Pyle PPVERB16 Owner's Manual

DIGITAL EFFECTS MODULE

OWNER'S

MANUAL

Introduction .

Thank you for purchasing the DEP (Abbrev For: Digital Effects Processor). To take full
advantage 's functions, and to enjoy long and trouble-free use, please read this
user's

of the DEP

manual carefully. .

How To Use This Manual .

This manual is divided into the following sections describing the various modes of the DEP.
Though we recommend you take time to read through the entire manual once carefully, those
having general knowledge about effects devices should use the table of contents to reference
specific functions.

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Chapter 1:Your First Session with the .DEP A basic introduction on operatingthe DEP,
auditioning the factory programs, and adjusting levels.

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Chapter 2: Connections. This chapter explains how to connect the DEP to an instrument,
mixing console or an amplifier.

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Chapter 3: Overview of Programs. A summary of the 16 programs in the DEP, including the
function of the Adjust knob.

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Chapter 4:Description of Controls. Anexplanation of all connectorsand knobs on theDEP.
Use this chapter as a quick reference guide when searching for specific information.

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Chapter 5: Troubleshooting. This chapter contains troubleshooting tips and service information
should problems occur.

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Conventions .

The knobs and rear panel connectors are referred to this manual just as their names appear on
the DEP, using all capital letters and in brackets ( Example:[INPUT] Knob, [VARIATIONS]
Knob, etc.)

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When something important appears in the manual, an icon (like the one on the left) will appear in
the left margin. This symbol indicates that this information is vital when operating the DEP.

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Your First Session with the DEP 1

Unpacking and Inspection 1

1Basic Connections
Powering Up 2
Setting Levels 2
What's on the Front Panel?

2

Auditioning Programs 3

Adjusting Effects Mix Levels 3

Editing Programs

3

Bypassing Effects

3

Placement and Installation

3

Rack Mounting

3

Connections

4

AC Power Hookup

4

Line Conditioners and Protectors

4

Audio Connections

4

Typical Applications

5

Input JackWiring

5

Connecting Directly to an Instrument

5

Interfacing toa Mixing Console

6

Using Aux Sends and Returns

7

Using Inserts

9

Using MainOutputs

10

Avoiding Ground Loops 11

Overview of Programs 12

Reverb Effects 12

Concert Hall 12
Real Room 12
Plate Reverb 12

Reverb Parameter Adjust 12

Decay 12

Pitch Based Effects 13

Flange 13
Chorus 13
Flange/Room 14
Chorus/Room 14
Rotary 14

Pitch Based Parameter Adjust 14

CONTENTS

Electrical

Output

Rear Panel

Processing and Memory

A/D - D/A Conversions

Front Panel

Frequency Response:
Signal to Noise Ratio:
Distortion:
Crosstalk:

Number of Channels:
Format:
Maximum Level:
Output Impedance:

Input (LEFT/MONO, RIGHT)
Output (LEFT, RIGHT)

BYPASS

Power

Processor Speed:
Internal processing resolution:
Factory Preset Programs (ROM):
Factory Variations for each
Preset Program (ROM):
Delay memory:
Reverb effects:
Delay effects:

Pitch effects:

Dimensions
Weight

A/D converter:
D/A converter:

Controls
Indicators

Input

Number of Channels:
Format:
Sensitivity
Maximum Level:
Impedance:

2dB from 20Hz to 20 kHz
>82dB linear, 20 Hz-22 kHz
<0.01% @ 1kHz (-10dBV)
<90dB below full scale

2

" unbalanced
+11 dBu
<500 ohms

1/4

1/4" 2-conductor

" 2-conductor

" 1-conductor (accepts normally open/closed)
(Momentary footswitches)
AC 9 Volt Power Transformer Adaptor.

1/4
1/4

12.5 MIPs (million instructions per second)
52 bit accumulator
16
16

3000 milliseconds
Concert Hall, Real Room, Plate Reverb,
Mono Delay, Delay/Room
Stereo Tremolo, Stereo Chorus, Stereo Flange,
Flange/Room, Chorus/Room, Rotary
131(W) 116(D) 44(H)mm (5.16" 4.57" 1.7" )

0.90Kg (2.98lb)

2

" unbalanced

-10 dBV
+10 dBV
1MOhm/channel stereo, 500KOhm/channel mono

1/4

18 bit Sigma-Delta
18 bit Sigma-Delta

INPUT, MIX, OUTPUT, PROGRAM, VARIATIONS
Power LED, Signal clip LED

SPECIFICATIONS

18

Delay Effects 14
Delay Parameter Adjust 14

Time 14
Tremolo 14
Tremolo Parameter Adjust 14

Description of Controls 15

Front Panel 15

Input Level 15

Mix Level 15

Output Level 15

Signal LevelLED 15

Program SelectKnob 15

Variations Knob 15

Rear Panel 15

Power 15

Bypass 16

Input (Left/Mono& Right) 16

Output (Left& Right) 16

Troubleshooting 17

Trouble-Shooting Index

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Specifications

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CONTENTS

CHAPTER 5

TROUBLESHOOTING

Troubleshooting Index

If you experience problems while operating the DEP, please use the following table to
locate possiblecauses and solutionsbefore contacting SHOWProduct Support forassistance.

