DJM909 Effects List

Total Page:16

File Type:pdf, Size:1020Kb

DJM909 Effects List DJM909 Effects List Parameter 1 NO Effect Effect Name Explanation (TIME/SELECT) Type Explanation Normal Output one repeated sound synchronized 1 DELAY set delay time Effect with BPM Output several repeated decrescendo 2 ECHO set delay time sound synchronized with BPM Output repeated L-R panned sound 3 PAN ECHO set delay time synchronized with BPM Output repeated sound with pitch- 4 PITCH ECHO set delay time changing synchronized with BPM Output repeated reverse sound 5 REVERSE DELAY set delay time synchronized with BPM Output repeated sound when the sound 6 DUCKING DELAY set delay time volume is lower than threshold dose Record the inputted sound with the effect 7 ROLL switch on as a trigger, and output set effect time repeated sound synchronized with BPM Output several repeated decrescendo sound synchronized with BPM. The 8 HOLD ECHO set delay time repeated sound is maintained even when the effect switch off. Output the delayed sound synchronized 9 MULTI TAP DELAY with BPM according to the interval of set effect time preset delay time Output the sound with the atmosphere of 10 RAIN set effect time playback in the water 11 REVERB1 Output the reverb sound in the garage-classset space reverb time 12 REVERB2 Output the reverb sound in the hall-class spaceset reverb time Add the hall reverb to the sound 13 REVERB3 set delay time delay(echo) Can change the pitch within the range of 14 PITCH1 set the pitch to be changed ±1 octave Output the sound with originally preset 3 15 PITCH2 set harmony type(chord) different pitches at a time Output L-R panned sound synchronized 16 PAN set effect time with BPM 17 TRANS Cut the sound synchronized with BPM set effect time Cut the sound synchronized with BPM 18 TRANS set effect time and preset pattern Cut the long cycle PAN output according 19 TRANS PAN set effect time to the setting time synchronized with BPM Output tremolo (flickered) sound by set the modulation cycle 20 TREMOLO modulating the sound volume minutely set the modulation cycle 21 VIBRATO Output vibrated sound by modulating the frequency minutely Output with extended effect as if the same set the modulation cycle of 22 CHORUS pitched sounds coming from multiple chorus sound sound source set the modulation cycle of 23 CHORUS2 More extended effect than CHORUS 1 chorus sound set the modulation cycle of 24 CHORUS3 Deeper effect than CHORUS 1 chorus sound Creates flanger effect by adding delayed set the transferring cycle of 25 FLANGER1 sound. Flange-effected frequency range flange-effected frequency varies synchronized with BPM range Flange-effected frequency range varies set the transferring cycle of 26 FLANGER2 synchronized with BPM. Effect like the flange-effected frequency undulation rotation. range Creates phaser effect by adding phase set the transferring cycle of 27 PHASER lagged sound. Phaser-effected frequency flange-effected frequency range varies synchronized with BPM. range Phaser-effected frequency range varies set the transferring cycle of 28 PHASER2 synchronized with BPM. Phaser-effect flange-effected frequency variation reverses between L-R. range Creates phaser effect depending on the sound input volume. The bigger the set the sensitivity to the 29 TOUCH PHASER sound input volume is, the effect works on inputted sound volume the higher frequency. Creates phaser effect depending on the sound input volume. The bigger the set the sensitivity to the 30 TOUCH PHASER2 sound input volume is, the effect works on inputted sound volume the lower frequency. The cut-off frequency of low-pass filter set the transferring cycle of 31 FILTER varies synchronized with BPM cut-off frequency range The cut-off frequency of high-pass filter set the transferring cycle of 32 FILTER varies synchronized with BPM cut-off frequency range The passband of