be used even without connection to an amplification system.
2. Phones Level
: used to regulate the volume of the signal sent to the PHONES
OUTPUT.
3. Input Level
: LED indicator for the input signal level.
4. Display
: backlit display used to display various information, such as the number
and name of the memory to be used, the programming parameters, the sound
spectrum analysis data, etc.
5. Value
: data input devi ce which can be used to vary the values selected using the
cursor keys. Turn clockwise to increase the selected value or anti-clockwise to
decrease.
6. Guitar Input
: dedicated input connector for a guitar.
7. Input Level
: regulates the amount of signal supplied as input to the GM 1000. The
setting applies to both the front and rear connectors.
8. Midi message
: light indicating that the rear Midi In connectors are receiving midi
messages.
9. Lcd Contrast
: regulates the contrast of the liquid crystal display (LCD).
10. Function keys
: keys which allow the user to carry out the main functions necessary
for use and programming of the GM 1000.
11. Cursor
: the four illuminated green keys allow the user to move the cursor around
the display in order to select a parameter for modification.
12. Group keys
: keys used for selecting the groups which make up the sound
processing chain.
13. Tools keys
: these keys allow access to the Bypass, tuner and spectrum analyzer
functions implemented in the GM 1000.
14. Power key
: key used for switching the instrument on and off.
6
7
8
1 2
4
10
11
12 13
14
5
9
3
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Digital Signal Processor
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2.2 REAR PANEL
15. Pre-Post switch
: selects where the volume control intervenes.
16. Volume connector
: connector for connection of a volume pedal.
17. Hold Switch
: jack for connection of an optional foot-switch which activates the hold
delay function (infinite repetition of a memori zed phrase).
18. Tap Switch
: jack for connection of an optional foot-switch allowing the tap delay
speed to be set.
19. Foot Controller
: connector for connection of the optional Oberheim FC 3000 foot
controller.
20. Midi In 1 and 2
: five pin DIN connectors for reception of Midi messages from a
remote Midi source.
21. Ac Input
: connector for connection of the power supply lead supplied with the
instrument.
22. Midi Thru 1 and 2
: five pin DIN connectors whi ch retransmits the MIDI codes as
output exactly as they are received by the Midi In connectors. Used to create a
chain of Midi devices.
23. Midi Out
: five pin DIN connector for transmission of Midi messages generated by
the GM 1000.
24. L/Mono - R Input
: jacks for connection of a remote source to the GM 1000. There
is a choi ce between a stereo connection, usi ng the two inputs simultaneously (the
recommended option) and a mono connection using the L/Mono connector only.
The front Guitar Input connector has precedence over the rear Input connectors.
These connectors are of unbalanced type.
25. L/Mono - R Output
: the signal processed by the GM 1000 leaves the instrument
from these two jacks. There is a choice between a stereo connection, using the two
inputs simultaneousl y (the recommended option) and a mono connection using the
L/Mono connector only. These connectors are of unbalanced type.
26. L - R XLR Input
: balanced Cannon XLR connections for connection of a remote
source to the GM 1000. Use this connectors in a stereo configuration
27. L - R XLR Output
: the signal processed by the GM 1000 leaves the instrument
from these two balanced Cannon XLR connectors. Use this connectors in a stereo
configuration
15 18
21
22 24
17 19 20
23 25 26
27
16
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Digital Signal Processor
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3. INSTALLATION AND INSTRUCTIONS FOR USE
3.1 CONNECTION EXAMPLES
Audio connections:
•
use only good quality screened cables.
•
make the audio connections first and then the mains connection.
Mixer
Send Return
P.A.
System
P.A.
System
A/C current
Foot-
switches
P.A.
System
or
Ampli
P.A.
System
or
Ampli
Keyboard
Mixer effects send
Guitar amplifier effects send
Fc 3000
foot-controller
(optional)
Midi Unit
Midi Controller
Midi Out Midi In
Headphones
Guitar
Volume
pedal
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Digital Signal Processor
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3.2 SOME ADVICE ABOUT CORRECT USE OF THE GM 1000
Switch-on.