Symptom

The PowerLED does not
light whenthe unit is
powered on.

Sound isdistorted, Red
"Input" LEDis lit

Sound isexcessively
noisy, Green "Input" LED
barely islit.

No audiois heard.

Hum ornoise from output.

Unit doesnot respond to
front panelcontrols.

Solution

Turn the Mix control to the
leftorpresstheBypass
Footswitch.

Turn the Output control to
the right.

Try plugging the unit into
another powerjack or
different audio cables.

Check thatthe power cable
is pluggedin properly.

Turn down the Input Level
control.

Turn up the Input Level
control.

Turn Output up and reduce
Aux Returnlevel on mixer.

Power downand power up
again.

Cause

No power.

Input levelis too high.

Input levelis too low

Output levelis too low
and AuxReturn on mixer
is upfull.

Bypass functionis on
with Mixturned 100% wet.

Output levelis too low.

Ground loop,unshielded
cables.

Unknown software
conflict, cosmicrays, or
static electricity.

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CHAPTER 1 .

YOUR FIRST SESSION WITH THE DEP .

Unpacking and Inspection .

YourDEP was packed carefully at the factory, andthe shipping carton was designed to protect
the unit during shipping. Please retain this container in the highly unlikely event that you need to
return the DEP for servicing.

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The shipping carton should contain the following items: .

This instruction manual .
SHOW DEP with the same serial number as shown on shipping carton .
AC Power Supply Adapter .
DEP Quick Guide/Program Chart .

Basic Connections .

The DEP will work in many different applications, whether you are connecting an instrument
dir-ectly into it, or connecting it with a mixing console. Briefly described here are the basic conne

-ctions to get you up and running quickly. For more information on connections, please refer to
Chapter 2.

Mono In, Mono or Stereo Out: Connect a 1/4" phone cord to the [LEFT/MONO] INPUT of the

DEP from a mono source. (The Left input will feed both inputs.) Connect another 1/4"
phone cord fromthe [LEFT] OUTPUT of theDEP to an amplification system ormixer input.
Additionally, you could connect a second 1/4" phone cord to the[RIGHT] OUTPUT for use with
a stereo amplification system, or two mixer inputs.

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Stereo: Connect two 1/4" phone cords to the [LEFT/MONO] & [RIGHT] INPUTS of the DEP

from astereo source , andtwo 1/4" phone cordsfrom the [LEFT/MONO] &[RIGHT] OUTPUTS
of the DEP to a stereo amplification system or two mixer inputs.

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If connecting to a mixing console's aux sends/returns, you will want to turn the [MIX] knob fully
clockwise so that the DEP outputs only wet (effected) signal.

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0100 010 10

FROM INSTRUMENTOR EFFCTS SEND

LEFT INPUT RIGHT INPUT LEFT OUTPUT RIGHT OUTPUT

1

This is a 1/4" phone jack which connects to a footswitch (with latching), either normally-open or
normally-closed. When the footswitch is in the state of "OFF", the function will be "EFFECTS".
In the other hand, when the footswitch is in the state of "ON", the function will be "BY-PASS".

These are 1/4" unbalanced phone jacks which connect to sources such as the effects sends of
mixing consoles. They may be used with nominal input levels from -20dBV (guitar level) to +4dBu.

For mono applications, use the [LEFT/MONO] input.

The [LEFT/MONO] input jack is normalled to the [RIGHT] jack. This means that when nothing is
plugged into the [RIGHT] input jack, the signal present at the [LEFT/MONO] input is routed to the

[RIGHT] as well.

These are 1/4" unbalanced phone jacks which connect to devices such as the effects returns on a
mixing console or power amplifier inputs.For mono applications, use the [LEFT] output.

Bypass

Input (Left/Mono & Right)

Output (Left & Right)

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CHAPTER 4

DESCRIPTION OF CONTROL

The [INPUT] Level controls the level of the signal being fed into the DEP. The DEP can
operate with signal levels anywhere from +4dBu pro audio gear to-20dBV guitar level signals.
To set the input level, watch the [SIGNAL] LED while adjusting the [INPUT] level (see below).

The [MIX] Level controls the balance between the uneffected signal coming through the inputs and

the effects being generated by the DEP. When [MIX] is turned all the way to the left, the input
signal will be sent straight to the output with no effects added. When [MIX] is turned all the way to
right, only the effects will be sent to the outputs with none of the original input signal mixed in. By
keeping the Mix somewhere in the center, a blend of dry and wet signal can be achieved. With a
typical instrument setup (use with a guitar amp, etc.) the Mix is usually set around 12 o'clock.
When usedwith a mixing console, theMix control should beturned all the way tothe right (full wet)
so that theeffects mixcan becontrolled fromthe mixer.

The [OUTPUT] Level controls the volume of the signal from the outputs. The typical level for this
control is 75%, but itcan be raised orloweredas necessar

This red LED monitors the strength of the signal that is sent to the DEP. When the LED lights
up, the input signal is provocating "overflows" within the digital process and the output signal will
be potentially distorted sothe [INPUT] levelshouldbe backed off.

