CHAPTER 2
CONNECTIONS
AC Power Hookup
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Audio Connections
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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
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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, 50 or 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 into a 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 AC wiring.
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 hit by an extremely strong spike.
Line filters. These generally combine spike/surge protection with filters that remove some
line noise (dimmer hash, 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 based effects alter the pitch and delay of a signal in various ways to produce "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 them back 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 achieved by the use of two tape recorders that would
record and play back the same program in synchronization. By slowing down one tape machine, and
then letting it catch up with the other, different phase cancellations would occur at different frequenc-
ies. Since the slowing down of the tape machines was done by hand pressure against the flanges of
the tape supply reels, the term "flanging" came into being. Flanging is similar to chorusing , but
modulates the delayed signal over a 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 bec-
ome 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-
The chorus effect is achieved by splitting the signal into four parts with a dry signal and a
separate detuning section for both left and right channels. The detuning is further effected by being
modulated by an LFO (low frequency oscillator) which causes the detuning to vary. The DEP's
chorus has individual LFOs controlling
the left and right sides, set at different
rates. This effect, called true stereo
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chorus, often has a wier stereo im-
age than regular stereo chorus effe
cts. When the Rate is changed on a
true stereo chorus, the chorus rate
difference between the left and rig
-ht sides is mainyained. Note: This
chorus processes the left and right
sides individually, so any stereo im
-aging will be maintained.