Before making all the connections make sure that the amplification system volume is
turned down to the minimum setting. Switch on the GM 1000 and then adjust the system
volume again. Otherwi se, always swi tch on the GM 1000 first and then the amplifi cation
system.
Input level.
Each instrument has its own output level which may vary depending on circumstances. In
order to obtain the best performance from the GM 1000, the input level must be adjusted
to suit the instrument connected. This simple procedure will ensure that the right amount
of signal is sent to the effects processor in order to avoid distortion if the signal is too
strong or hissing if the si gnal is too weak.
Start the operation by turning the input trimmers to zero and send a signal to the GM 1000.
Start to turn the Input trimmers clockwise until the signal illumi nates the Input Level LED
meter; the optimum operating range is between -12 dB and -3 dB.
Output level.
The MASTER LEVEL (general output level) shown on the main video page must be
regulated in the same way as the input level in order to adapt the output volume to that of
the equipment connected to the OUTPUT(S). Since this parameter can also be
memorized, more details of how it operates will be described in later sections.
Digital technology and levels.
The GM 1000 is an all -digital instrument: this means that some simple rules have to be
followed during programming. In the digital technology, the maximum permitted dynamic
threshold is 0 dB; above this level, even if it is only reached and exceeded for one
moment, so-called digital distortion is created. Digital distortion has nothing to do with the
distortion often requi red by guitarists, and generates an extremely unpleasant effect often
mistakenly thought to be a real malfunction of the equipment. Since the GM 1000 is
equipped with filters with an operati ng range of +/- 14 dB and i t is possible to add together
the action of a number of filters operating si multaneously, the threshold of 0 dB may be
exceeded. This must therefore be borne in mind when programmi ng the GM 1000, with
frequent checks on the amplification gain introduced by the filters mentioned above by
means of the bypass functions described in the PLAY MODE and EDIT MODE sections.
Adjusting the display contrast.
The GM 1000 is equipped with a large backlit LCD (liquid crystal display). In vi ew of the
characteristics of the LCD system, the contrast has to be adjusted to suit the angle from
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Digital Signal Processor
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which the operator looks at it. A trimmer marked CONT RAST on the left of the panel is
provided for this purpose.
3.3 STRUCTURE OF THE GM 1000
Memory configuration.
The memory of the GM 1000 is divided into four banks: A, B, C and D.
Each of them contains 128 memory locations (which from now on we will call patches),
giving a total of 512. They are all at the disposal of the user, who can program them as
preferred.
The original factory programming settings for the 128 patches in bank A are maintained
permanently in a separate memory and can be recalled at any moment using a special
procedure described in point 8.1 FACTORY SETTINGS.
Groups and effects.
The GM 1000 is designed to process the signal with up to 9 EFFECTS which can be
programmed at any one time. In addi tion, there is also a constantly active, programmable
Noise Gate (NG).
The effects are obtained by means of more than forty algorithms and are arranged into
categories or GROUPS.
Each group i s able to contain up to 6 different effects of the user's choice, and only one of
them can be made active. There are 9 groups available, and this gives the maximum
number of effects which can be used simultaneously (pl us the noise gate, which is al ways
active):
•
COMPRESSOR (CMP): Compressor, Limiter, Expander, DeEsser-Ducker, Frequency
Selective Expander/Gate, Dynamic Processor.
•
DISTORTER (DST): Distortion, Overdrive, Crunch.
•
EQUALIZER (EQ): 10 Bands Graphi c EQ, Mono Parametric, Guitar, 5 Bands Graphi c,
Stereo Parametric.
•
AMP SIMULATOR (AMP): Guitar, Bass.
•
MODULATION (MOD): Chorus, Flanger, Phaser, Step Phaser, Tremolo, Vibrato.
•
SPECIAL EFFECT S 1 (SP1): Wha-W ha, Comb Filter, Double Chor us, Ring Modulate,
Auto Pan, Fade In.