The Program Select Knobis usedto change programs.

The [VARIATIONS] Knob is used to edit aspects of the currently selected program. For example,
on a Concert Hall program,the Adjust knobedits Reverb DecayTime.
[VARIATIONS] is always active, so newly selected programs always read the knob setting.

This is a plug for connecting the SHOWModel9VAC powersupply (supplied).

The power supply included with the DEP is compatible with the electrical requirements of the
country of purchase, and should be connected to the proper electrical outlet. (In the USA, this is
120VAC.) The correct power supply must be used AT ALL TIMES. Any other power supply might
create a fire risk and/or permanently damage your unit. This damage would NOT be covered
under your warranty.

Front Panel

Input Level

Mix Level

Output Level

Signal Clip LED

Program Select Knob

VariationsKnob

Rear Panel

Power

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Powering Up .

After making your connections, turn on the system's power using this procedure: .

Have all connections been made correctly? .
Are the volume controls of the amplifier or mixer turned down? .

Insert the Power jack into the [POWER] input on the rear panel of the DEP and plug the
Power adapter into an AC outlet.

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Upon power-up, the Power On LED will illuminate. .

Turn on the power of the amplifier/mixer, and adjust the volume. .

Setting Levels .

Proper setting of the input and output levels is crucial in order to achieve the aximum signal-to­noise ratio. As a good rule of thumb, it is usually best to set both input and output level controls at
3/4 or 75% of full. This will decrease the possibility of overload distortion and keep the amount of
background noise to a minimum.

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If the Signal LED on the DEP begins to clip (turn red), turn down the Input level or decrease
the volumeof the source (instrument, mixer send, etc.). If the DEP's level is causing the mixer
or amp to distort, turn the Output Level down. For more detail on level setting, see page 18.

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What's on the Front Panel? .

The DEP's front panel contains the following: .

1. The Input level control sets the level going into the DEP. This should be adjusted soInput.
that the Signal LED (4) is green when signal is going into the unit. It controls both the Left and
Right Input levels simultaneously.

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2. The Mix control adjusts the balance between the direct signal coming into the input andMix.
the effects generated by the DEP. .

3. The Outputlevel control sets the level going to the amplifier or mixer from the DEP.Output.
Signal LED. The Signal LED displays the signal level coming into the Input. During normal
operation, If the signal level is at the maximum, this LED will turn red and you will begin to hear
the signal distort.

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Power LED. The Power LED is illuminated wheneverthe DEP's power adapter is pluggedin.
Program Select. The Program Select Knob is used to choose the program you wish to use.
Variations. Each program on the DEP has one parameter which can be adjusted. .

Depending on the type of program selected, this knob might alter reverb decay, chorus depth,
etc.

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01010 0010

1

23 6

7

45

2

5.

6.

7.

4.

Before turning on the DEP's power, check the following items: .

Auditioning Programs .

The DEP has 16 programs. These programs have been chosen to be the most useful effects
available for a large variety of music styles. To audition the internal effect programs, turn the Pro

-gram Select knob to scroll through each of the 16 presets.

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Adjusting Effects Mix Levels .

Whether a program contains a single effect or two or three effects, you can adjust the DEP's
[MIX] control to obtain a desirable balance between the original, Uneffected signal and each
effect's output. The [MIX] Knob controls the balance between the input signal and the effects
generated by the DEP. By turning [MIX] to the right allows you to hear more effects; turning it
to the left lets you hear more of the source signal. When hooked up to an instrument setup, such
as a guitar amp, the Mix setting will typically be somewhere in the middle, balancing the effects
with the sound of the source instrument. If the DEP is connected to a mixing console's Aux
Send, the [MIX] control should be set all the way to the right (effects only) so that the balance can
be controlled from the board. When the [MIX] control is turned all the way to the left, you will only
hear the direct signal (effects will be bypassed).

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Editing Programs .

Any of the internal programs on the DEP may be editing using the [VARIATIONS] knob. The
function of this knob will change depending on the Program selected. For example, it will adjust
reverb decay on a Hall program and lezlie speed on the Rotary program.

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The Adjust knob is always active, so when you change to a new program it will automatic­ally read the Adjust knob setting.

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Bypassing Effects .

At any time you can bypass the effects, thereby allowing the direct signal to pass through the

DEP unchanged. This can be done in two ways:

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by turning the MIX knob all the way to the left, .
by connecting a footswitch to the [BYPASS] jack and pressing the footswitch. .

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Each time the footswitch connect to the [BYPASS] jack is pressed. .

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On the rear panel you will find a footswitch jack labeled [BYPASS]. This is a mono jack with conn­ection for a normal momentaryfootswitch. The footswitch must be plugged in before the DEP
has its power turned on.

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Placement and Installation .