band-pass filter varies set the transferring cycle of 33 FILTER synchronized with BPM cut-off frequency range Bass and treble sound panns to the set the transferring cycle of 34 FILTER opposite direction synchronized with BPM. cut-off frequency range Output with sound volume compressed set the time to complete 35 COMPRESSER when the volume exceeds threshold level. compression. Record the inputted sound with the effect Fader switch on or the fader position as a trigger, 36 ROLL set the criterial roll time Effect and output recorded sound repeatedly within the range of 1/1~ 1/16 beat. Output the repeated sound with the preset MULTI TAP 37 interval synchronized with 1/1~ 1/16 beat set the criterial effect time DELAY2 set by fader. Cut the long cycle PAN output synchronized with BPM according to the 38 TRANS/PAN set the criterial effect time setting time corresponding to the fader position. Can change the pitch within the range of 39 ZIP 0%-200% corresponding to the fader position Output the inputted sound as ±1 octave FADER set Up/DOWN of scale 40 musical scale corresponding to the fader PITCH controlled by fader position Effect that bass sounds become like 41 RING - metallic clank Vocoder which modulates the inner oscillating sound. It varies the criterial set the sensitivity to the 42 VOCODER1 frequency of the inner oscillating sound inputted sound volume depending on the fader position. Furthermore, it can add 7 forms of chord. FADER Vary the cut-off frequency of low-pass filter 43 - FILTER (LPF) depending on the fader position. FADER Vary the cut-off frequency of high-pass 44 - FILTER (HPF) filter depending on the fader position. FADER Vary the cut-off frequency of band-pass 45 - FILTER (BPF) filter depending on the fader position. Vary the flange-effected frequency range 46 FADER FLANGER - depending on the fader position. Vary the phase-effected frequency range 47 FADER PHASER - depending on the fader position. 48 SINE WAVE Output sine wave as sound source Basal oscillation frequency 49 SAW TOOTH Output saw-tooth wave as sound source Basal oscillation frequency RECTANGULAR 50 Output recutangular wave as sound sourceBasal oscillation frequency WAVE.
Recommended publications
  • Metaflanger Table of Contents
    MetaFlanger Table of Contents Chapter 1 Introduction 2 Chapter 2 Quick Start 3 Flanger effects 5 Chorus effects 5 Producing a phaser effect 5 Chapter 3 More About Flanging 7 Chapter 4 Controls & Displa ys 11 Section 1: Mix, Feedback and Filter controls 11 Section 2: Delay, Rate and Depth controls 14 Section 3: Waveform, Modulation Display and Stereo controls 16 Section 4: Output level 18 Chapter 5 Frequently Asked Questions 19 Chapter 6 Block Diagram 20 Chapter 7.........................................................Tempo Sync in V5.0.............22 MetaFlanger Manual 1 Chapter 1 - Introduction Thanks for buying Waves processors. MetaFlanger is an audio plug-in that can be used to produce a variety of classic tape flanging, vintage phas- er emulation, chorusing, and some unexpected effects. It can emulate traditional analog flangers,fill out a simple sound, create intricate harmonic textures and even generate small rough reverbs and effects. The following pages explain how to use MetaFlanger. MetaFlanger’s Graphic Interface 2 MetaFlanger Manual Chapter 2 - Quick Start For mixing, you can use MetaFlanger as a direct insert and control the amount of flanging with the Mix control. Some applications also offer sends and returns; either way works quite well. 1 When you insert MetaFlanger, it will open with the default settings (click on the Reset button to reload these!). These settings produce a basic classic flanging effect that’s easily tweaked. 2 Preview your audio signal by clicking the Preview button. If you are using a real-time system (such as TDM, VST, or MAS), press ‘play’. You’ll hear the flanged signal.
