DOCSLIB.ORG

Line 6 Helix Effect Models

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Line 6 Helix Effect Models Line 6 Helix Effect Models Distortion Models Model Subcategory Based on Minotaur Mono, Stereo Klon® Centaur Compulsive Drive Mono, Stereo Fulltone® OCD Valve Driver Mono, Stereo Chandler Tube Driver Top Secret OD Mono, Stereo DOD® OD-250 Scream 808 Mono, Stereo Ibanez® TS808 Tube Screamer® Hedgehog D9 Mono, Stereo MAXON® SD9 Sonic Distortion Vermin Dist Mono, Stereo Pro Co RAT Arbitrator Fuzz Mono, Stereo Arbiter® Fuzz Face® Triangle Fuzz Mono, Stereo Electro-Harmonix® Big Muff Pi® Industrial Fuzz Mono, Stereo Z.Vex Fuzz Factory Tycoctavia Fuzz Mono, Stereo Tycobrahe® Octavia Megaphone Mono, Stereo Megaphone Added with firmware 1.06 Teemah! Mono, Stereo Paul Cochrane Timmy® Overdrive Benadrian Kowloon Walled Bunny Dis- KWB Mono, Stereo tortion Bitcrusher Mono, Stereo Line 6 Original Added with firmware 2.0 Wringer Fuzz Mono, Stereo Garbage’s special BOSS® FZ-2 Added with firmware 2.10 Stupor OD Mono, Stereo BOSS® SD-1 Overdrive Added with firmware 2.20 Darkglass Electronics® Microtubes B7K Obsidian 7000 Mono, Stereo Ultra bass preamp/overdrive/EQ Wounded Paw Battering Ram bass over- Clawthorn Drive Mono, Stereo drive Added with firmware 2.30 Kinky Boost Mono, Stereo Xotic® EP Booster Thrifter Fuzz Mono, Stereo Line 6 Original Added with firmware 2.60 Deranged Master Mono, Stereo Dallas Rangemaster Treble Booster BOSS© DS-1 distortion pedal (classic Deez One Vintage Mono, Stereo Made-in-Japan version) BOSS© DS-1 distortion pedal (Keeley Deez One Mod Mono, Stereo mod version) Added with firmware 2.80 Dhyana Drive Mono, Stereo Hermida Zendrive Analogman Prince of Tone (basically half Heir Apparent Mono, Stereo a King of Tone) Analogman King of Tone V4 (basically Tone Sovereign Mono, Stereo two Prince of Tones in one) ZeroAmp Bass DI Mono, Stereo Tech 21® SansAmp Bass Driver DI V1 Ampeg Scrambler Mono, Stereo Ampeg® Scrambler Bass Overdrive Added with firmware 2.90 Alpaca Rouge Mono, Stereo Way Huge® Red Llama (modded) Carvin VLD1 Legacy Drive (high gain Legendary Drive Mono, Stereo channel) Xenomorph Fuzz Mono, Stereo Subdecay Harmonic Antagonizer Added with firmware 3.00 Horizon Devices Precision Drive. In- cludes an extra Gate Range parameter Horizon Drive Mono, Stereo that, when set to „Extended,“ drops the gate‘s threshold down to -90dB BOSS® HM-2 Heavy Metal Distortion Swedish Chainsaw Mono, Stereo (Made in Japan black label) Pocket Fuzz Mono, Stereo inspired by the Jordan Boss Tone Fuzz 1973 Electro-Harmonix® Ram‘s Head Bighorn Fuzz Mono, Stereo Big Muff Pi Ballistic Fuzz Mono, Stereo Euthymia ICBM Fuzz Added with firmware 3.10 Ratatouille Dist Mono, Stereo 1984 Pro Co RAT • Gain—Sets the amount of distortion • Filter—Sets the amount of high cut (low pass) filter applied to the distortion, basically letting more treble through (lower values) or filtering it out (higher values) • Level—Sets the overall level of the block Dynamic Models Model Subcategory Based on Deluxe Comp Mono, Stereo Line 6 Original Red Squeeze Mono, Stereo MXR® Dyna Comp LA Studio Comp Mono, Stereo Teletronix® LA-2A® Noise