•
SPECIAL EFFECTS 2 (SP2): Shifting Delay, 3 Voice Pitch Shifter, Custom Shift, 4
Voice Chorus, Rotary Speaker, Denoiser.
•
DELAY (DLY): Standard Delay, Tap Delay, Stereo Delay, Multi Delay, Metronome 1
Delay, Metronome 2 Delay.
•
REVERB (REV): Reverb, Gate Reverb, Virtua l Chamber.
This can all be summed up by a simple chart:
OBERHEIM GM 1000
Digital Signal Processor
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Compressor Distortion 10 Bands Gra Guitar Amp Chorus Wha - Wha Shifting Dly Stnd Dly Reverb
Noise Gate
Limiter
Expander
De's'r - Duck'r
F Exp - Gate
Dyna Proc.
Overdrive
Crunch
Mono Para
Guitar
5 Bands Gra
Stereo Para
Bass Amp Flanger
Phaser
Step Phaser
Tremolo
Vibrato
Comb Filter
Dbl Chorus
Ring Mod
Auto Pan
Fade In
3 V. Ped. Shift
Custom Shift
4 Voi. Chorus
Rotary
Denoiser
Tap Dly
Stereo Dly
Mult i Dly
Metronom1 Dly
Metronom2 Dly
Gate Reverb
Virt. Chamber
CMP GROUP DST GROUP EQ GROUP AMP GROUP MOD GROUP REV GROUPDLY GROUPSP2 GROUPSP1 GROUP
NR
OBERHEIM GM 1000
Digital Signal Processor
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4. PLAY MODE
The section whi ch follows will describe the PLAY MODE: we will discuss the way in which
the GM 1000 will be used while the patches are being played. The next section, entitled
EDIT MODE, will descri be the procedure for programming a patch. This section will refer
almost only to the main display page.
4.1 KEYS AND CONTROLS
Cursor.
Four green illumi nated keys to the right of the display and below the Value Encoder are
called CURSOR keys. They allow the user to move the cursor, used to select a parameter
to be modified, around the display. The top key moves the cursor upwards, the key on the
right moves the cursor to the right, and so on.
Value.
Once the parameter to be modified has been selected, the Value Encoder allows the user
to vary its value. Turn the knob clockwise to increase the selected value or anti-clockwise
to decrease. The encoder works dynamically; in other words, the speed at which it is
turned establishes the speed at which the selected value is varied.
General bypass.
To listen to the signal exactly as it reaches the INPUT socket, the user can completely
bypass the algori thms which p roce ss the si gnal by pres sing the BYPASS key. T o con firm
this operation, the light in the BYPASS ke y will ill uminate. Pr ess the BYPASS key again to
return to th e initial condi tions. Thi s type of bypas s is referred to as a GENERAL BYPAS S
to distin guish it from the LOCAL BYPASS to be described in the EDIT MODE section.
Phones output.
This socket all ows the user to listen to the results of the GM 1000 signal processi ng on
headphones. Once the jack has been connected to the PHONES OUTPUT socket on the
left of the panel, optimize the playback volume as preferred using the PHONES LEVEL
trimmer immediately above the PHONES OUTPUT socket.
•
CAUTION !! :
Excessively h igh playing volumes may seriously damage your hearing:
keep the volume within reasonable limits.
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Digital Signal Processor
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4.2 SELECTING A MEMORIZED PATCH
Changing the memory bank.
To select a memory bank other than the one which is active:
•
Locate the cursor on the memory bank indication using the CURSOR keys.
•
Turn the VALUE encoder until the required memory bank is displayed.
Changing the memory patch.
To select a memory patch other than the one which is active:
•
Locate the cursor on the memory patch indication using the CURSOR keys.
•
Turn the VALUE encoder until the required memory patch is displayed.
Master level.
The MASTER LEVEL para meter c ontr ols t he general output level of the sel ected memory
patch: the setting is me morized together with the patch itself. Note that this level is not an
absolute value but depends on the settings made during programming of the individual
groups active.
