VIMA JM-8
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159
This emphasizes the bottom to create a heavy bass sound.
●
Low Boost Level (0~127)—Increasing this value gives you a
heavier low end. Depending on the Isolator and filter settings
this effect may be hard to distinguish.
●
Boosts the volume of the lower range, creating powerful lows.
●
Boost Frequency (50~125 [Hz])—Center frequency at which the
lower range will be boosted.
●
Boost Gain (0~12 [dB])—Amount by which the lower range will
be boosted.
●
Boost Width (Wide, Mid, Narrow)—Width of the lower range
that will be boosted.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency
range.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high frequency
range.
●
This is a filter with an extremely sharp slope. The cutoff fre-
quency can be varied cyclically.
●
Filter Type (LPF, BPF, HPF, NOTCH)—Filter type. Frequency range
that will pass through each filter. LPF: frequencies below the
cutoff. BPF: frequencies in the region of the cutoff. HPF: fre-
quencies above the cutoff. NOTCH: frequencies other than the
region of the cutoff.
●
Filter Slope (–12, –24, –36 [dB])—Amount of attenuation per
octave: –36dB: extremely steep, –24dB: steep, –12dB: gentle.
●
Filter Cutoff (0~127)—Cutoff frequency of the filter. Increasing
this value will raise the cutoff frequency.
●
Filter Resonance (0~127)—Filter resonance level. Increasing this
value will emphasize the region near the cutoff frequency.
●
Filter Gain (0~12 [dB])—Amount of boost for the filter output.
●
Modulation Sw (Off, On)—On/off switch for cyclic change.
●
Modulation Wave (TRI, SQR, SIN, SAW1, SAW2)—How the cut-
off frequency will be modulated: TRI: triangle wave, SQR:
square wave, SIN: sine wave, SAW1: sawtooth wave (upward),
SWA2: sawtooth wave (downward)
●
Rate [sync] (Hz, Note)—Use this parameter to specify whether
(“Note”) or not (“Hz”) the modulation rate should be synchro-
nized to the Arranger or Recorder tempo. Depending on your
choice, the setting range of the following parameter refers to a
speed (Hz) or a note value.
●
Rate [Hz] (0.05~10.00Hz)—Rate of modulation.
●
Rate [note] (musical notes)—Rate parameters can be set as a
note-value of a tempo if you set the “Sync” parameter above to
“Note”. Specify the value of the desired note.
●
Depth (0~127)—Depth of modulation.
●
Attack (0~127)—Speed at which the cutoff frequency will
change. This is effective if Modulation Wave is SQR, SAW1 or
SAW2.
●
This is a filter whose cutoff frequency can be modulated in
steps. You can specify the pattern by which the cutoff fre-
quency will change.
●
Step 1~16 (0~127)—Cutoff frequency at each step
●
Rate [sync] (Hz, Note)—Use this parameter to specify whether
(“Note”) or not (“Hz”) the rate should be synchronized to the
Arranger or Recorder tempo. Depending on your choice, the
setting range of the following parameter refers to a speed (Hz)
or a note value.
●
Rate [Hz] (0.05~10.00Hz)—Rate of modulation.
●
Rate [note] (musical notes)—Rate parameters can be set as a
●
Attack (0~127)—Speed at which the cutoff frequency changes
between steps.
●
Filter Type (LPF, BPF, HPF, NOTCH)—Filter type. Frequency range
●
Filter Slope (–12, –24, –36 [dB])—Amount of attenuation per
octave: –36dB: extremely steep, –24dB: steep, –12dB: gentle.
●
Filter Resonance (0~127)—Filter resonance level. Increasing this
value will emphasize the region near the cutoff frequency.
●
Filter Gain (0~12 [dB])—Amount of boost for the filter output.
●
Adds a vowel character to the sound, making it similar to a
human voice.
●
Drive Sw (OFF,ON)—Turns Drive on/off.
●
Drive (0~127)—Degree of distortion. Also changes the volume.
●
Vowel 1 (a, e, i, o, u)
●
Vowel 2 (a, e, i, o, u)—Selects the vowel.
●
Rate [sync] (Hz, Note)—Use this parameter to specify whether
●
Rate [Hz] (0.05~10.00Hz)—Frequency at which the two vowels
switch.
●
Rate [note] (musical notes)—Rate parameters can be set as a
●
Depth (0~127)—Effect depth.
●
Input Sync Sw (Off, On)—Determines whether the LFO for
switching the vowels is reset by the input signal (ON) or not
(OFF).
●
Input Sync Threshold (0~127)—Volume level at which reset is
applied.
●
Manual (0~100)—Point at which Vowel 1/2 switch. 49 or less:
Vowel 1 will have a longer duration. 50: Vowel 1 and 2 will be of
equal duration. 50 or more: Vowel 2 will have a longer duration.
●
EQ EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency
●
EQ EQ High Gain (–15dB~0~15dB)—Gain of the high frequency
●
Panpot (L64~0~63R)—Stereo location of the output sound. This
●
Simulates the speaker type and mic settings used to record the
speaker sound.
●
Speaker Type—Select the type of speaker. The specifications of
each type are as follows. The speaker column indicates the
diameter of each speaker unit (in inches) and the number of
units.
Type
Cabinet
Speaker
Microphone
SMALL 1
small open-back enclosure
10
dynamic mic
SMALL 2
small open-back enclosure
10
dynamic mic
MIDDLE
open back enclosure
12 x 1
dynamic mic
JC-120
open back enclosure
12 x 2
dynamic mic
BUILT IN 1
open back enclosure
12 x 2
dynamic mic
BUILT IN 2
open back enclosure
12 x 2
condenser mic
BUILT IN 3
open back enclosure
12 x 2
condenser mic
BUILT IN 4
open back enclosure
12 x 2
condenser mic
BUILT IN 5
open back enclosure
12 x 2
condenser mic
BG STACK 1
sealed enclosure
12 x 4
condenser mic
BG STACK 2
large sealed enclosure
12 x 4
condenser mic
MS STACK 1
large sealed enclosure
12 x 4
condenser mic
MS STACK 2
large sealed enclosure
12 x 4
condenser mic
METAL STACK large double stack
12 x 4
condenser mic
JM-8_OM_GB.book Page 159 Wednesday, July 29, 2009 4:43 PM
Summary of Contents for VIMA JM-8
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