Gate Mono, Stereo Line 6 Original Hard Gate Mono, Stereo Line 6 Original Added with firmware 2.20 3-Band Comp Mono, Stereo Line 6 Original multiband compressor Autoswell Mono, Stereo Line 6 Original Added with firmware 2.30 Kinky Comp Mono, Stereo Xotic® SP Compressor Added with firmware 2.90 Ashly® CLX-52 and created in conjunc- Rochester Comp Mono, Stereo tion with Billy Sheehan Added with firmware 3.00 Horizon Devices Precision Drive‘s gate circuit. Includes an extra Gate Range Horizon Gate Mono, Stereo parameter that, when set to „Exten- ded,“ drops the gate‘s threshold down to -90dB. Works best before an amp. Eq Models Model Subcategory Based on Simple EQ Mono, Stereo Line 6 Original Low Cut/High Cut Mono, Stereo Line 6 Original Parametric Mono, Stereo Line 6 Original 10-Band Graphic Mono, Stereo MXR® 10-Band Graphic EQ Added with firmware 2.0 Cali Q Graphic Mono, Stereo MESA/Boogie® Mk IV’s 5-band EQ Added with firmware 2.80 Low/High Shelf Mono, Stereo Line 6 Original Line 6 Original. Tilt is a subtle 6dB EQ that boosts high frequencies while si- multaneously attenuating low frequen- cies (or vice versa). Great for quickly Tilt Mono, Stereo making tones a bit brighter or darker. The Center Freq parameter sets the fre- quency around which the boost and cut pivot Added with firmware 3.00 Acoustic Sim Mono, Stereo BOSS® AC-2 Acoustic Simulator Modulation Models Model Subcategory Based on Optical Trem Mono, Stereo Fender® optical tremolo circuit 60s Bias Trem Mono, Stereo Vox® AC-15 Tremolo Script Mod Phase Mono, Stereo MXR® Phase 90 Ubiquitous Vibe Mono, Stereo Shin-ei Uni-Vibe® Gray Flanger Mono, Stereo MXR® 117 Flanger Harmonic Flanger Mono, Stereo A/DA Flanger Courtesan Flange Mono, Stereo Electro-Harmonix® Deluxe EM Chorus Mono, Stereo Line 6 Original 70s Chorus Mono, Stereo BOSS® CE-1 Trinity Chorus Stereo DyTronics Tri-Stereo Chorus Bubble Vibrato Mono, Stereo BOSS® VB-2 Vibrato Vibe Rotary Stereo Fender® Vibratone 122 Rotary Stereo Leslie® 122 145 Rotary Stereo Leslie® 145 AM Ring Mod Mono, Stereo Line 6 Original Pitch Ring Mod Stereo Line 6 Original Added with firmware 1.06 Dynamix Flanger Mono, Stereo Line 6 Original Deluxe Phaser Mono, Stereo Line 6 Original Tremolo Mono BOSS® PN-2 Tremolo/Autopan Stereo BOSS® PN-2 Added with firmware 2.0 Harmonic Tremolo Mono, Stereo Line 6 Original Added with firmware 2.20 PlastiChorus Mono, Stereo modded Arion SCH-Z chorus Added with firmware 2.30 Bleat Chop Trem Mono, Stereo Lightfoot Labs© Goatkeeper Double Take Mono, Stereo Line 6 Original doubler Added with firmware 2.90 Pebble Phaser Mono, Stereo Electro-Harmonix® Small Stone phaser Added with firmware 3.00 Poly Detune Mono, Stereo Line 6 Original Added with firmware 3.00 Line 6 Original effect that simulates playing a signal back from an analog Retro Reel Mono tape machine. This signal can be distor- ted, filtered to sound older or more lo-fi, and modulated with wow and flutter. • Wow Fluttr—Determines how much warbly tape sound is heard • Saturation—Adds analog tape saturation and at high enough settings, distorti- on. At lower settings, it‘s great for simply warming up a tone • Low