The DEP may be mounted almost anywhere when it's needed: on a table, on top of an amp,
neto toa mixingconsole. In anycase, makesure to placeit safelywhere it willnot fallor bedamaged.
If it will be on furniture, make sure to attach the rubber feet provided to the bottom of the unit.
While the DEPitself doesn't generate any magneticor hum fields, its power supplymay do so.
Make sure toplace the power supply awayfrom other audio equipment that issensitive to induced
fields, andawayfrom thesignal wiring.In rare instances, theDEP itselfmay pickup noisefields
generated by other equipment such as large power amplifiers; in this case, move the DEP until
the noise goes away.

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Rack Mounting .

The most securemounting ison a"universal" rackshelf, availablefrom variousrack manufacturers
or your music dealer. The DEP's height conforms to single-space ounting, and up to three

DEPs may be mounted side-by-side in a standard universal EIA 19" equipment rack.

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3

Flange/Room

Chorus/Room

Rotary-

- The first multieffects program is a layered stereo flange and large room reverb. It

works great on guitars, synths and electric pianos.

- The second multieffects program is a layered stereo chorus and large room reverb.

Also that one works great on guitars, synths and electric pianos.

The Rotary effect emulates a rotating speaker. This effect was extremely popular during
the 1960s and was achieved by mechanically rotating the speakers to produce complex timbral
changes. The lezlie speaker system is most often used with tone-wheel organs, but is occasionally
used for guitar amplification as well. When changing the speed between fast and slow, the effect

will slowly ramp to the new speed rather than change abruptly, just as the original would do. Note:

When using the Rotary program, theMix parameter should be turned allthe way to the right.

On the chorus and flange programs, the Rate control sets the speed of the chorus or flanging
sweep. When the chorus rate is increased, the depth is similarly decreased to maintain a constant
pitch shift. On the Rotary program, the [VARIATIONS] knob controls the speed of the Lezlie motor,
either fast or slow. On the Flange/Room and Chorus/Room programs the [VARIATIONS] knob
edits the reverb decay time.

Delay is a discrete echo repeat, unlike the rapid wash of repeats that create reverb effects. It is us-

ful for adding depth to a track or performance if reverb is adding too much coloration to the sound.

Delay- This program provides a delay of up to 1000 ms. The delay time can be adjusted interms of
delay and decay times. This is a useful utility program which can add space to vocals or instruments
without "muddyingup" a mix.

Delay/Room -The third multieffects program adds a Room to the different delay presets.

This control sets the time between the input signal and the first delay tap.

Tremolo is an amplitude modulation of the signal. It is useful for adding warmth and life to standing
electric piano orguitar's chords.

Tremolo- This program provides an amplitude modulation of the input signal and is normally used
as "WET" effect without adding direct sound or adding a few percentage of it, so to avoid the direct
sound to cover the amplitude modulation.

This control sets the amplitude modulation rate.

Pitch-BasedParameterAdjust

DelayEffects

DelayParameterAdjust

Time

Tremolo

TremoloParameterAdjust

Rate

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14

CHAPTER 2

CONNECTIONS

AC Power Hookup

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Audio Connections .

The connections between the DEP and your studio are your music's lifeline, so use only
high quality cables. These should be low-capacitance shielded cables with a stranded (not
solid) internal conductor and a low-resistance shield. Although high quality cables cost more,
they do make a difference. Route cables to the DEP correctly by observing the following
precautions:

Do not bundle audio cables with AC power cords.

Avoid running audio cables, or placing the DEP itself, near sources of electromagnetic
interference such as transformers, monitors, computers, etc.
Never unplug a cable by pulling on the wire itself. Always unplug by firmly grasping the body

of the plug and pulling directly outward .
Do not place cables where they can be stepped on. Stepping on a cable may not cause
immediate damage, but it can compress the insulation between the center conductor and

shield (degrading performance), or reduce the cable's reliability.

Avoid twisting the cable or having it make sharp, right angle turns.

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The DEP comes with a power adapter suitable for the voltage of the country it is shipped
to (either 110 or 220V, 50or 60 Hz).

To turn on the DEP, plug the small end of the power adapter cord into DEP's
[POWER] socket and the male (plug) end intoa source of AC power. It's good practice that do not
plug in the DEP until all other cables are hooked up.

SHOW cannot be responsible for problems caused by using the DEP or any associated
equipment with improper ACwiring.

Although the DEP is designed to tolerate typical voltage variations, in today's world the
voltage coming from the AC line may contain spikes or transients that can possibly stress
your gear and,over time, cause a failure. There are three main ways to protect against this,
listed in ascending order of cost and complexity:

Line spike/surge protectors. Relatively inexpensive, these are designed to protect against
strong surges and spikes, acting somewhat like fuses in that they need to be replaced if
they've been hitby an extremely strong spike.

Line filters. These generally combine spike/surge protection with filters that remove some

line noise (dimmerhash, transients from other appliances,etc.).

Uninterruptible power supply (UPS). This is the most sophisticated option. A UPS
provides power even if the AC power line fails completely. Intended for computer allows you
to complete an orderly shutdown of a computer system in the event of a power applications,

a UPS outage, and the isolation it provides from the power line minimizes all forms of

interference-spikes, noise, etc.

