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Configurable Combination Algorithms [Ò<>Ó]

Algorithm Reference-74

ConÞgurable Combination Algorithms [Ò<>Ó]

FXAlg #702 Ñ Chorus<>4Tap
FXAlg #704 Ñ Chorus<>Reverb
FXAlg #705 Ñ Chorus<>LasrDly
FXAlg #708 Ñ Flange<>4Tap
FXAlg #710 Ñ Flange<>Reverb
FXAlg #711 Ñ Flange<>LasrDly
FXAlg #712 Ñ Flange<>Pitcher
FXAlg #713 Ñ Flange<>Shaper
FXAlg #717 Ñ LasrDly<>Reverb
FXAlg #718 Ñ Shaper<>Reverb

A family of re-configurable combination effect algorithms

Allocation Units:

2

Signal Routing

Each of these combination algorithms offer two separate effects combined with a flexible signal-routing mechanism.
This mechanism allows the two effects to either be in series bi-directionally or in parallel. This is done by first
designating one effect ÒAÓ, and the other ÒBÓ where the output of effect A is always wired to effect B. A and B are
assigned with the A->B cfg parameter. For example, when A->B cfg is set to ÒCh->DlyÓ, then effect A is the chorus,
and effect B is the delay, and the output of the chorus is wired to the input of the delay. The amount of effect A fed
into effect B is controlled by the A/Dry->B parameter. This controls the balance between effect A output, and the
algorithm dry input signal fed into effect B behaving much like a wet/dry mix. When set to 0%, only the dry signal
is fed into B allowing parallel effect routing. At 100%, only the A output is fed into B, and at 50%, there is an equal
mix of both. For an example of signal flow in the Chor<>4Tap algorithm, see the figure on the next page.

Both effect A and B outputs are mixed at the algorithm output to become the wet signal. These mix levels are
controlled with the two parameters that begin with ÒMixÓ. These allow only one or both effect outputs to be heard.
Negative mix amounts polarity-invert the signal which can change the character of each effect when mixed together
or with the dry signal. The Wet/Dry parameter adjusts the balance between the sum of both effects determined by
the Mix parameters, and the input dry signal. Negative Wet/Dry values polarity-invert the summed wet signal
relative to dry.

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Содержание ALGORITHMS1

Страница 1: ...ndKDFX are trademarks ofYoung Chang Co Hammond and Leslie are trademarks of Hammond Suzuki USA SRS is a trademark of SRS Labs Inc All other products and brand names are trademarks or registered tradem...

Страница 2: ...st when Diff Scale Size Scale and Density are set to the default values of 1 00x If you want a reverb to sound perfect immediately set the Diff Scale Size Scale and Density parameters to 1 00x pick a...

Страница 3: ...idly delocalize acoustic images in the reverberance Since maintaining image placement in the reverberation is so unusual you will have to carefully consider whether it is appropriate for your particul...

Страница 4: ...t dry level Room Type Changes the con guration of the reverb algorithm to simulate a wide array of carefully designed room types and sizes This parameter effectively allows you to have several differe...

Страница 5: ...oom s dimensions are changing Density A multiplier which affects the density of the reverb At 1 00x the room density will be the normal carefully set amount for the current Room Type Altering this par...

Страница 6: ...in open for the time set by the Gate Time parameter At the end of the Gate Time the gate closes When the signal rises above threshold it opens again What is happening is that the gate timer is being c...

Страница 7: ...es above threshold Gate Atk The attack time for the gate to ramp from closed to open reverse if Gate Duck is on after the signal rises above threshold Gate Rel The release time for the gate to ramp fr...

Страница 8: ...nt of delay lines to disperse the sound By using feedback in conjunction with the ambience generator a reverb tail is produced The length of this reverb tail is controlled by the Rvrb Time parameter i...

Страница 9: ...ore the reverb has a chance to become diffuse They add realism when emulating real rooms and halls The starting point when creating a new reverb preset should be the Room Type parameter This parameter...

Страница 10: ...all adjusted with E DiffAmt The late reverb and early reflection portions are independently mixed together with the Late Lvl and EarRef Lvl controls The wet signal is passed through a final high shel...

Страница 11: ...Scl 0 00 to 2 00 x Size Scale 0 01 to 2 00x DiffLenScl 0 00 to 2 00 x InfinDecay On or Off LFO Rate 0 01 to 10 00 Hz LFO Depth 0 0 to 100 0 ct TrebShlf F 16 to 25088 Hz LF Split 16 to 25088 Hz TrebShl...