To modify the MASTER LEVEL value.
•
Use the CURSOR keys to locate the flashing cursor on the MASTER LEVEL parameter.
•
Turn the VALUE encoder until a playback volume suitabl e to requirements is obtained.
•
CAUTION !!:
an displayed on the right of the words "play mode"indicates that this
modification has not been memorized in the patch. To make the modification
permanent, refer to point 5.3 MEMORIZING A PATCH in the EDIT MODE section.
4.3 PROGRAMMING
In PLAY MODE "programming" refers to the operations which can be performed on the
instrument without necessarily having to carry out a complex session with substantial
modification of the processing parameters, for which the EDIT MODE is required.
The Group levels.
Press the COMPARE key with the main video page on the screen to access the video
page which allows the levels of each individual group to be adjusted.
These parameters regulate the way in which the active groups affect the signal to be
processed. The active groups are those which have been included in the processing chain
during the programming phase and are not in OFF or LOCAL BYPASS st atus ( the L OCAL
BYPASS status is different from the GENERAL BYPASS already discussed and will be
described in the EDIT MODE section).
•
N.B.:
the level of a group in local bypass or OFF status can be modified, but this will
have no effect on the signal.
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Digital Signal Processor
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The parameter modified consists of the effect send level (EFFECT LEVEL - see section 6 .
EFFECTS for further information) and allows the user to set the i nfluence of the specific
group within the processing chain, with values between 0 and 100. The onl y exception is
the DST group, which does not include parameters for which there is differentiation
between the level of the di rect signal and that of the processed signal : in this case, the
parameter controlled (the only one with values between 0 and 64) will be the DRIVE
(distortion intensi ty) value, which is certainly the most significant parameter in the group
concerned.
To modify the operating level of a group:
•
Use the CURSOR keys to loca te the flashing cursor on the group level to be modified.
•
Turn the VALUE encoder until an effect suitable to requirements is obtained (it may be
necessary to vary the values of more than one group to obtain the desired results).
•
CAUTION !!:
an displayed on the right of the words "play mode" indicates that this
modification has not been memorized in the patch. To make the modification
permanent, refer to WRITE MODE in the EDIT MODE section.
Press the Exit key to return to the main menu page.
OBERHEIM GM 1000
Digital Signal Processor
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5. EDIT MODE
The section which follows will describe the EDIT MODE operating method, or in other
words we will discuss the way i n whi ch the GM 1000 wi ll be used during programming of
the patches. In EDIT MODE, the operator can carry out all the procedures relating to
modification of the parameters connected to the programming of a patch. The procedure
for saving a new or modified patch in one of the 512 locations available will also be
explained.
5.1 KEYS AND CONTROLS
For use of the CURSOR keys and the VALUE encoder, see PLAY MODE section.
Edit and Exit keys.
The EDIT key gives access to the EDIT pages. Once the EDIT function has been
accessed, this key allows the user to display pages after those shown on the display, in
accordance with the instrument's structural hierarchy. The foll owing is a simple example:
MAIN MENU PAGE
EDIT
MAIN EDIT PAGE
EDIT
GROUP EDIT PAGE
EDIT
1° EFFECT EDIT PAGE
EDIT
2° EFFECT EDIT PAGE (IF ANY)
The small rectangle on the di splay immedi ately above the EDIT key will show whether or
not the EDIT function is available at that moment, on every video page.
•
rectangle solid: function available.
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Digital Signal Processor
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•
rectangle empty: function not available.
Once the effect has been selected, if it has more than one EDIT page the word PAGE
above the rectangle will indicate that the parameters which can be modified are spread
over more than one page.
The EXIT key works in exactly the opposite way to the EDIT key: it allows the user to
move one page back from the one shown on the display, passing through the hierarchical
structure in the opposite direction to that explained for the EDIT key:
EFFECT EDIT PAGE
EXIT
GROUP EDIT PAGE
EXIT
MAIN EDIT PAGE
EXIT
MAIN MENU PAGE
Enter/Write key.