Line Conditioners and Protectors

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Pitch Based Effects (5 Programs)

Pitch basedeffects alter the pitch and delay of asignal in various ways toproduce "layered" timbres
that are more complex than the original signal. Some of these effects are achieved by splitting the
signal into at least two parts,effecting the pitch of one of the parts, then mixing themback together.
This eventual mixing is essential since the overall sound of the effect is achieved by the difference
between the dry, uneffected signal and the effects signal. Therefore, when using chorus or flange,
it's best to keep the mix of effected and direct signal at equal strength. This could mean setting the

[MIX] control at 50% of the DEP on an instrument setup, or raising the effect return on a mixer.

First used in the 1960s, "flanging" was achievedby the use of two tape recordersthatwould
record and play back the sameprogram in synchronization. By slowing downone tape machine, and
then letting it catchup with theother, differentphase cancellationswould occurat differentfrequenc­ies. Sincethe slowing down ofthe tape machines was doneby hand pressure againstthe flanges of
the tape supply reels, the term "flanging" came into being. Flanging is similar to chorusing , but
modulates the delayed signal overa much shorter delay range(typically 0-12 ms). This produces a
"jet airplane" -like sound. In the case

of the DEP's flange, the signal is
split into four parts with a stereo dry
signal and a separate delay section
for both left and right channels with
one channel flanging up while the
other channel flanges down. Once
again, this causes the effect to bec­ome more pronounced and dramatic.

Flange-

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DELAY

DELAY

DETUNE

LFO

LFO

DETUNE

DRY SIGNAL

FEEDBACK

RIGHT

CHORUSED

OUTPUT

RIGHT

CHORUSED

OUTPUT

DRY SIGNAL

LEFT

DRY

SIGNAL

LEFT

DRY

SIGNAL

DELAY

DELAY

DRY

SIGNAL

DRY SIGNAL

LEFT

FLANGED

OUTPUT

FIGHT

FLANGED

OUTPUT

FEEDBACK

FEEDBACK

LFO

Chorus- Thechorus effect isachieved by splittingthe signal into four parts with a dry signaland a

separate detuning section forboth left andright channels. Thedetuning is furthereffected bybeing

modulated by an LFO (low frequency oscillator) which causes the detuning to vary. The DEP's
chorus hasindividual LFOs controlling
the leftand right sides,set at different
rates. This effect, called true stereo

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chorus, often hasa wier stereo im­age than regular stereo chorus effe
cts. When the Rate is changedon a
true stereo chorus,the chorus rate
difference between the left and rig

-ht sides ismainyained. Note: This
chorus processes theleft and right
sides individually, so any stereo im

-aging will bemaintained.

CHAPTER3

Hall 1

Hall 2

Hall 3

Room 1-

Room 2

Room 3

Plate 1­Plate 2-

OVERVIEWOFPROGRAMS

Reverb is made up of a large number of distinct echoes, called reflections. In a natural acoustic
space, each reflection's amplitude and brightness decays over time. This decaying action is
influenced by the room size, the location of the sound source in the room, the hardness of the

walls, and many other factors. The DEP offers the following types of reverberation:

This is a simulation of a large concert hall. Halls tend to be large rooms with lots of reflective
surfaces, where sounds can swim around, changing timbre over time. This is a classic reverb
which sounds good on just about anything. Try it on vocals, drums, acoustic, electric, or orchestral
instruments.

- This is a large bright hall program. It works well for almost anything, try it on drums,guitars
orvocals.

- This is a warmer hall program. It especially adds depth and character to acoustic guitars
andpianos withit'sdecay setlong.

- The third program is a medium hall with 12ms of predelay before the reverb starts.
It soundsgreat on big rock snares, buttry it onvocals and electric guitar too.

This algorithm gives you the sound of a medium size studio room. This algorithm uses a lot of
processing power for a rich sound and smooth decay. It has a punchier, bigger sound than a hall
reverb, which makes it good for rock and dance music. The attack is also more reflective. It sounds
good on drums, keyboards and guitars.

This hardwood studio room has a lot of early reflection slap for big drum sounds.
It also works well for acoustic instruments, especially with the decay turned up.

- This program is perfect for adding a little ambiance to a dry track. Try it on antiseptic
synth sounds or on dry, unpluggedmixes with the decay setshort.

- Ideal for acoustic guitars and classical instruments, this program emulates a warmer
studioroom.

This is a simulation of a classic echo plate, a 4' by 8' suspended sheet of metal with transducers at

either end used to produce reverb. Popular in the 1970's, it is still prized for its transparent sound,
particularly on vocals and guitars. It works well for a lush lead vocal, piano, or guitar, especially
when looking for a classic rock and roll sound.

The first program is a classic bright vocal plate for pristine lead and background vocals.
A warmer variation of the previous program, great for adding sustain on acoustic guitar

andstrings.

The reverb decay determines how long the reverb will sound before it dies away. Turning up the
reverb decay will have the effect of increasing the room's size. Generally, classical, jazz, and
ballad styleswill use longer decay timesthanup-tempo rock ordance music.