Страница 12: ...sociated with each delay line in a way that changes the characteristic of the onset of the early reflections Negative amounts create a slower onset while positive amounts create a faster onset The lat...

Страница 13: ...to 100 EarRef Lvl 100 to 100 HF Damping 0 to 25088 Hz Late Lvl 100 to 100 L Pre Dly 0 0 to 230 0 ms R Pre Dly 0 0 to 230 0 ms Room Type Hall1 TrebShlf F 16 to 25088 Hz Size Scale 0 00 to 2 50x TrebSh...

Страница 14: ...00 to 2 00 x DiffLenScl 0 00 to 2 50 x LF Split 16 to 25088 Hz LFO Rate 0 01 to 10 00 Hz LF Time 0 50 to 1 50 x LFO Depth 0 0 to 100 0 ct Inj Build 100 to 100 Inj LP 16 to 25088 Hz Inj Spread 0 00 to...

Страница 15: ...ifferently The diffuser is just inside the ambience generation loop so changes in diffusion create changes in the reverb decay The Diffuse reverbs also offer DiffExtent and Diff Cross parameters DiffE...

Страница 16: ...HF Damping 0 to 25088 Hz Lopass 16 to 25088 Hz L Pre Dly 0 0 to 230 0 ms R Pre Dly 0 0 to 230 0 ms Room Type Hall1 DiffExtent 1 to 7 x Size Scale 0 01 to 2 50x Diff Cross 100 to 100 InfinDecay On or...

Страница 17: ...w shelving and high shelving filters Signal flow of OmniVerb and OmniPlace PAGE 1 OmniVerb PAGE 1 OmniPlace Wet Dry 100 to 100 Out Gain Off 79 0 to 24 0 dB Rvrb Time 0 00 to 60 00 s HF Damping 0 to 25...

Страница 18: ...ortion of the reverb image and make it seem wider This only affects the late reverb in algorithms that have early re ections Lopass Controls the cutoff frequency of a 1 pole 6dB oct lowpass lter at th...

Страница 19: ...FX Modulation using a switch pedal as a source LF Split Used in conjunction with LF Time This controls the upper frequency limit of the low frequency decay time multiplier Energy below this frequency...

Страница 20: ...channel while negative values delay the left channel E DiffAmt Adjusts the amount of diffusion applied to the early re ection network E DfLenScl Adjusts the length of diffusion applied to the early r...

Страница 21: ...ration and spacing of the early reflections are influenced by Room Size and Build Time while the number and relative loudness of the individual reflections are influenced by Build Env When Build Env i...

Страница 22: ...ut does not modify the decay time Reduce the bass for a less muddy sound raise it slightly for a more natural acoustic effect Room Size Choosing an appropriate room size is very important in getting a...

Страница 23: ...uild Env as setting the position of a see saw The left end of the see saw represents the driving of the reverberation at the earliest time the pivot point as driving the reverberation at mid point in...

Страница 24: ...cts only on the wet signal and can be used to smooth out the reverb high end without modifying the reverb decay time at high frequencies Simplified block diagram of Stereo Hall Within the reverberator...

Страница 25: ...es the effect of more reverberation and of greater distance from the source Out Gain The overall output level for the reverberation effect and controls the level for both the wet and dry signal paths...

Страница 26: ...to 100 You can think of BuildEnv as setting the position of a see saw The left end of the see saw represents the driving of the reverberation at the earliest time the pivot point as driving the rever...

Страница 27: ...dry signal into the plate sending sound vibrations into the plate in all directions At one or two other locations a pickup is placed sort of like a dynamic microphone whose diaphragm is the plate itse...

Страница 28: ...ccommodates the Room Size and Decay Time controls An output mixer assembles dry and wet signals Parameters PAGE 1 PAGE 2 Wet Dry The amount of the stereo reverberator wet signal relative to the origin...

Страница 29: ...plate reverb this control is typically set to 5920Hz LF Damping Adjusts hipass lters in the reverberator so that low frequencies die away more quickly than mid and high frequencies This shapes the re...

Страница 30: ...fed back for special effects Fdbk Lvl and HF Damping tailor the gain and spectrum of the feedback signal Despite the complex reverb like sound of the tapped delay line the Feedback tap is a pure delay...