Cut—Determines the frequency of the Low Cut (High Pass) filter. At higher settings, can provide a lo-fi effect • High Cut—Determines the frequency of the High Cut (Low Pass) filter. At lower settings, can provide the natural high-end roll-off of old tape • Tape Speed—Changes both the rate of the modulation applied by the Wow Flut- tr control and the filtering response of the analog tape emulation • Level—Sets the overall level of the block • Texture—Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion Delay Models Model Subcategory Based on Simple Delay Mono, Stereo Line 6 Original Mod Chorus Echo Mono, Stereo Line 6 Original Multitap 4 Stereo Line 6 Original Multitap 6 Stereo Line 6 Original Ping Pong Stereo Line 6 Original Sweep Echo Mono, Stereo Line 6 Original Ducked Delay Mono, Stereo TC Electronic® 2290 Transistor Tape Mono, Stereo Maestro® Echoplex EP-3 Harmony Delay Stereo Line 6 Original Bucket Brigade Mono, Stereo BOSS® DM-2 Adriatic Delay Mono, Stereo BOSS® DM-2 w/ Adrian Mod Electro-Harmonix® Deluxe Memory Elephant Man Mono, Stereo Man Added with firmware 1.04.1 New Line 6 Original stereo delay with separate time, feedback, and mix per Dual Delay Stereo channel. Includes high and low cut fil- ters and Chorus or Vibrato modulation New Line 6 Original; whatever you play Reverse Delay Mono, Stereo in comes back at you backwards (up to four seconds mono, two seconds stereo) Added with firmware 2.0 Vintage Digital Mono, Stereo Line 6 Original Added with firmware 2.10 Pitch Echo Mono, Stereo Line 6 Original Added with firmware 2.20 Vintage Swell Mono, Stereo Line 6 Original Adriatic Swell Mono, Stereo Line 6 Original Added with firmware 2.30 Cosmos Echo Mono, Stereo Roland® RE-201 Space Echo Added with firmware 2.50 (New HX Effects) Line 6 Original bandpass-filtered multi- Multi Pass Mono, Stereo tap delay Added with firmware 3.00 Line 6 Original performance delay that lets you freely manipulate the repeats‘ Glitch Delay Mono, Stereo behavior in real time. • Time - Sets the delay time; press the knob to toggle between ms/sec and note values • Delay Div - Divides the delay time into smaller increments • Mix - Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard • Feedback - Controls the overall number of repeats heard for the entire se- quence • SliceFdbk - Controls the number of repeats heard for individual slices. At high- er values, you could call this „Super Chaotic Feedback“ • Shuffle - Determines the likelihood of repeats shuffling/reordering • Octaves - Determines the likelihood of repeats playing back an octave higher or lower • Reverse - Determines the likelihood of repeats playing backward • Seq Drift - Determines the likelihood of the entire sequence changing every time it loops around. When set to 0%, the same sequence loops forever. TIP: Assign this parameter to a footswitch set to toggle between a higher num- ber and 0%. If you hear a random sequence you want to maintain, press the switch to set Seq Drift to 0%, and it‘ll repeat that way indefinitely • Smoothing - Higher values apply smoothing between slices and can give a synth-pad type quality, lower values maintain transients.