This key activates the patch writing function (WRITE MODE) described later in point 5.3
MEMORIZING A PATCH.
There are also cases when this key assumes different functions. These will be displayed
in line with the key itself on the LCD.
Bypass key (function keys).
The BYPASS key amongst the function keys also provi des several functions, but in this
case the procedure obtained depends on the video page on the screen:
•
main video page: thi s key provides a GENERAL BYPASS of the en tire chai n of eff ects,
or in other words allows the user to listen to the input signal unchanged.
•
main edit video page: this key allows the user to choose between BYPASS (BYP) and
ON status for the selected gr oup.
•
foll owing edit pages: t his key provides a LOCAL BYPAS S, i.e. it swi tches the sele cted
group only (e.g. DST or CMP) into BYPASS status.
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Digital Signal Processor
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We will try to give a rapi d explanation of the difference between these types of BYPASS
and the types already seen, in order to prevent mi sunderstandings and al low operators to
use the GM 1000 correctly. The LOCAL BYPASS function cuts out one group (e.g
DISTORTION, EQ or MODULATION), while the GENERAL BYPASS disabl es the entire
chain of effects simultaneously. It must be underlined that the two types of BYPASS
referred to here are tempor ary, unli ke the BYPASS acti vated in the main edit video page,
which will be memorized together with all the patch parameters. It should also be
remembered that the OFF and BYPASS statuses in the main edit video page have the
same result in terms of sound. The di fference between these two values i n practical terms
becomes obvious when the optional Oberheim FC 3000 foot controller is used, since the
foot switches it provides allow the user to switch any one of the groups set in BYPASS
status to ON. On the other hand, the foot controller will have no effect on the groups in
OFF status, which will be completely out of use.
Compare.
This key has two functions:
•
in the main video page: in this case pressing the COMPARE key activates the EDIT
page for the group level s already described in the PLAY MODE section. This function is
underlined by the word "LEVELS" on the display against the COMPARE key.
Press EXIT to return to the main video page.
•
in the edit pages: it activates the sound compare function. In other words, it allows the
user to make a comparison by alternating the sound modified in an EDIT session
(current situation) with the sound memorized in a patch taken as the starting point for
the modification process. It is used to check the worth of the new settings before saving
them and replacing the original patch with the modified one. While the comparing
procedure is in progress, the display will show: COMPARING - "COMPARE" TO QUIT.
Press COMPARE again to exit from the function.
•
CAUTION !!: an to the right of "pla y mode" on the main menu page indicate s that the
GM 1000 patch has been modified. The modifications made become operational
immediately but will not become permanent until a me morizati on procedure (described
in point 5.3 MEMORIZING A PATCH of this same section) has been carried out.
Otherwise they will be lost when a different memory location is selected.
5.2 MASTER LEVEL
When programming is c omplete, users are advised to adjust the MASTER LEVEL (general
volume) parameter as appropriate to the output volume obtained from the sum of the
processes carried out by the individual groups. The parameter is located in the main
menu page, to allow rapid adjustments even during live performances while the multieffect
device is in PLAY MODE, and the setting is memorized in the patch together with all the
other parameters.
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Digital Signal Processor
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5.3 MEMOR IZING A PATCH
Press the ENTER/WRITE key with the key enabled (the correspondi ng rectangle on the
display must be solid) to access the patch memorization function. The display wi ll show
the relative page, which shows:
•
the current memory location (CURRENT LOCATION);
•
the destination memory location (DESTINATION).
The GM 1000 automatically offers the current location.
To modify the bank and/or the location, use the CURSOR keys and the VALUE encoder.
To change the name of the patch, press the fl ashing Util ity (NAME) key to display, select
the characters to be modified using the CURSOR keys and change them using the VALUE
encoder. At this poi nt press the ENTER/WRITE key again to memorization the patch in
the destination memory location. A short message will confirm that the operation has been
completed.
