User Guide
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19
English
Filter Sequences (FLSQ 1 - FLSQ20)
This is one of the effects that really makes the Black Box unique. You’ll probably be writing a new song based around this sound within
minutes of trying it. In this effect, your instrument tone changes in two-measure looping rhythmic patterns of filter tones. As with the
tremolo sequences, try playing sustained chords at first in order to get a feel for how the rhythm of the sequences best complements
your playing. There are 20 different 32-step looped tremolo sequences, some with hard transitions of filter frequency and some that
slide the filter frequency from step to step. As with tremolo sequences, don’t try to play rhythmically; best results are obtained either
by holding sustained chords or arpeggiating the individual notes of chords in time to the rhythm. Instead of a speed control, this effect
has a “frequency” control. You can think of frequency as a “brightness” control. Lower values create a deeper tone while higher values
create a brighter tone. Examples of filter sequences in the presets are 86, 87, 88, 89, 91, 92 and 93.
Arpeggio Sequences (ARPG 1 - ARPG20)
This effect definitely pushes the weird/cool meter to the limit. It accentuates specific musical notes in two-measure patterns. Even if
you play muted strings on the guitar, you’ll still hear the generated note sequence because the sequence’s notes are actually generated
in response to your playing. The note sequence is fixed and does not change depending on what you play, however you can transpose
it up or down. You can choose from 20 different arpeggio sequences, each with a different pre-programmed note sequence, all in the
key of E by default. There is no speed control for this effect as it simply follows the current tempo or incoming MIDI Clock. Instead
of a depth control, this effect has an “FX Key” control, which allows you to transpose the sequence to a different musical key from its
normal key of “E.” Changing the key value transposes the arpeggio sequence in semi-tone steps numbered 0 to 99. Simply change the
key value up or down to transpose the sequence to match your song. For example, the normal key value for a sequence in the key of
“E” is usually 24; to transpose three semitones up to “G, change the value from 24 to 27. The arpeggiator will also react to incoming
MIDI note values, which will transpose the key of the sequence in real time. This effect from Roger Linn Design’s AdrenaLinn was
used on John Mayer’s 2003 hit “Bigger Than My Body” and you can hear that very sequence and drumbeat in our preset 85-JMAYER.
To sound just like the recording, play an E suspended chord at the start of bar 1 and an E major at the start of bar 2. Other examples
are presets 95-98. To start, don’t try to play rhythmically; best results are obtained either by holding sustained chords or arpeggiating
the individual notes of chords in time to the rhythm. Start with E chords and then work your way around.
MIDI Velocity to Filter
In this effect, incoming MIDI note velocity data is used to modulate the frequency of a bandpass filter. For example, if you record a
MIDI track into a sequencer by simply pressing a keyboard key over and over at different velocity values, then play that MIDI track
back to the Black Box while you play guitar, the filter frequency will change proportionally to the note velocities you played. This allows
you to create your own custom filter sequences. If you don’t find a filter sequence that you like among the 20 in Black Box, take the
opportunity to create your own custom sequences!
MIDI Note to Filter
In this effect, incoming MIDI note numbers are used to modulate the frequency of a bandpass filter. For example, if you record a MIDI
piano track in your sequencer and play that track in to the Black Box as you play guitar, the filter frequency will roughly track the
frequency of the notes played by the sequencer. If you don’t find a filter sequence that you like among the 20 in Black Box, take the
opportunity to create your own custom sequences,
MIDI Modulation to Filter
In this effect, a bandpass filter is used with incoming MIDI controller values modulating the filter frequency. The filter will respond to
controller numbers 1 (mod wheel), 11, 16, 70 and 74. For example, you could use a MIDI keyboard’s mod wheel as a wah wheel.
MIDI Velocity to Flanger
In this effect, a flanger is used with incoming MIDI velocity modulating the flanger frequency. For example, if you record a MIDI track
into a sequencer by simply pressing a keyboard key over and over at different velocity values, then play that MIDI track back to the
Black Box while you play guitar, the flanger tone will change proportionally to those velocity values.
MIDI Note to Flanger
In this effect, a flanger is used with incoming MIDI note values modulating the flanger frequency. For example, if you record a MIDI
piano track into a sequencer and play that track into the Black Box as you play guitar, the flanger frequency will exactly match the
frequency of the notes played by the sequencer. If you don’t find an arpeggio sequence that you like among the 20 in Black Box, this
gives you the opportunity to create your own custom sequence.
MIDI Modulation to Flanger
In this effect, a flanger is used with incoming MIDI controller values modulating the flanger delay. The flanger will respond to controller
numbers 1 (mod wheel), 11, 16, 70 and 74.
Note
: Reference to artists and bands is for informational purposes only and does not imply an endorsement or sponsorship of the Black
Box by such artists or bands.