Страница 31: ...eo and the delayed mono signal arriving after the reverb has ended simulating the dry source in the reverse reverb sequence The amount of the delayed signal mixed to the Wet signal is separately adjus...

Страница 32: ...Rvb Length Sets the length in milliseconds from start to nish of the reverberation process This parameter is essentially the decay time or RT60 for the Rvb Env cases R1 where there is only one repetit...

Страница 33: ...channel it can be considered ping pong feedback Relative levels for each feedback line can be set with the FB2 FB1 FB control where 0 only allows FB1 to be used and 100 only allows FB2 to be used The...

Страница 34: ...the diffusers Diff Amt Adjusts the diffuser intensity L Fdbk1 Dly Adjusts the delay length of the left channel s feedback tap fed back to the left channel s delay input L Fdbk2 Dly Adjusts the delay l...

Страница 35: ...Tapn Dly Adjusts the delay length of the left and right channel s three output taps L Tapn Lvl L Tapn Lvl Adjusts the listening level of the left and right channel s three output taps L Tapn Pan L Ta...

Страница 36: ...ignal from the Loop tap may be fed back to the delay input Left Channel of 4 Tap Delay The delay length for any given tap is the sum of the coarse and fine parameters for the tap multiplied by the Del...

Страница 37: ...ome HF Damping the delay will eventually die out Parameters PAGE 1 PAGE 2 PAGE 3 Wet Dry The relative amount of input signal and delay signal that are to appear in the nal effect output mix When set t...

Страница 38: ...is added to Loop Crs coarse to get the actual delay length Delay Scale Multiplies all tap times by a common factor Tapn Crs The coarse delay lengths of the output taps n 1 4 The resolution of the coar...

Страница 39: ...length of a delay loop in seconds can be calculated as T beats tempo 60 Tapn Delay The delay lengths of the taps n 1 4 as tempo beat durations The delay length is speci ed as a fraction or multiple of...

Страница 40: ...s Left Channel of 8 Tap Delay The delay length for any given tap is the sum of the coarse and fine parameters for the tap multiplied by the DelayScale parameter which is common to all taps The DelaySc...

Страница 41: ...ect output mix When set to 0 the output is taken only from the input dry When set to 100 the output is all wet Out Gain The overall gain or amplitude at the output of the effect Fdbk Level The percent...

Страница 42: ...e second is fully left At 0 equal amounts of the left and right taps pass to their respective outputs The following parameters are in 133 8 Tap Delay only Loop Crs The coarse delay length of the Loop...

Страница 43: ...turned up this parameter sets the repeating delay loop length The loop length is speci ed as a fraction or multiple of the tempo in beats The length of a delay loop in seconds can be calculated as T b...

Страница 44: ...to simple 4 and 6 tap delays with feedback but have their feedback and output taps modified with shapers and filters In the feedback path of each channel are a diffuser hipass filter lowpass filter an...

Страница 45: ...ass and lowpass are also in the feedback path The hipass filter roll off frequency is controlled with LF Damping and the lowpass filter roll off frequency is controlled by HF Damping The imager found...

Страница 46: ...0 to 100 Out Gain Off 79 0 to 24 0 dB Fdbk Level 0 to 100 Tempo System 0 to 255 BPM HF Damping 16 to 25088 Hz Diff Delay 0 to 20 0 ms LF Damping 16 to 25088 Hz Diff Amt 100 to 100 LoopLength On or Of...

Страница 47: ...I clocks When it is set to System sources FUNs LFOs ASRs etc will have no effect on the Tempo parameter Diff Dly The length that the diffuser smears the signal sent to the input of the delay Diff Amt...

Страница 48: ...p is delayed Tap n Shapr Adjusts the intensity of the shaper at each output tap Tap n Pitch Adjusts the frequency in semitones of the comb lter at each output tap Tap n PtAmt Adjusts the intensity of...

Страница 49: ...quency oscillators LFOs are used modulate the positions of output taps from a delay line The delay line tap modulation causes the pitch of the signal to shift up and down producing the required detuni...

Страница 50: ...of left channel of Dual Chorus 2 Right channel is similar Chorus 1 uses just 1 PAU and has a single delay tap Block diagram of left channel of Chorus 1 Right channel is the same Dry Delay Channel Fro...

Страница 51: ...s filter HF Damping before going entering the delay line The Wet Dry control is an equal power cross fade The Output Gain parameters affect both wet and dry signals For each of the LFO tapped delay li...