•
CAUTION !!:
a modification to a patch can be memorized quickly by simply pressing the
ENTER/WRITE key twice in succession.
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Digital Signal Processor
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6. EFFECTS
The chapter which follows describes all the effects in each group. In addition to a brief
description of the characteristics of the effect itself, all the parameters relating to its
programming will be discussed. All the procedures described start from the main edit
video page.
To access the various programming pages, use the EDIT key, while the CURSOR keys
and the VALUE encoder will always be used to modify parameters.
•
USEFUL HINT
:
When programming, always take care to make proper use of the
BYPASS and COMPARE keys previously described in the EDIT MODE section.
As stated i n the introductory notes, only one effect can be selected from each group. The
effect selected from the group can always be identified because it is the only one which
flashes in the group edi t page. To change the selected effect, locate the cursor on the
name of the effect you require using the CURSOR keys and then press the EDIT key. We
have emphasized this procedure because the fact that another effect is highlighted by the
cursor might mislead you unless this operation is confirmed by pressing the EDIT key
which will bring you to the effect edit page and which also confirms that the desired effect
has been selected.
But now let's move on to examine the effects the GM 1000 is able to provide.
6.1 COMPRESSOR (CMP)
COMPRESSOR
The compressor is an effect which reduces the dynamic range of the original signal.
Therefore if an "acti vation point" (threshol d) is set for the compressor, the dynamics of all
the signal below this threshold will be compressed: the result will be a more noticeable
sound which can more easily be sustained over time (sustain effect).
After selecting the main edit page, locate the cursor below the CMP group and press the
EDIT key. At this point, the EDIT page of the COMPRESSOR GROUP will appear:
When the compressor group is selected and editing of the COMPRESSOR effect is
activated, the following video page will appear on the display:
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With the aid of the CURSOR keys and the ENCODER, the following parameters can b e
set:
Ratio parameter. Range 1:1, 1.2:1, 1.5:1, 2:1, 3:1, 5:1, 10:1, 20:1, ∞:1
This sets how much the dynamic range of the signal wi ll be compressed on the basis of a
directly proportional ratio. The compression ratio 1:1 (one to one) will not compress the
signal, while if a value of 5:1 is set the output signal of thi s module will be compressed 5
times compared to the original.
Threshold parameter. Range: 0 - 45
Sets the level of the input signal below which the compression effect will operate.
Attack parameter. Range: 0 - 100
The attack parameter all ows the user to set a delay in activation of the compression effect.
It must be noted that an increase in the attack time corresponds to an increase in the
sound sustain effect.
Bright parameter. Range: 0 - 5
This is an equali zation targeti ng the medium-high tones, which help to make the sound
emitted by the compressor more piercing and aggressive.
Level parameter. Range: 0 - 100
Regulates the general level of the compressor output.
LIMITER
As its name implies, the li miter li mits the dynami cs of the signal to a value which can be
freely set by the user.
Threshold parameter. Range: 0 - 45
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Sets the value of the l evel of the input signal above which the limiter comes into operation.
The range goes from -6 dB (Threshold = 0) to about -40 dB (Threshold = 45).
Release Time parameter. Range: 0 - 100
Sets the time for which the Limiter effect persists.
Level parameter. Range: 0 - 100
Regulates the level of the output signal in the context of the effects chain.
EXPANDER
In contrast with the Limiter, this effect expands the dynamic range.
Ratio parameter. Range: 1:1, 1:1.5, 1:2, 1:2.5, 1:3
Sets the expansion ratio, from a minimum of 1:1 to a maximum of 1:5.
Threshold parameter. Range: 0 - 45
Sets the val ue of the l evel of the i nput signal below which the expansion effect comes into
operation. The range goes from 0 (corresponding to a level of about -14 dB) to 45
(corresponding to a level of about -48 dB).
Hold Time parameter. Range: 0 - 100
Release Time parameter. Range: 0 - 100
These set the persistence and release time of the Expander effect.
