23
PD 10.14 / MD 10.14
Owner`s manual PD 10.14 / MD 10.14. © Zeck Audio
the ENTER (60), PRESET 1 (61) and
ON (65) buttons in this order. As
soon as the ON button is depressed,
you're done. In this mode, which is
also the factory setting, the foot-
switch overrides the on-board
EFFECT ON/OFF switch.
For effect preset selection function,
follow the same procedure with
the ENTER (60), PRESET 2 (62) and
ON (65) buttons.
5. Internal effect sounds
Hall reverb programs (1-16)
The programs out of this group
capture the reverberating sound
of halls of different sizes with
decay times from 0.5s to 15s.
These programs yield a very neu-
tral sounding effect which makes
them suitable for a wide range of
instruments, including vocals. For
a truly professional and more
'open' reverb sound, we added a
pre-delay for some of the longer
programs.
Longer delay times than 3s should
be used carefully, as they can
quickly mudden your sound. For
very sparse musical arrangements,
however, the spaciousness they
create might be just what you are
looking for. Fell free to experi-
ment - it's all there!
Room reverb programs (17-32)
These effects emulate the sound
of different sized rooms and the
characteristic reflections that
bounce back from the walls. Apply
those programs to percussion or
brass instruments and you will be
surprised how these instruments
suddenly come alive! ‘Room’
programs are also highly useful
for adding some ambience to
direct-connected guitars or
brass instruments.
Plate reverb programs (33-48)
In the old non-digital days,
electro-mechanical devices such as
plates and springs had to be used
to create reverberation effects.
Many contemporary musicians like
the colored sound that these devi-
ces produce, in contrast to the
'non-sound' digital units. If you
want a reverberation effect with a
vintage 'lo-tech' sound, these
sounds will provide just that.
Recommended for keyboards and
guitars. But be sure not to miss a
try on your vocals!
Gate reverb programs (49-56)
A 'gated' reverb cuts off the
reverb at a fixed time after its
start, no matter where it was at
that time. Since this kind of rever-
beration doesn't exist in nature, a
gated reverb effect always comes
in very technically sounding and
applies best to percussion instru-
ments or brass sets for a cutting
sound that stands out in the mix.
Reverse reverb programs (57-60)
'Reverse' reverb makes exhaustive
use of digital sound processing
possibilities: the played sounds are
repeated backwards, mirroring
the attack / decay behavior. For
most instruments, this results in a
slow attack with sudden cut-off,
making for a swelling 'backward'
sound effect. In recording history,
backward-tape effects have often
been applied to drums and vocals
to evoke a sense of psychedelic
drama or as a helpful means for
rendering absurd statements
('Sdaeh rieht edih dna nur yeht,
semoc niar eht fi').
Hall + Delay programs (61-69)
This group features highly useful
pre-set mixtures of reverbs with
overlayed stereo delays. The full
stereo implementation of these
programs will give your vocals and
instruments that sonic bloom that
will literally make your sound
'take off'. Most arguably the best
all-purpose effect.
Long pre-delay reverb programs
(70-73)
A reverb that sits 'on top' of a
delay and therefore starts signifi-
cantly late. A safe way to obtain a
strong reverb effect that does not
mess up with the original sound.
Stereo delay programs (74-79)
This group runs the whole gamut
from be-bop-a-lula type slapback
to ultra-long delay. The delay
times are slightly divergent for the
left and right channel, making for
a spacious effect sound.
One more hint for finding the
right delay times for a given song:
the effect table that comes with
this manual gives you the musical
tempi (bpm = beats per minute)
that fit well with a particular
delay time. Choosing a somewhat
shorter delay time than recom-
mended will give a song a 'for-
ward' feel, while longer delay
times tend to relax it.
Ping-Pong delays (80-85)
The term explains itself: the delays
travel from left to right for a real-
ly head-spinning stereo effect.
Especially nice for song endings or
to let even the last listener know
that your PA system is stereo.
Stereo echoes (86-93)
Stereo delays with repeats. A
great alternative just in case you
have become tired of reverb.
Special effects (94-99)
A mix-max of useful special ef-
fects. For those who like country
or surf music, try #94 for a bonanza-
type galloping echo. The Rockabil-
lies among you will be especially
grateful for #95 and #96. The
remaining programs are doublers
that can be used to thicken the
sound of your vocals or spread
your PA sound for a wider stereo
image.
