VIMA JM-8
r
167
This is an effect that intentionally degrades the sound quality
for creative purposes.
●
Pre Filter Type (1, 2, 3, 4, 5, 6)—Selects the type of filter applied
to the sound before it passes through the Lo-Fi effect.
●
LoFi Type (1, 2, 3, 4, 5, 6, 7, 8, 9)—Degrades the sound quality.
The sound quality grows poorer as this value is increased.
●
Post Filter Type (OFF, LPF, HPF)—Type of filter. OFF: no filter is
●
Post Filter Cutoff (200~8000, Bypass)—Basic frequency of the
Post Filter.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency
●
EQ High Gain (–15dB~0~15dB)—Gain of the high frequency
●
Balance (D100:0W, D50:50W, D0:100W)—Volume balance
between the direct (D) and the effect sound (W).
●
In addition to a Lo-Fi effect, this effect also generates radio
noise.
●
LoFi Type (1, 2, 3, 4, 5, 6, 7, 8, 9)—Degrades the sound quality.
The sound quality grows poorer as this value is increased.
●
Post Filter Type (OFF, LPF, HPF)—Type of filter. OFF: no filter is
●
Post Filter Cutoff (200~8000, Bypass)—Basic frequency of the
●
Radio Detune (0~127)—Simulates the tuning noise of a radio. As
this value is raised, the tuning drifts further.
●
Radio Noise Level (0~127)—Volume of the radio noise.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency
●
EQ High Gain (–15dB~0~15dB)—Gain of the high frequency
●
Balance (D100:0W, D50:50W, D0:100W)—Volume balance
between the direct (D) and the effect sound (W).
●
This effect simulates the tonal character of a telephone trans-
mission.
●
Voice Quality (0~15)—Audio quality of the telephone voice.
●
Treble (–15dB~0~15dB)—Bandwidth of the telephone voice.
●
Balance (D100:0W, D50:50W, D0:100W)—Volume balance
between the direct (D) and the effect sound (W).
●
Simulates a sound recorded on an analog record and played
back on a record player. This effect also simulates the various
types of noise that are typical of a record and even the rota-
tional irregularities of an old turntable.
●
Signal Distortion (0~127)—Depth of distortion.
●
Frequency Range (0~127)—Frequency response of the playback
system. Decreasing this value will produce the impression of an
old system with a poor frequency response.
●
Disc Type (LP, EP, SP)—Rotational speed of the turntable. This
will affect the frequency of the scratch noise.
●
Scratch Noise Level (0~127)—Amount of noise due to scratches
on the record.
●
Dust Noise Level (0~127)—Volume of noise due to dust on the
record.
●
Hiss Noise Level (0~127)—Volume of continuous “hiss”.
●
Total Noise Level (0~127)—Volume of overall noise.
●
Wow (0~127)—Depth of long-cycle rotational irregularity.
●
Flutter (0~127)—Depth of short-cycle rotational irregularity.
●
Random (0~127)—Depth of indefinite-cycle rotational irregular-
ity.
●
Total Wow/Flutter (0~127)—Depth of overall rotational irregu-
larity.
●
Balance (D100:0W, D50:50W, D0:100W)—Volume balance
between the direct (D) and the effect sound (W).
●
A pitch shifter in which the amount of pitch shift is varied by a
16-step sequence.
●
Step 1~16 (–24~0~12 semitones)—Amount of pitch shift at each
step (semitone units)
●
Rate [sync] (Hz, Note)—Use this parameter to specify whether
●
Rate [Hz] (0.05~10.00Hz)—Rate at which the 16-step sequence
will cycle.
●
Rate [note] (musical notes)—Rate parameters can be set as a
●
Attack (0~127)—Speed at which the amount of pitch shift
changes between steps.
●
Gate Time (0~127)—Duration of the pitch shifted sound at each
step.
●
Fine (–100~100)—Pitch shift adjustment for all steps (2-cent
units).
●
Delay Time [sync] (msec, Note)—Use this parameter to specify
●
Delay Time [msec] (0~1300ms)—Delay time from the original
sound until the pitch-shifted sound is heard.
●
Delay Time [note] (Musical Notes)—Delay times can be set as a
●
Feedback (–98%~0~+98%)—Proportion of the pitch-shifted
sound that is to be returned to the input (negative values invert
the phase).
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency
●
EQ High Gain (–15dB~0~15dB)—Gain of the high frequency
●
Balance (D100:0W, D50:50W, D0:100W)—Volume balance
between the direct (D) and the effect sound (W).
●
On an acoustic piano, holding down the damper pedal allows
other strings to resonate in sympathy with the notes you play,
creating rich and spacious resonances. This effect simulates
these sympathetic resonances.
●
Depth (0~127)—Depth of the effect.
●
Damper (0~127)—Depth to which the damper pedal is pressed
(controls the resonant sound).
●
Pre LPF (16~15000Hz, Bypass)—Frequency of the filter that cuts
the high-frequency content of the input sound (BYPASS: no cut).
●
Pre HPF (16~15000Hz, Bypass)—Frequency of the filter that cuts
the low-frequency content of the input sound (BYPASS: no cut).
●
Peaking Freq (200~8000Hz, Bypass) —Frequency of the filter
that boosts/cuts a specific frequency region of the input sound.
●
Peaking Gain (–15dB~0~15dB)—Amount of boost/cut produced
by the filter at the specified frequency region of the input
sound.
●
Peaking Q (0.5, 1.0, 2.0, 4.0, 8.0)—Width of the frequency
region boosted/cut by the ‘Peaking Gain’ parameter (larger val-
ues make the region narrower).
●
HF Damp (16~15000Hz, Bypass)—Frequency at which the high-
frequency content of the resonant sound will be cut ( BYPASS:
no cut).
●
LF Damp (16~15000Hz, Bypass)—Frequency at which the low-
frequency content of the resonant sound will be cut ( BYPASS:
no cut).
●
Lid (6, 5, 4, 3, 2, 1)—This simulates the actual changes in sound
that occur when the lid of a grand piano is set at different
heights.
JM-8_OM_GB.book Page 167 Wednesday, July 29, 2009 4:43 PM
Summary of Contents for VIMA JM-8
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