Load more

Recommended publications
  • Download Download
    Florian Heesch Voicing the Technological Body Some Musicological Reflections on Combinations of Voice and Technology in Popular Music ABSTRACT The article deals with interrelations of voice, body and technology in popular music from a musicological perspective. It is an attempt to outline a systematic approach to the history of music technology with regard to aesthetic aspects, taking the iden- tity of the singing subject as a main point of departure for a hermeneutic reading of popular song. Although the argumentation is based largely on musicological research, it is also inspired by the notion of presentness as developed by theologian and media scholar Walter Ong. The variety of the relationships between voice, body, and technology with regard to musical representations of identity, in particular gender and race, is systematized alongside the following cagories: (1) the “absence of the body,” that starts with the establishment of phonography; (2) “amplified presence,” as a signifier for uses of the microphone to enhance low sounds in certain manners; and (3) “hybridity,” including vocal identities that blend human body sounds and technological processing, where- by special focus is laid on uses of the vocoder and similar technologies. KEYWORDS recorded popular song, gender in music, hybrid identities, race in music, presence/ absence, disembodied voices BIOGRAPHY Dr. Florian Heesch is professor of popular music and gender studies at the University of Siegen, Germany. He holds a PhD in musicology from the University of Gothenburg, Sweden. He published several books and articles on music and Norse mythology, mu- sic and gender and on diverse aspects of heavy metal studies.
    [Show full text]
  • Frank Zappa and His Conception of Civilization Phaze Iii
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • 506 Operation Manual
    Operation Manual Thank you for selecting the ZOOM 506 (hereafter simply called the "506"). Please take the time to read this manual carefully so as to get the most out of your 506 and to ensure optimum performance and reliability. Retain this manual for future reference. ZOOM CORPORATION NOAH Bldg., 2-10-2, Miyanishi-cho, Fuchu-shi, Tokyo 183, Japan PHONE: 0423-69-7111 FAX: 0423-69-7115 Printed in Japan 506-5000 1 Major Features • 24 individual built-in effects provide maximum flexibility. Up to 8 effects can be used simultaneously in any combination. • Memory capacity for up to 24 user-programmable patches. • Integrated auto-chromatic bass guitar tuner for simple and precise tuning anywhere. • Optional foot controller FP01 can be used for pedal wah or pedal pitch, and volume control is also possible. • Optional foot switch FS01 can be used for bank switching, resulting in enhanced playability. • Dual power supply principle allows the unit to be powered from an alkaline battery or an AC adapter. • New DSP (digital signal processor) ZFx-2 developed by Zoom produces high-quality effects from an amazingly compact package. 2 Safety Precautions USAGE AND SAFETY PRECAUTIONS Usage precautions In this manual, symbols are used to highlight warnings and cautions for you to read so that accidents can be prevented. The Electrical interference meanings of these symbols are as follows: This symbol indicates explanations about extremely For safety considerations, the 506 has been designed to provide dangerous matters. If users ignore this symbol and maximum protection against the emission of electromagnetic ！� handle the device the wrong way, serious injury or radiation from inside the device, and from external death could result.
    [Show full text]
  • In the Studio: the Role of Recording Techniques in Rock Music (2006)
    21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con­ sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio.
    [Show full text]
  • Robotic Voice Effects
    Robotic voice effects From Wikipedia, the free encyclopedia Source : http://en.wikipedia.org/wiki/Robotic_voice_effects "Robot voices" became a recurring element in popular music starting in the late twentieth century, and several methods of producing variations on this effect have arisen. Though the vocoder is by far the best-known, the following other pieces of music technology are often confused with it: Sonovox This was an early version of the talk box used to create the voice of the piano in the Sparky's Magic Piano series from 1947. It was used as the voice of many musical instruments in Rusty in Orchestraville. It was used as the voice of Casey the Train in Dumbo and The Reluctant Dragon[citation needed]. Radio jingle companies PAMS and JAM Creative Productions also used the sonovox in many stations ID's they produced. Talk box The talk box guitar effect was invented by Doug Forbes and popularized by Peter Frampton. In the talk box effect, amplified sound is actually fed via a tube into the performer's mouth and is then shaped by the performer's lip, tongue, and mouth movements before being picked up by a microphone. In contrast, the vocoder effect is produced entirely electronically. The background riff from "Livin' on a Prayer" by Bon Jovi is a well-known example. "California Love" by 2Pac and Roger Troutman is a more recent recording featuring a talk box fed with a synthesizer instead of guitar. Steven Drozd of the The Flaming Lips used the talk box on parts of the groups eleventh album, At War with the Mystics, to imitate some of Wayne Coyne's repeated lyrics in the "Yeah Yeah Yeah Song".
