User Guide
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17
English
Tremolo (TREM1 - TREM3)
This is a classic effect where the volume pulses up and down slightly at a selected speed. With a slow speed (8N) and low depth (30)
you can achieve a nice mellow effect that can give a guitar track some character. With a high speed (16N) setting and a full depth
setting (99) you can get an extreme machine-gun sound. There are three different tremolo effects to choose from—normal tremolo,
“pulse” tremolo (in which the sound is switched fully on or off instead of a gradually pulsing) and “sawtooth” tremolo (in which the
volume repeatedly diminishes then instantly switches to full volume.
Auto-Pan (PAN1 - PAN4)
This effect automatically pans the signal left and right at the selected speed, with four variations.
Tip
: Try PAN2 at a speed of 8M, causing your guitar sound to switch between speakers exactly every four measures; it’s like “trading fours”
with yourself.
Filter Tremolo (FTREM1 - FTREM5)
This is similar to a standard tremolo, but rather than the volume pulsing up and down, the filter frequency (brightness) goes up and
down, similar to a wah-wah pedal automatically rocking back and forth. Try 1/4 note triplets (4T) with a depth of (40) for a cool
sound. There are several variations to choose from. Another great effect is FTREM3 which sounds like a wah pedal automatically being
rocked back and forth every 4 measures; try this with a high-gain amp for a stellar lead sound.
Flanger (FLANG1 - FLANG3)
Flanging imparts a whooshing, “jet airplane” sound that slowly cycles up and down over time. There are three variations. FLANG1 is
a positive-phase flanger, giving a fuller bass at the top of its cycle whereas FLANG2 and FLANG3 are inverted-phase flangers, giving
a more pronounced effect (like real tape flanging) at the top of the cycle. Black Box makes its own flanger much cooler than other
products by making it move in sync to the beat.
For your information, the term “flanging” comes from how this effect used to be achieved in the old days of analog tape recording:
The sound engineer would set up two tape machines with copies of the same recording then while listening to a mix of both, try to
manually play them in sync. When their playback would drift apart to within about 20 milliseconds of each other, you’d start to hear
this “jet airplane” sound because of the slight out-of-phase interaction of the two copies of the same recording. The method the
engineer would use to manually get the two tape machines closer in sync was to put his hand on the “flange” (the circular top metal
piece) of the tape reel and press down rhythmically to make one tape drag slightly slower than the other.
Chorus (CHORS1 and CHORS2)
This effect adds a subtle doubling effect to your sound. With a speed of one measure (1M) and a depth of (4) you’ll get a nice, mellow
chorus sound. Extreme settings like (8N) with a depth of (99) might make you seasick! There are two chorus effects to choose
from.
Rotary Speaker (ROTOR1 and ROTOR2)
This is a simulation of the classic Leslie rotary speaker effect, primarily used with the Hammond organ but also appearing on countless
guitar recordings, including Cream’s classic hit “Badge.” Use ROTOR1 for the slow rotary effect and ROTOR2 for the fast effect.
Vibrato (VIBRA1 and VIBRA2)
Vibrato, a periodic variation of pitch, is an effect that can add a moving feel to your sound that is more subtle than chorus or
flanging—kind of like continuously bending the whammy bar on a Strat. Jazz guitarist Bill Frisell commonly plays with vibrato control
on all the time and this adds a very nice quality to his tone, particularly when the vibrato interacts with the delay and reverb in his
sound to produce chorus-like textures.
Random Filter (RNFI 4, RNFI 8, RNFI8T, RNFI16, RNFI24)
Sometimes called “Sample and Hold Filter,” this effect changes to a new, randomly chosen filter frequency at even time intervals of
either 1/4 notes, 1/8 notes, 1/8 note triplets, 1/16 notes or 1/16 note triplets. You can think of this, for example, as a wah pedal that
instantly changes to a new random position on every 1/8 note. The FX FREQ parameter allows you to set a base frequency value. The
Depth parameter determines how far above and below the base frequency the random frequencies’ range will be. For tempo settings
of 110BPM or less, try the RNFI16 effect. For tempo settings above 110BPM, try the RNFI 8 effect.
Random Flanger (RNFL 4, RNFL 8, RNFL8T, RNFL16, RNFL24)
This effect is similar to the classic flanger effect except that instead of slowly sweeping up and down, it generates a new, randomly-
chosen flanger tone at every 1/4 note, 1/8 note, 1/8 note triplet, 1/16 note or 1/16 note triplet. The Frequency parameter allows you
to set a base frequency value. The Depth parameter determines how far above and below the base frequency the random flanger
frequencies’ range will be. For tempo settings of 110BPM or less, try the RNFL16 effect. For tempo settings above 110BPM, try the
RNFL 8 effect.