    [Show full text]
  • Neural Modelling of Periodically Modulated Time-Varying Effects
    Proceedings of the 23rd International Conference on Digital Audio Effects (DAFx2020),(DAFx-20), Vienna, Vienna, Austria, Austria, September September 8–12, 2020-21 2020 NEURAL MODELLING OF PERIODICALLY MODULATED TIME-VARYING EFFECTS Alec Wright and Vesa Välimäki ∗ Acoustics Lab, Dept. of Signal Processing and Acoustics Aalto University Espoo, Finland [email protected] ABSTRACT In recent years, numerous studies on virtual analog modelling of guitar amplifiers [11, 12, 13, 14, 4, 15] and other nonlinear sys- This paper proposes a grey-box neural network based approach tems [16, 17] using neural networks have been published. Neural to modelling LFO modulated time-varying effects. The neural network modelling of time-varying audio effects has received less network model receives both the unprocessed audio, as well as attention, with the first publications being published over the past the LFO signal, as input. This allows complete control over the year [18, 3]. Whilst Martínez et al. report that accurate emulations model’s LFO frequency and shape. The neural networks are trained of several time-varying effects were achieved, the model utilises using guitar audio, which has to be processed by the target effect bi-directional Long Short Term Memory (LSTM) and is therefore and also annotated with the predicted LFO signal before training. non-causal and unsuitable for real-time applications. A measurement signal based on regularly spaced chirps was used In this paper we present a general approach for real-time mod- to accurately predict the LFO signal. The model architecture has elling of audio effects with parameters that are modulated by a been previously shown to be capable of running in real-time on a Low Frequency Oscillator (LFO) signal.
    [Show full text]
  • Metaflanger User Manual
    MetaFlanger Table of Contents Chapter 1 Introduction 2 Chapter 2 Quick Start 3 Flanger effects 5 Chorus effects 5 Producing a phaser effect 5 Chapter 3 More About Flanging 7 Chapter 4 Controls & Displa ys 11 Section 1: Mix, Feedback and Filter controls 11 Section 2: Delay, Rate and Depth controls 14 Section 3: Waveform, Modulation Display and Stereo controls 16 Section 4: Output level 18 Section 5: WaveSystem Toolbar 18 Chapter 5 Frequently Asked Questions 19 Chapter 6 Block Diagram 20 Chapter 7.........................................................Tempo Sync in V5.0.............22 MetaFlanger Manual 1 Chapter 1 - Introduction Thanks for buying Waves processors. Thank you for choosing Waves! In order to get the most out of your new Waves plugin, please take a moment to read this user guide. To install software and manage your licenses, you need to have a free Waves account. Sign up at www.waves.com. With a Waves account you can keep track of your products, renew your Waves Update Plan, participate in bonus programs, and keep up to date with important information. We suggest that you become familiar with the Waves Support pages: www.waves.com/support. There are technical articles about installation, troubleshooting, specifications, and more. Plus, you’ll find company contact information and Waves Support news. The following pages explain how to use MetaFlanger. MetaFlanger’s Graphic Interface 2 MetaFlanger Manual Chapter 2 - Quick Start For mixing, you can use MetaFlanger as a direct insert and control the amount of flanging with the Mix control. Some applications also offer sends and returns; either way works quite well.
    [Show full text]
  • Contents About the Author
    2 THE SERIOUS GUITARIST | EsseNtiaL BOOK OF Gear CONTENTS About the Author ..................................................... 3 2000 and Beyond ............................................38 Part 3: The Technical Stuff ..................................82 Introduction .............................................................. 4 Amp Modeling ...............................................39 The Science of Sound .....................................82 Guitar Apps ...................................................39 Vibrations........................................................82 Part 1: The History of Guitar Gear ...................... 5 8- and 9-String Guitars ...............................39 Amplitude and Types of Waves .................82 The1930s ............................................................. 5 Guitar-Based Video Games ......................40 Overtones (Harmonics) ..............................82 The First Electric Guitars .............................. 5 Look, Ma, No Amp! ......................................40 Modulation .....................................................83 The First Amplifiers ........................................ 6 Fractal Audio Systems Axe-FX II ..............40 The Order of Effects ....................................83 Early 7-String Guitar ...................................... 8 Looking Ahead ..............................................41 Understanding Guitar Amps ..........................84 Early Talk Box .................................................. 8 Tube Amps .....................................................84
    [Show full text]
  • User Guide Multi Processor FX
    MPX 1 Multi Processor FX User Guide Unpacking and Inspection After unpacking the MPX 1, save all packing materials in case you ever need to ship the unit. Thoroughly inspect the unit and packing materials for signs of damage. Report any shipment damage to the carrier at once; report equipment malfunction to your dealer. Precautions Save these instructions for later use. Follow all instructions and warnings marked on the unit. Always use with the correct line voltage. Refer to the manufacturer's operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug. Do not install the unit in an unventilated rack, or directly above heat producing equipment such as power amplifiers. Observe the maximum ambient operating temperature listed in the product specification. Slots and openings on the case are provided for ventilation; to ensure reliable operation and prevent it from overheating, these openings must not be blocked or covered. Never push objects of any kind through any of the ventilation slots. Never spill a liquid of any kind on the unit. This product is equipped with a 3-wire grounding type plug. This is a safety feature and should not be defeated. Never attach audio power amplifier outputs directly to any of the unit's connectors. To prevent shock or fire hazard, do not expose the unit to rain or moisture, or operate it where it will be exposed to water. Do not attempt to operate the unit if it has been dropped, damaged, exposed to liquids, or if it exhibits a distinct change in performance indicating the need for service.