ReverbEffects

Reverb ParameterAdjustDecay

Decay

ConcertHall (3Programs)

RealRoom (3Programs)

PlateReverb (2Programs)

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The audio inputs and outputs aretypically used in one of three ways:

from one or two effect/aux send outputs of a mixer, and out to the effect return inputs of the mixer;
or,

from a line-level instrument (like a guitar or keyboard with either a mono or stereo output),and out
to anamplifier or mixer input; or.
from the stereo buss outputs of a mixer to a mix-down tape machine or amplifier.

When used with a mono source, the DEP is placed between the source and the mixer/amplifier.
Although the source may be mono, both the [LEFT] and [RIGHT] outputs can be connected to the
inputs of a mixer/amplifier if stereo processing effects are desired. If using the effect sends of a

mixer, you have the advantage of sending any of the mixer's input channels to the DEP's
input(s), and have control over thelevel of each channel being sent.
These applications are outlined and illustratedin detail on the following pages.

The DEP's [LEFT] INPUT jack is normalled to the [RIGHT] INPUT. This means that if you only

connect a single mono cable to the [LEFT] INPUT jack, it will also be routed to the [RIGHT] INPUT.
However, if anything is connected to the [RIGHT] INPUT jack, this normalized connection will be
broken; inthis case the [LEFT] INPUT jack will feedonly the [LEFT] INPUT, and the [RIGHT] INPUT

jack feeds only the [RIGHT] INPUT. Also, the [RIGHT] INPUT jack is normalled to the [LEFT]

The DEP has two 1/4" unbalanced inputs and two 1/4" unbalanced outputs.

These provide three different audio hookup options:

Connect a 1/4" phone cord to the [LEFT] INPUT of the DEP from a mono source, and

another 1/4" phone cord from the [LEFT] output of the DEP to an amplification system or

mixer input.

Typical Applications

Input Jack Wiring

NOT

MONO.

Connecting Directly to an Instrument

When connecting audio cables and/or turning power on and off, make sure that all devices in your

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LEFT/CH 1

LEFT/CH1

RIGHT/CH 2

Outputs

LEFT/CH 1

RIGHT/CH 2RIGHT/CH 2

5

system havetheir volume controlsturued down.

LEFT/CH1

Inputs

Avoiding Ground Loops

CIRCUIT.

(3) TO ELIMINATE HUM IF THE ABOVE HAS FAILED:

In today's studio, where it seems every piece of equipment has complex routing and computer logic,

there are many opportunities for ground loop problems to occur. These show up as hums, buzzes or
sometimes radio reception and can occur if a piece of equipment "sees" two or more different paths
to ground. While there are methods to virtually eliminate ground loops and stray radio frequency
interference, most of the professional methods are expensive and involve installing a separate
power source just for t he sound system. Here are some easy helpful hints that a professional studio
installer mightuse to keep those stray hums and buzzes to a minimum.

Most stray hums and buzzes happen as a result of different parts of the sound system
being plugged into outlets of different AC circuits. If any noise generating devices such as air
conditioners, refrigerators, neon lights, etc., are already plugged into one of these circuits, you
then have a perfect condition for stray buzzes. Since most electronic devices of a sound system
don't require a lot of current (except for power amplifiers), it's usually safe to run a multi-outlet
box or two from a SINGLE wall outlet and plug in all of the components of your system there.

come from audio cabling being too near AC wiring or the power transformers used by equipment
requiring an external supply. If a hum occurs, try moving the audio wiring around to see if the
ceases or diminishes. If it's not possible to separate the audio and AC wiring in some instances,
hum make sure that the audio wires don't run parallel to any AC wire (they should only cross at
right angles, if possible).

(A) Disconnect the power from all outboard devices and tape machines except for the mixer and

control room monitor power amp.

(B) Plug in each tape machine and outboard effectsdevice one at a time. If possible, flip the pola-

rity of the plug of each device (turn it around in the socket) until the quietest position is found.

(C) Make sure that all of the audio cables are in good working order. Cables with a detached gro-

und wire will cause avery loud hum!!

(D) Keepall cables asshort as possible, especially in unbalanced circuits.

If the basic experiments don't uncover the source of the problem, consult your dealer or technician
trained in proper studio grounding techniques. In some cases, a "star grounding" scheme must be
used, with the mixer at the center of the star providing the shield ground on telescoping shields,

which do NOT connect tothe chassis ground of other equipment in the system.

Note that the DEP, with its external low-voltage power supply, has no power supply ground. Its
power is transformer isolated for safety, so it has no need for a "safety ground". Signal ground is
connected to chassis ground at the input and output jacks (as it is in most unbalanced equipment).

If the DEP is attached to a metal rack mounting shelf, the assembly shares a common ground

with the other equipment in the same rack. In some cases (such as a star ground scheme), you may

wish touse nonconductive rack railsor rack isolators to avoid groundloops.

(1) KEEP ALL ELECTRONICS OFTHE SOUND SYSTEM ON THE SAME AC ELECTRICAL

Many hums(2) KEEP AUDIO WIRING AS FAR AWAY FROM AC WIRING AS POSSIBLE.

To avoid the possibility of electric shock, never defeat the safety ground found on other equipment
in the system. When in doubt about proper electrical grounding schemes or the power to your
system, consult a qualified,licensedelectrician.