Страница 52: ...ursion will be moved up and again cause signal discontinuities However if enough Tap Dly is specified Depth and Rate will be modulated smoothly As the LFOs sweep across the delay lines the signal will...

Страница 53: ...1 Dpth 0 0 to 50 0 ct LFO2 Dpth 0 0 to 50 0 ct LFO3 Dpth 0 0 to 50 0 ct L Wet Dry 100 to 100 wet R Wet Dry 100 to 100 wet L Out Gain Off 79 0 to 24 0 dB R Out Gain Off 79 0 to 24 0 dB L Fdbk Lvl 100 t...

Страница 54: ...itch Env The pitch of the chorus modulation can be made to follow a triangular Triangle envelope rise fall rise fall or a trapzoidal trapzoid envelope rise hold fall hold L Wet Dry 100 to 100 wet R We...

Страница 55: ...have enough delay speci ed with Tap Dly to get the depth you ve dialed up then Tap Dly will be forced to increase which can cause discontinuities if signal is present The LFOs move a tap back and for...

Страница 56: ...nger 1 the Right channel is similar Flanger 2 is a 2 PAU multi sweep Thru zero flanger effect with two LFOs per channel Simplified block diagram of the left channel of Flanger 2 the Right channel is s...

Страница 57: ...realm of chorusing where the ear begins to perceive the audio output as nearly two distinct signals but with a variable time displacement Comb Filters Solid Line for Addition Dashed Line for Subtracti...

Страница 58: ...ys and LFO phases The flanger has a Wet Dry control as well which can further add complexity to the output as the dry signal is added to various delayed wet components for more comb filtering When usi...

Страница 59: ...effect of system noise flanging white noise may be added to the input of the flanger signal Flanger 2 only Since white noise has a lot of high frequency content and may sound too bright it may be tame...

Страница 60: ...ocked to the internal sequencer tempo or to incoming MIDI clocks When it is set to System sources FUNs LFOs ASRs etc will have no effect on the Tempo parameter LFO Period Sets the LFO rate based on th...

Страница 61: ...Fin parameters and you will hear discontinuities in the signal usually in the form of zipper noise The range for all delays and excursions is 0 to 230 ms but for anging the range 0 to 5 ms is most ef...

Страница 62: ...ge the amplitude of the frequency response of a signal passing through it it does not cut or boost any frequencies It does cause some frequencies to be delayed a little in time and this small time shi...

Страница 63: ...may be different The relative phases of the notch and frequency LFOs N F Phase only has meaning when the LFOs are running at the same rate As with all KDFX LFO phases it is not recommended to directl...

Страница 64: ...reo field until at 0 the processing is mono Negative values reverse left and right channels The dry signal is not affected by In Width As described earlier setting Wet Dry to 50 will produce a full no...

Страница 65: ...equency while the other channel is at the maximum NotchDepth The nominal depth of the notch The notch depth LFO modulates the depth of the notch For maximum LFO depth set NotchDepth to 0 dB and NLFO D...

Страница 66: ...ve and below the center frequency At 200 the output is a pure all pass response no amplitude changes but phase changes centered about the center frequency CenterFreq The nominal center frequency of th...

Страница 67: ...quency LFO sweeps the phaser lter above and below the center frequency as a percent LFO Rate The rate of the LFO in Hertz The LFO Rate may be scaled up by the Rate Scale parameter L R Phase Sets the p...

Страница 68: ...he algorithm input dry signal is fed into effect B thus putting the effects in parallel and 100 means only the output of effect A is fed into effect B thus putting the effects in series An example of...

Страница 69: ...s named A B and Dry C where A B and C correspond to the names of effects A B and C The first parameter mixes effect A and B into a temporary buffer represented by the symbol The second parameter mixes...

Страница 70: ...by A B is mixed with the dry signal and fed into effect C 0 is completely dry signal and 100 is completely signal Individual Effect Components Chorus The choruses are basic 1 tap dual choruses Separa...

Страница 71: ...nel is determined by Dly Tempo expressed in beats per minute BPM and the delay length Dly Time L and Dly Time R of each channel is expressed in beats bts The tempo alters both channel delay lengths to...

Страница 72: ...nd in some cases create ambience Combination 4 Tap Combination 4 Tap is a tempo based 4 tap delay with feedback used in combination algorithms Parameters associated with the 4 tap effect start with 4T...

Страница 73: ...e as that found in its standalone version Review the Pitcher section of this book FXAlg 908 for more information Parameters associated with this effect begin with Pt Rv Type Hall1 Rv Time 0 5 to 30 0...