    [Show full text]
  • KEMPER PROFILER Addendum 8.6 Legal Notice
    KEMPER PROFILER Addendum 8.6 Legal Notice This manual, as well as the software and hardware described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. The content of this manual is furnished for informational use only, is subject to change without notice and should not be construed as a commitment by Kemper GmbH. Kemper GmbH assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. Except as permitted by such license, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording, by smoke signals or otherwise without the prior written permission of Kemper GmbH. KEMPER™, PROFILER™, PROFILE™, PROFILING™, PROFILER PowerHead™, PROFILER PowerRack™, PROFILER Stage™, PROFILER Remote™, KEMPER Kone™, KEMPER Kabinet™, KEMPER Power Kabinet™, KEMPER Rig Exchange™, KEMPER Rig Manager™, PURE CABINET™, and CabDriver™ are trademarks of Kemper GmbH. All features and specifications are subject to change without notice. (Rev. September 2021). © Copyright 2021 Kemper GmbH. All rights reserved. www.kemper-amps.com Table of Contents What is new? 1 What is new in version 8.6? 2 Double Tracker 2 Acoustic Simulator Enhancements 3 Auto Swell Sensitivity 3 PROFILER Stage Wi-Fi Enhancement 4 What is new in version 8.5? 5 Important Hints for Users of KEMPER Power Kabinet 5 KEMPER Rig Manager for iOS®* 6 Wi-Fi with PROFILER Stage 9 What is new in version 8.2? 11 Power Amp
    [Show full text]
  • User Manual M32 User Manual
    User Manual M32 Digital Console for Live and Studio with 40 Input Channels, 32 MIDAS Microphone Preamplifiers and 25 Mix Buses 2 M32 User Manual Table of Contents Precautions ..................................................................... 4 Introduction.................................................................... 5 1. Control Surface .......................................................... 6 1.1 Channel Strip - Input Channels ...................................... 6 1.2 Channel Strip - Group/Bus Channels ........................... 7 1.3 Config/Preamp .................................................................... 8 1.4 Gate .......................................................................................... 8 1.5 Dynamics ............................................................................... 9 1.6 Equaliser ................................................................................. 9 1.7 Bus Sends ............................................................................. 10 1.8 Main Bus ............................................................................... 11 1.9 RECORDER ........................................................................... 11 1.10 Main Display (Summary) .............................................. 12 1.11 Monitor ............................................................................... 13 1.12 Talkback .............................................................................. 15 1.13 Show Control ...................................................................
    [Show full text]
  • Analysis of Flanging and Phasing Algorithms in Music Technology
    AALTO UNIVERSITY SCHOOL OF ELECTRICAL ENGINEERING UNIVERSIDAD POLITÉCNICA DE CARTAGENA ESCUELA TÉCNICA SUPERIOR DE INGENIERÍA DE TELECOMUNICACIÓN BACHELOR THESIS Analysis of Flanging and Phasing Algorithms in Music Technology Author: Antonio Fuentes Ros Director: Vesa Välimäki Co-director: Rafael Toledo-Moreo October 2019 Acknowledgements: I would like to thank my parents for making this experience possible and for the constant support and love received from them. I would also like to express my gratitude and appreciation to Rafael and Vesa, as they have invested hours of their time in helping me leading this project. Also, many thanks for the support received from the amazing friends I have, as well as the ones I have met throughout this beautiful experience. INDEX 1. INTRODUCTION .................................................................................................... 6 1.1 Content and structure of the project ............................................................... 6 1.2 Objectives .......................................................................................................... 8 2. AUDIO EFFECTS AND ALGORITHMS ............................................................. 9 2.1 Phaser ................................................................................................................. 9 2.1.1 Presentation ................................................................................................. 9 2.1.2 Transfer function ........................................................................................
