Roland VIMA JM-8, Руководство пользователя

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VIMA JM-8
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26. MFX types and parameters
1. Thru
The effects processor is bypassed.
2. Stereo EQ
This is a four-band stereo equalizer (low, mid x 2, high). Stereo
signals (like certain piano sounds) are thus not combined to a
mono signal before being processed.
●
EQ Low Frequency (200, 400Hz)—Frequency of the low range
you wish to boost or cut.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low range. Negative
values reduce the level.
●
EQ High Frequency (2000, 4000, 8000Hz)—Frequency of the
high range you wish to boost or cut.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high range. Nega-
tive values reduce the level.
●
EQ Mid 1 Frequency (200~8000Hz)—Frequency of the middle
range 1 you wish to boost or cut. This is a parametric EQ band.
●
EQ Mid 1 Q (0.5, 1.0, 2.0, 4.0, 8.0)—Width of the middle range 1.
Set a higher value for “Q” to narrow the range to be boosted or
cut.
●
EQ Mid 2 Gain (–15dB~0~15dB)—Gain of middle range 1.
●
EQ Mid 2 Frequency (200~8000Hz)—Frequency of the middle
range 2 you wish to boost or cut. This is a parametric EQ band.
●
EQ Mid 2 Q (0.5, 1.0, 2.0, 4.0, 8.0)—Width of the middle range 2.
Set a higher value for “Q” to narrow the range to be boosted or
cut.
●
EQ Mid 2 Gain (–15dB~0~15dB)—Gain of the middle range 2.
●
Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
3. Overdrive
Creates a soft distortion similar to that produced by vacuum
tube amplifiers.
●
Drive (0~127)—Degree of distortion. Also changes the volume.
● Panpot (L64~0~63R)—Stereo location of the output sound. This
is a mono effect that combines incoming signals. You can, how-
ever, place the processed signal anywhere between the left and
right channels.
● Amp Simulator Type—Allows you to specify what kind of guitar
amp will be simulated: SMALL: small amp, BUILT-IN: single-unit
type amp, 2-STACK: large double stack amp, 3-STACK: large tri-
ple stack amp.
● EQ Low Gain (–15dB~0~15dB)—Gain of the low range.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high range.
●
Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
4. Distortion
Produces a more intense distortion than the above. The param-
eters are the same as for “3. Overdrive”.
5. Phaser
Adds phase-shifted copy to the original sound and modulates
it.
●
Phaser Manual (100~8000Hz)—Adjusts the basic frequency that
is modulated by the effect.
●
Phaser Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.
● Phaser Depth (0~127)—Modulation intensity.
●
Phaser Resonance (0~127)—Amount of feedback. Higher values
create a rather more “synthetic character”.
●
Phaser Mix Level (0~127)—Level of the phase-shifted sound
with respect to the original signal.
●
Panpot (L64~0~63R)—Stereo location of the output sound. This
is a mono effect that combines incoming signals. You can, how-
ever, place the processed signal anywhere between the left and
right channels.
●
Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
6. Spectrum
Spectrum is a type of filter that modifies the timbre by boost-
ing or cutting the level at specific frequencies.
● Spectrum 250Hz Gain (–15dB~0~15dB)
●
Spectrum 500Hz Gain (–15dB~0~15dB)
●
Spectrum 1000Hz Gain (–15dB~0~15dB)
●
Spectrum 1250Hz Gain (–15dB~0~15dB)
● Spectrum 2000Hz Gain (–15dB~0~15dB)
●
Spectrum 3150Hz Gain (–15dB~0~15dB)
●
Spectrum 4000Hz Gain (–15dB~0~15dB)
●
Spectrum 8000Hz Gain (–15dB~0~15dB)—Gain of each fre-
quency band.
●
Spectrum Band Width Q (0.5, 1.0, 2.0, 4.0, 8.0)—Simultaneously
adjusts the width of the adjusted ranges for all the frequency
bands.
● Panpot (L64~0~63R)—Stereo location of the output sound. This
is a mono effect that combines incoming signals. You can, how-
ever, place the processed signal anywhere between the left and
right channels.
● Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
7. Enhancer
This effect controls the overtone structure of the high frequen-
cies, adding sparkle and tightness to the sound.
●
Enhancer Sens (0~127)—Sensitivity of the enhancer.
●
Mix Level (0~127)—Level of the overtones generated by the
enhancer.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low range.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high range.
●
Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
8. Auto Wah
This effect controls a filter to create cyclic change in timbre (an
automatic wah effect).
● Auto Wah Filter Type (LPF, BPF)—Type of filter. LPF: the wah
effect is applied over a wide frequency range. BPF: the wah
effect is applied over a narrow frequency range.
●
Auto Wah Rate (0.05~10.0Hz)—Frequency, i.e. modulation
speed.
●
Auto Wah Depth (0~127)—Modulation intensity.
●
Auto Wah Sens (0~127)—Adjusts the sensitivity with which the
filter is controlled.
● Auto Wah Manual (0~127)—Adjusts the center frequency at
which the effect is applied.
●
Auto Wah Peak (0~127)—Adjusts the amount of the wah effect
that will occur in the range of the center frequency. Set a higher
value to narrow the range to be affected.
●
Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
9. Rotary
This effect simulates the sound of the rotary speakers often
used with the electric organs. Since the movement of the high-
range and low-range rotors can be set independently, the
unique type of modulation characteristic of these speakers can
be simulated quite closely. This effect is most suitable for elec-
tric organ sounds (of the
[ORGAN]
bank – the Harmonic Bar sec-
tion has its own Rotary effect).
JM-8_OM_GB.book Page 153 Wednesday, July 29, 2009 4:43 PM