Level parameter. Range: 0 - 100
Regulates the level of the output signal in the context of the effects chain.
DEESSER - DUCKER
This is a compressor without attenuation recovery.
The deesser function attenuates the hiss deriving from the pronunciation of the letter "s".
The Ducker function is obtained by controlling the compression of a signal in relation to the
level of another. One typical example of the use of this effect is by radio broadcasters,
where the volume of the music is automatically turned down when the presenter speaks
into the microphone.
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Mode parameter. Range: De-Esser, Ducker
Establishes which of the two functions available is to be used.
Threshold parameter. Range: 0 - 45
They set the value of the level of the input signal above which the compression comes into
operation and the compression ratio.
Ratio parameter. Range 1:1, 1.2:1, 1.5:1, 2:1, 3:1, 5:1, 10:1, 20:1, ∞:1
Sets the compression ratio.
Level parameter. Range: 0 - 100
Regulates the level of the output signal in the context of the effects chain.
Attack parameter. Range: 0 - 100
Sets the time for which the compressor acts on the signal attack.
Bass parameter. Range: 0 - 100
Regulates the low section of the crossover.
"B to M" parameter. Range: 63, 80, 100, 125, 160, 200, 250, 320, 400, 500, 635, 800, 1k,
1k25, 1k6, 2k, 2k5, 3k2, 4k, 5k, 6k4, 8k, 10k, 12k8, 16k Hz
This parameter controls the crossover cut-off frequency on the medium-low frequencies.
Middle parameter. Range: 0 - 100
Regulates the central band of the crossover.
M to T parameter. Range: 63, 80, 100, 125, 160, 200, 250, 320, 400, 500, 635, 800, 1k,
1k25, 1k6, 2k, 2k5, 3k2, 4k, 5k, 6k4, 8k, 10k, 12k8, 16k Hz
This parameter controls the crossover cut-off frequency on the medium-high frequencies.
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Treble parameter. Range: 0 - 100
Regulates the high band of the crossover.
FREQUENCY SELECT IVE EXPANDER/GATE
This is an expander which allows the filtration of the control signal. The operating principle
is the opposite of that explained in the section describing the Ducker effect.
In view of the high maximum expansion ratio (1 : 4 1/2), it can also operate as a gate.
Mode parameter. Range: Freq. Selective Exp/Gate, Ext. Key Exp/Gate
Establishes whether the control signal is given by the sum of the left-hand and right-hand
signals or only by the right-hand singl e. In the second case, the audio signal is the lefthand signal only.
Ratio parameter. Range: 1:1, 1:1.5, 1:2, 1:2.5, 1:3, 1:3.5, 1:4 Gate
Regulates the expansion ratio.
Threshold parameter. Range: 0 - 45
Sets the val ue of the l evel of the i nput signal below which the expansion effect comes into
operation.
Level parameter. Range: 0 - 100
Regulates the level of the output signal in the context of the effects chain.
Env parameter. Range: 0 - 100
Regulates the hold and release times of the expander.
Bass Parameter. Range: 0 - 100
Middle Parameter. Range: 0 - 100
Treble Parameter. Range: 0 - 100
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B To M Parameter Range: 63, 80, 100, 125, 160, 200, 250, 320, 400, 500, 635, 800, 1k,
1k25, 1k6, 2k, 2k5, 3k2, 4k, 5k, 6k4, 8k, 10k, 12k8, 16k Hz
M To T Parameter Range: 63, 80, 100, 125, 160, 200, 250, 320, 400, 500, 635, 800, 1k,
1k25, 1k6, 2k, 2k5, 3k2, 4k, 5k, 6k4, 8k, 10k, 12k8, 16k Hz
These regulate the three sections of the crossover. The information given in the
description of the DeEsser - Ducker applies.
DYNAMIC PROCESSOR
A dynamic spectral processor. This effect features a filter which allows the audio signal
and/or the control signal to be modified in 6 different ways.
Mode parameter. Range: Dynamic Loudness, Spectral Compressor, Spectral DeEsser,
Spectral Exp/Gate, Eq + Compressor, Eq + Expander.