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11

1010 00100

TO AMPLIFIEROR MIXING CONSOLE

LEFT OUTPUT

FROM INSTRUMENTOR EFFCTS SEND

LEFT INPUT RIGHT OUTPUT

LEFT OUTPUT

TO AMPLIFIEROR MIXING CONSOLE

0100 010 10

FROM INSTRUMENTOR EFFCTS SEND

LEFT INPUT

RIGHT OUTPUTRIGHT INPUT

MONO IN,STEREO OUT.

STEREO.

While stillusing a monoinput, you could connect two1/4" phone cords

to the [LEFT] and [RIGHT] outputs of the DEP to a stereo amplification system or two mixer

inputs.

Connect two 1/4" phone cords to the [LEFT] and [RIGHT] INPUTS of the DEP from

a stereo source , and two other 1/4" phone cords from the [LEFT] and [ RIGHT] OUTPUTS of the

DEP to a stereo amplification system or two mixer inputs.

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TO AMPLIFIEROR MIXING CONSOLE

1010 00100

LEFT OUTPUT

FROM INSTRUMENTOR EFFCTS SEND

LEFT INPUT

6

MIXER

INSERT

100 010010

LEFTINPUT LEFTOUTPUT

UsingMainOutputs

UsingtheDEPwithaPoweredMixer

When you want to add effects to everything on the mixer, you can connect the DEP between the
mixer's outputs and the amplifier's or tape machine's inputs. This is done by using two 1/4" mono
cables to connect the Left and Right Main Outputs of the mixing console to the [LEFT/MONO] and

[RIGHT] inputs of the DEP. The [LEFT] and [RIGHT] outputs of the DEP are then connected

to a stereo amplifier, or two input channels of another mixing console (for sub-mixing applications).

You can dramatically improve the sound quality of a powered mixer by connecting a digital effects

units such as the DEP to it in the same way you would connect it to a regular mixer, with one

importantnote:

Consult the manual of your mixer for more information. Generally, the best way is to connect the

"Effect Out" jack of the mixer to the DEP following the procedure on page 7. If the system is
not stereo, you may connect only the [LEFT] output of the DEP to an "Effect Return" or other
input. You will get a slightly deeper, more complex effect if you can connect both the [LEFT] and
[RIGHT] outputs of the DEP to inputs on the mixer.

Never connect an output intended for a loudspeaker (the power amplifier output) to the input

of the DEP. This will cause damage that will not be covered by the warranty.

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MIXER

100 010010

LEFTINPUT

RIGHTOUTPUTLEFTOUTPUT

RIGHTINPUT

POWERAMP

LEFT
MASTER
OUTPUT

10

The DEP may be connected to a mixing console in several different ways. It can be used to

effect multiple channels at once by using the auxiliary send and return controls of the mixer.

Another method of interfacing is to connect the unit directly to the insert send and return patch

points of a single channel that is to be effected. Still another way of interfacing the DEP to a
mixer or recording console would be in-line between the output of your mixing console and the
input of a tape deck or power amplifier. This last setup would be used only if you wanted effects

on the entiremix.

Generally,mixing consoles provide twotypes of auxiliary sends:pre-fader sends for creatinga cue
(headphone or monitor) mix, and post-fader sends for effects units. Typically, if a mixer has more
than two sends per channel(4, 6 or 8, perhaps), the first two sends are reserved for the cue sends,

while the remaining sends are used to feed effects such as the DEP. Connect the DEP

using post-fader sends, so that when you fadeachannel out, its effectswill fade also.

Using a mixer's aux sends allowseach channel to have its own level control feeding the aux output

(and eventually the DEP input). You can make a mix of any channels you want to go to the

effects by using the individual channels' aux send levels on the mixer. Most consoles also have

aux master controls, which set the overall level of eachauxoutput.

But sending signal to the DEP is only half the story. With a mixing console, the output of the

DEP must be returned to the mixer and turned up in the mix before you can hear it. Depending
on thedesign of yourmixer, you have two options forreturning the effected signal to the mix:

connecting to dedicatedaux returninputs, or

connecting tochannelinputs.

The former is good if your mixer provides dedicated inputs (called returns) for effect devices like

the DEP. If your mixer does not have these, or you have already used them all, consider

connecting the DEP to channel inputs (if there are any remaining).This method gives you the

added bonus ofmore panningoptionsand EQon theeffects.

No matter where you connect the output of the DEP into the mixer, you are in control of the

balance between the mixer's channel inputs (the uneffected signal being routed to the aux sends

and the Mix), and the effect returns coming from the DEP. The effect returns generally should
only contain effected signal, and not have any uneffected or "DRY" signal mixed with it (since
these two signals are blended together at the mixer).Therefore, it is necessary to set the mix so

that only effected ("WET") signal is present at the DEP's outputs. To do this, turn the Mix

control alltheway tothe right.

Using Aux Sends andReturns

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Interfacing toaMixing Console

The DEP handles mono or stereo sends at all system levels. The input circuitry of the DEP
can easily handle professional +4 dBu levels (+20 dBu peaks), while having enough input and
output gain to interface with the low -10 dBV signal levels of home recording systems.