Страница 74: ...and the output of the chorus is wired to the input of the delay The amount of effect A fed into effect B is controlled by the A Dry B parameter This controls the balance between effect A output and t...

Страница 75: ...horus and effect B is 4 tap This is used in conjunction with the A Dry B parameter A Dry B This parameter controls how much of the A effect is mixed with dry and fed into the B effect A and B are dete...

Страница 76: ...mode Fig 2 each control set independently controls one tap in each channel This is useful for dual mono applications where separate control over left and right channels is desired Control set 1 contro...

Страница 77: ...each signal by setting them to negative values Chorus Flange PAGE 1 Ch LFO cfg Dual1Tap Ch LRPhase 0 to 360 deg Ch Rate 1 0 01 to 10 00 Hz Ch Rate 2 0 01 to 10 00 Hz Ch Depth 1 0 0 to 100 ct Ch Depth...

Страница 78: ...d in beats bts The tempo alters both channel delay lengths together With the tempo in beats per minute and delay lengths in beats you can calculate the length of a delay in seconds as beats tempo 60 s...

Страница 79: ...is heard when either Dly Fdbk or LsrCntour is used Dly LFDamp Controls the cutoff frequency of a 1 pole 6dB oct slope hipass lter in the feedback path The lter is heard when either Dly Fdbk or LsrCnt...

Страница 80: ...algorithm see FXAlg 132 in this book with the exception that the delay times will pin at the maximum delay time instead of automatically cutting their times in half Additionally the feedback path may...

Страница 81: ...ters controlled by the Shp Inp LP and Shp Out LP respectively There is an additional output gain labeled Shp OutPad to compensate for the added gain caused by shaping a signal Shp Inp LP Adjusts the c...

Страница 82: ...h to represent signal amplitudes finite precision You are probably aware that a bit is a number which can have only one of two values 0 or 1 When we construct a data or signal word out of more than on...

Страница 83: ...s added to counteract the cut used to quantize the signal Find the DynamRange level at which the output starts to get too loud then set Headroom to that level You can then change the DynamRange value...

Страница 84: ...l at which the signal starts getting louder and matching Headroom to that value dc Offset Adds a positive dc Offset to the input signal By adding dc Offset you can alter the position where digital zer...

Страница 85: ...y tap from the delay input The name suggests the tap is stationary but it can be connected to a control source such as a data slider a ribbon or a V A S T function to smoothly vary the delay length Th...

Страница 86: ...lay length in milliseconds is the center of LFO excursion LFO excursion is controlled by the LFO Dpth parameter in percent LFO Depth is an arbitrary value and is the percentage of available excursion...

Страница 87: ...be panned The Wet Dry parameter controls the ratio between the sum of both moving delay elements on that channel regardless of pan position and the input dry signal Out Gain like Wet Dry adjusts the...

Страница 88: ...L HF Damp 16 to 25088 Hz R HF Damp 16 to 25088 Hz L Wet Dry 100 to 100 wet R Wet Dry 100 to 100 wet L Out Gain Off 79 0 to 24 0 dB R Out Gain Off 79 0 to 24 0 dB L1 Mix 100 to 100 R1 Mix 100 to 100 L2...

Страница 89: ...y Adjusts the delay time for each moving delay circuit which is the center of LFO excursion L LFO Mode R LFO Mode Ln LFO Mode Rn LFO Mode Adjusts the LFO excursion type In Flange mode the LFO is optim...

Страница 90: ...quency all the way up to 24 kHz When applied to a sound with a noise like spectrum white noise with a flat spectrum or cymbals with a very dense spectrum of many individual components an output is pro...

Страница 91: ...he peaks in the input spectrum won t line up with the peaks in the Pitcher filter If there are enough peaks in the input spectrum obtained by using sounds with noise components or combining lots of di...

Страница 92: ...Inp Bal 100 to 100 Pt Out Pan 100 to 100 Pt Pitch C 1 to G 9 Pt Offset 12 0 to 12 0 ST Pt PkSplit 0 to 100 Pt PkShape 1 0 to 1 0 ChPtchEnvL Triangle or trapzoid ChPtchEnvL Triangle or trapzoid Ch Rat...

Страница 93: ...original unsplit position one going up and the other down in frequency At 0 there is no splitting all peaks are at multiples of the fundamental At 100 the peak going up merges with the peak going dow...

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