    [Show full text]
  • FRACTAL AUDIO BLOCKS GUIDE TABLE of CONTENTS Product Comparison
    BLOCKS GUIDE Complete Reference for Axe-Fx III • FM9 • FM3 VERSION 4.3 - AUGUST 2021 FRACTAL AUDIO BLOCKS GUIDE TABLE OF CONTENTS Product Comparison ..............3 The Parametric EQ Block ..........60 Input & Output Blocks .............4 The Phaser Block ................61 Common Mix/Level Parameters .....7 The Pitch Block .................63 The Amp Block ..................9 The Plex Delay Block .............74 The Cab Block ..................19 The Realtime Analyzer Block .......77 The Chorus Block ...............23 The Resonator Block .............78 The Compressor Block ...........25 The Reverb Block ................79 The Crossover Block .............28 The Ring Modulator Block .........82 The Delay Block. 29 The Rotary Block ................83 The Drive Block .................35 The Scene MIDI Block ............84 The Enhancer Block ..............38 The Send Block .................85 The Filter Block .................39 The Return Block ................85 The Flanger Block ...............40 The Synth Block .................87 The Formant Block ..............43 The Ten-Tap Delay. 88 The Gate/Expander Block .........44 The Tone Match Block ............90 The Graphic EQ Block ............45 The Tremolo/Panner Block ........91 The IR Player Block ..............46 The Vocoder Block ..............92 The Looper Block ................47 The Volume/Pan Block ...........93 The Megatap Block ..............49 The Wahwah Block ..............94 The Mixer Block .................51 LFO Waveforms & Phase ..........95 The Multiband Compressor Block ...52 Tempo Cross Reference ..........96 The Multiplexer Block ............53 Getting Help ....................97 The Multitap Delay Block ..........54 Legal Notices Fractal Audio Systems Blocks Guide. Contents Copyright © 2021. All Rights Reserved. No part of this publication may be reproduced in any form without the express written permission of Fractal Audio Systems. Fractal Audio, the Fractal Audio Systems logo, Axe-Fx, FM3, Humbuster, UltraRes, FASLINK are trademarks of Fractal Audio Systems.
    [Show full text]
  • Barberpole Phasing and Flanging Illusions
    Proc. of the 18th Int. Conference on Digital Audio Effects (DAFx-15), Trondheim, Norway, Nov 30 - Dec 3, 2015 BARBERPOLE PHASING AND FLANGING ILLUSIONS Fabián Esqueda∗ , Vesa Välimäki Julian Parker Aalto University Native Instruments GmbH Dept. of Signal Processing and Acoustics Berlin, Germany Espoo, Finland [email protected] [email protected] [email protected] ABSTRACT [11, 12] have found that a flanging effect is also produced when a musician moves in front of the microphone while playing, as Various ways to implement infinitely rising or falling spectral the time delay between the direct sound and its reflection from the notches, also known as the barberpole phaser and flanging illu- floor is varied. sions, are described and studied. The first method is inspired by Phasing was introduced in effect pedals as a simulation of the the Shepard-Risset illusion, and is based on a series of several cas- flanging effect, which originally required the use of open-reel tape caded notch filters moving in frequency one octave apart from each machines [8]. Phasing is implemented by processing the input sig- other. The second method, called a synchronized dual flanger, re- nal with a series of first- or second-order allpass filters and then alizes the desired effect in an innovative and economic way using adding this processed signal to the original [13, 14, 15]. Each all- two cascaded time-varying comb filters and cross-fading between pass filter then generates one spectral notch. When the allpass filter them. The third method is based on the use of single-sideband parameters are slowly modulated, the notches move up and down modulation, also known as frequency shifting.