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channel inserts.

LEFTOUTPUT

AUXRETURNS OR INPUTCHANNELS

0100 010 10

AUXSEND1

LEFTINPUT

RIGHTOUTPUT

MIXER

AUXSEND1

AUXRETURNS OR INPUTCHANNELS

MIXER

100 010010

LEFTINPUT RIGHTOUTPUTLEFTOUTPUTRIGHTINPUT

AUXSEND2

MONO IN - STEREOOUT.

STEREO IN -STEREO OUT.

If you only want to feed the DEP a mono input, but wish to connect both of its outputs back to

the mixer, you will need three 1/4" audio cables. Connect a 1/4" phone cord from an effect send to

the [LEFT] input of the DEP, another 1/4" phone cord from the [LEFT] output of the DEP to
an effect return or other mixer input, and another 1/4" phone cord from the [RIGHT] output of the
DEP to anadjacent effect return or mixer input.

The DEP creates a stereo output, even though only a single input is used.

This connection is similar to the one described above. However, by utilizing two sends from the

mixer, we add one more cord and can now send a stereo signal to the DEP's inputs. For

example, if you connected sends 3 and 4 to the [LEFT] and [RIGHT] inputs, and had a stereo

instrument (such as a keyboard) connected to two channel inputs of the mixer (either one panned
hard left and hard right), you would send the left channel to send 3 and the right channel to send 4.
This is especially useful on the true stereo chorus program; on reverb and delay programs only a

mono input is needed.

How to Set Aux Send and Return Levels on the Mixer.

In the above hookups, you must set correct levels on the mixer's individual Aux Sends, Aux

Masters, and Aux Return masters (as well as the DEP's own controls) to get good, clean,

quiet results.

By having the correct level at every point in the send/return chain, you avoid distortion by overlo-

ading and avoid noise. The most common mistake with effect units like the DEP is to have too
low a level at the input, then crank up the output to get the effects level desired, this amplifie's
noise and wastes headroom. Here is a procedure that will give good results with most standard
equipment:

Improper level setting is the most common cause of noise and distortion problems.

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Set yourmixer's input levels correctly,following the instructions for the mixer.

Turn up the mixer channels' AUX SEND and AUX MASTERS (if applicable) to a nominal level

(this is usually between"noon" and "3:00"ona rotary knob).

3. Playthe source.

4. Turn up the DEP's [INPUT] level until you see the [SIGNAL] LED turn red on peaks; then
reduce it slightlyuntilthe reddoesn't flash. Theideal input level,for optimum performance,
is just below clipping. But ifother instruments will be added to the mix later,or levels are unpred-

ictable (as in a live show), leave yourself additional headroom by turning the input level down a

bit more.

5. Depending on the input sensitivity of the mixer's channels or Aux Returns, the [OUTPUT] knob
of the DEP should be set somewhere between "2:00" and fully clockwise ("5:00").

6. Turn up the AUX RETURN level until you get the desired level of effect in the mix. The one
control in the chain that may need to be set to a low level is the Aux Return (or channel) on the
mixer itself. Here is where you should increase or decrease the effect level in the mix,

for best low-noise performance. If you want "just a hint" don't turn down the send to

the DEP; turn down the Aux Return. Leave levels where they were set in step 4,

unless yousee the[SIGNAL] LEDflash.

If your mixer features individual channel inserts, you can dedicate the DEP to a

channel on the mixer. Insert jacks on the back of a mixer provide a way of

processing equipment into the signal path. The insert occurs after the before

the channel fader; essentially it is the same as connecting the microphone)
into the DEP before the mixer's channel input.
However, some mixing console's inserts come after the EQ section, and maytherefore be different
from the original signal. If nothing is connected to the channel's Insert jack, the signal passes

through withno effect.

Usually, insert connections require a special, stereo-splitting Y-cord to be connected (one stereo
plug provides both send and return while two mono plugs connect separately to the effects unit's
input and output). These are known as TRS connectors (tip-ring-sleeve). The tip of the stereo plug
carries the send or output of the insert jack, while the ring back the return. The sleeve rep-

resents acommonground forboth signals.

This involves connecting a 1/4" TRS (tip-ring-sleeve) Y-cable to the Insert jack of a single channel
on a mixing console. The other end of the cable (which splits into two, 1/4" mono connectors) are
connected to the [LEFT] input and [LEFT] output, respectively. If you do hear any audio after

making these connections, swap the input and output cables at DEP, as these may be

wired backwards. If the cable is color-coded, usually the represents the send (which

connects to the DEP's input) and black is the connects to the output).

Once the proper connection has been made, you must set the desired "wet/dry" balance using the

DEP's [MIX] control. The [INPUT] and [OUTPUT] controls of the DEP should be set for
unity gain: the volume when the Insert jack is plugged in the mixer should be approximately the
same as when the DEPisout of the circuit.

noise

overall

of reverb,

the input

specific

"inserting" external

input amplifier, and

source (instrument or

carries

not

the

red jack

return (which

Using Inserts

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9

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