Controls the mode in which the effect works. The functi ons provi ded by the modes vary
quite widely.
•
Dynamic Loudness: adds the frequencies selected to the crossover depending on the
total level of the input signal.
•
Spectral Compressor: compresses the frequencies selected in the crossover with
attenuation recovery.
•
Spectral DeEsser: compresses the frequencies selected in the crossover without
attenuation recovery.
•
Spectral Exp/Gate: expands the frequencies selected in the crossover.
•
Eq + Compressor: combines the equalizer and the compressor.
•
Eq + Expander: the combination of the equalizer and the expander/gate.
Ratio parameter. Range:
1:1, 1.2:1, 1.5:1, 2:1, 3:1, 5:1, 10:1, 20:1, ∞:1
or
1:1, 1:1.5, 1:2, 1:2.5, 1:3, 1:3.5, 1:4, Gate
depending on the Mode sel e cted.
Sets the compression/expansion ratio.
Threshold parameter. Range: 0 - 45
Regulates the value of the level of the input signal above/below which the
compression/expansion effect is activated.
Level parameter. Range: 0 - 100
Regulates the level of the output signal in the context of the effects chain.
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Env Parameter. Range: 0 - 100
Regulates the times of response to the signal dynamics.
Bass Parameter. Range: 0 - 100
Middle Parameter. Range: 0 - 100
Treble Parameter. Range: 0 - 100
B To M Parameter Range: 63, 80, 100, 125, 160, 200, 250, 320, 400, 500, 635, 800, 1k,
1k25, 1k6, 2k, 2k5, 3k2, 4k, 5k, 6k4, 8k, 10k, 12k8, 16k Hz
M To T Parameter Range: 63, 80, 100, 125, 160, 200, 250, 320, 400, 500, 635, 800, 1k,
1k25, 1k6, 2k, 2k5, 3k2, 4k, 5k, 6k4, 8k, 10k, 12k8, 16k Hz
These parameters control the crossover cut-off frequencies. The information given i n the
description of the DeEsser applies.
6.2 DISTORTION (DST)
DISTORTION
This is absolutely the best known guitar effect. It simulates the distortion of an amplifier
which has been saturated so that it emits a hard, piercing sound. It is often used for
soloists.
Type parameter. Range: Standard 1, Standard 2, Standard 3, Mellow 1, Mellow 2, Mellow
3, Boosted 1, Boosted 2, Heavy Tube 1, Heavy Tube 2, Heavy Tube 3, Hi-Energy 1, HiEnergy 2, Hi-Energy 3, Hi-Energy 4.
Sets the type of distortion.
Drive parameter. Range: 0-64
Controls the intensity of the effect.
HDamp parameter. Range: 4K0, 3K2, 2K5, 2K0, 1K6.
Displays the cut-off frequency used by a filter which eliminates all the frequencies above
the one set.
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Level parameter. Range: 0 - 100
Regulates the level of the output signal in the context of the effects chain.
OVERDRIVE
"Valve" type distortion, softer than Distortion.
Type parameter. Range: Standard, UK Tubes, US Tubes, Modern ovd, Hot Tubes,
Flattened, Brite Tube, MOS-FET#1, MOS-FET#2, MOS-FET#3.
Sets the type of overdrive.
Drive parameter. Range: 0-64
Controls the intensity of the effect.
HDamp parameter. Range: 4K0, 3K2, 2K5, 2K0, 1K6.
Displays the cut-off frequency used by a filter which eliminates all the frequencies above
the one set.
Level parameter. Range: 0 - 100
Regulates the level of the output signal in the context of the effects chain.
CRUNCH
A type of distortion lighter than the previous types. Often used for the rhythm section.
Type parameter. Range: Standard 1, Standard 2, Old Tubes, UK feel, US feel, Fat Tubes,
Mid Peaked, Hot Tubes.
Sets the type of crunch.
Drive parameter. Range: 0-64
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