    [Show full text]
  • H9000 Algorithms Manual, Release 1.2.1[5]
    H9000 Algorithms Manual Eventide Part #141325 Release 1.2.1[5] Aug 22, 2019 Eventide AND Harmonizer ARE REGISTERED TRADEMARKS OF Eventide Inc. COPYRIGHT 2019 Eventide Inc. I Contents IINTRODUCTION 1 The H9000 Family 3 I/O 4 KeY 5 II Algorithms 7 1 - Simple 9 2 - Artist 11 3 - Basics 17 4 - Beatcounter 22 5 - Delays 25 6 - Delays - EffECTED 31 6 - Delays EffECTED 5.1 39 7 - Delays - Loops 42 7 - Delays - Loops 5.1 47 8 - Delays - Modulated 49 8 - Delays Modulated 5.1 59 8 - Delays - Modulated 62 9 - Distortion TOOLS 65 10 - Dual Machines 68 10 - Dual Machines2 72 10 - Dual Machines3 75 11 - Dynamics 78 11 - Dynamics 5.1 83 11 - Dynamics SterEO EQ 85 12 - Equalizers 86 12 - Equalizers 5.1 90 II 12 - Equalizers DoubleP 91 13 - Film - AtmospherES 93 13 - Film - AtmospherES 5.1 96 14 - Filters 98 15 - Fix TOOLS 103 16 - FrONT Of House 105 17 - INST - Clean 109 18 - INST - Distortion 113 19 - INST - Fuzz 120 20 - INST - Polyfuzz 126 21 - INST - SurrOUND 129 22 - Manglers 134 23 - Mastering Suite 137 24 - MIDI KeYBOARD 144 26 - Mix TOOLS 147 30 - Multi EffECTS 149 30 - Multi Effects2 156 32 - ParALLEL EffECTS 159 33 - Panners 164 34 - PerCUSSION 169 35 - Phasers 174 38 - Post Suite 178 39 - Re-mix TOOLS 180 40 - ReVERBS – SterEO 5.1 185 41 - ReVERBS – 5.1 192 42 - ReVERBS - H8000 206 43 - ReVERBS - Chambers 215 44 - ReVERBS - Halls 217 45 - ReVERBS - Plates 220 46 - ReVERBS - PrEVERB 222 47 - ReVERBS - Rooms 224 48 - ReVERBS - Small 229 49 - ReVERBS - SurrOUND 233 50 - ReVERBS - Unusual 239 51 - Ring-mods 246 54 - Shifters 248 III 55 - Shifters -
    [Show full text]
  • Release Notes Mpc 2.4 Desktop Software and Firmware Update
    RELEASE NOTES MPC 2.4 DESKTOP SOFTWARE AND FIRMWARE UPDATE Compatibility This is a firmware and software update. Desktop Software The MPC 2.4 desktop software includes MIDI maps for popular Ableton, Arturia, Korg, M-Audio and Native Instruments controllers. Downloading the Update To download the MPC 2.4 Desktop Software Update, log into your Akai Pro user account or through MPC 2.3 when prompted. For instructions on installing the update, please visit our knowledge base article here. Firmware This release is for MPC X and MPC Live hardware. Downloading the Update To download the 2.4 Firmware Update, navigate to the MPC X or MPC Live product page and click on Downloads to find the Mac and PC download links: • MPC Live product page • MPC X product page For instructions on installing the update, please visit our knowledge base article here. All information subject to change akaipro.com New Features The MPC standalone now includes the MPC AIR FX bundle comprising 28 effects written by the DSP gurus at AIR Music Technology. The original AIR Creative FX collection has been included as part of Pro Tools® since Version 8 and is considered the reference FX suite by some of the world’s most respected audio professionals. These same effects from Pro Tools have been ported to MPC so you can use them in your standalone or desktop MPC software. The range of effects have also been greatly expanded to include twelve new plugins including the AIR Channel Strip and AIR Transient. Each effect has been expertly designed with ease of use in mind and the stunning new TUI layouts take using effects inside MPC to a whole new level.
    [Show full text]