Doc Q7.0
61
INPUT GAIN
– Sets the input level into the delay lines. This lets you to attach a controller (e.g. pedal) to the
delay level input level for operation similar to that of an “Aux Send.” In other situations this control should be
set at 100%.
MSTR FDBK
– Master Feedback scales any and all feedback parameters on PG2 of the Delay. Note that the
range of this control is 0–200%, making it possible (easy, in fact) to “overload” the feedback loop.
MIX
– This is a copy of the
MIX
control on the MIX page, placed here for easy adjustment of the wet/dry
balance without page flipping.
LEVEL
– This is a copy of the
LEVEL
control on the MIX page, placed here for easy adjustment of the overall
volume without page flipping.
Mono Delay
5.6.1
The
Mono Delay
can be used for a variety of great sounding standard and exotic delays. This configuration sums
the inputs into a single delay line.
Figure 5-8 – The Mono Delay Block
TIME
– Sets the time of the delay in milliseconds When
TIME
is shown in parenthesis, it is being set
automatically by the
TEMPO
parameter (see below). Set
TEMPO
to “NONE” to regain manual control.
FEEDBK
– Sets the amount of delay feedback (a.k.a. regeneration) to determine the number of repeats.
Negative values phase invert the signal in the feedback loop.
ECHO PAN
– Controls the placement of the “wet” signal (the echoes) in the stereo image. Note that this is
different than the MIX page BALANCE control, which acts on the mix of both wet and dry.
REPEAT HOLD
– This switch defeats the inputs of the delay and “captures” the current feedback loop,
which plays infinitely, as long as the
REPEAT HOLD
switch remains ON.
TEMPO
– Sets the
TIME
parameter in rhythmic relation to the global tempo. For example, if the global tempo
is 120 BPM, and
TEMPO
is set to “1/4” (one echo per beat), time will be 500 ms. To ignore the global tempo,
set to “NONE.”
DRIVE
– Determines the amount of distortion created by a drive model in the delay path. Use this to simulate
the way cascading feedback overloads a tape or analog delay.
BIT REDUCTION
– This control makes it possible to create the lo-fi sounds of vintage digital delays. The
number shown is the number of bits to be
subtracted
from 24-bit full scale. To create a 16-bit delay, for
example, set
BIT REDUCTION
to “8” (24 – 8 = 16). Bit Reduction is often used with high-frequency rolloff.