    [Show full text]
  • Modify Your Wah Pedal by James Haskin on June 2, 2008
    Home Sign Up! Browse Community Submit All Art Craft Food Games Green Home Kids Life Music Offbeat Outdoors Pets Photo Ride Science Tech Modify Your Wah Pedal by James Haskin on June 2, 2008 Table of Contents Modify Your Wah Pedal . 1 Intro: Modify Your Wah Pedal . 2 Step 1: Research . 2 Step 2: True Bypass . 4 Step 3: Volume Boost . 7 Step 4: Wah-Volume Pedal . 8 Step 5: Vocal . 9 Step 6: Midrange . 10 Related Instructables . 11 Comments . 11 http://www.instructables.com/id/Modify-Your-Wah-Pedal/ Author:James Haskin author's website [email protected] Intro: Modify Your Wah Pedal After making my talk box I started surfing the web for other guitar related things I could do myself. I found loads of info on the Dunlop GCB-95 wah pedal. This Instructable will walk you through all of the modifications I made to my wah pedal... *True Bypass Mod *Volume Boost Mod *Wah-Volume Pedal Mod *Vocal Mod *Midrange Mod After having completed all of these mod and a few others I recommend doing them one at a time and testing in between mods so if you don't like something, you can easily reverse it. Your gonna need some basic soldering tools... -good soldering iron (mines a Weller WESD51D I got for christmas) -solder -wire cutter/stripper -helping hand (a must!!) also the to wire anything to the board itself you will need 24AWG wire Image Notes 1. Stole for my DS-1 I'm working on when I finish THAT instructable I'll change this to a funk colored chicken head knob :] Step 1: Research I think this is a big step in all of my projects.
    [Show full text]
  • LINE 6 HELIX AMP MODELS Amp Models That Helix Will Be Shipped With
    LINE 6 HELIX AMP MODELS Amp models that helix will be shipped with T his list contains all amp models that helix will contain when it is shipped. The right column shows the real amps they are based on. Guitar Amps Model Based on WhoWattlOO Hiwatt® DR-103 Brill Soup Pro Supra® S6616 Stone Age 185 Gibson® EH-185 Tweed Blues Nm1 Fender® Bassman® (nonnal channel) Tweed Blues Brt Fender® Bassman® (bright channel) US Small Tweed Fender® Champ US Deluxe Nrm Fender® Deluxe Reverb® (normal channel) US Deluxe Vib Fender® Deluxe Reverb® (vibrato channel) US Double Nm1 Fender® Twin Reverb® (normal channel) US Double Vib Fender® Twin Reverb® (vibrato channel) Mail Order Twin Silvertone® 1484 Divided Duo +13 JRT 9/15 Interstate Zed Dr z® Route 66 Jazz Rivet 120 Roland® JC-120 Jazz Chorus EssexA-15 Vox®AC-15 EssexA-30 Vox® AC-30 with top boost A-30 Fawn Nrm Vox® AC-30 Fawn (normal channel) A-30 Fawn Brt Vox® AC-30 Fawn (bright channel) ™ Mandarin So Orange ORSO Brit J-45 Nrm Marshall® JTM-45 (normal channel) Brit J-45 Brt Marshall® JTM-45 (bright channel) Brit Plexi Nrm Marshall® Super Lead 100 (normal channel) Brit Plexi Brt Marshall® Super Lead 100 (bright channel) Brit Plexi Jump Marshall® Super Lead 100 (jumped) Brit P-75 Nrm Park® 75 (nonnal channel) Brit P-75 Brt Park® 75 (bright channel) Brit2204 Marshall® JCM-800 German Mahadeva Bogner® Shiva® German Ubersonic Bogner® Oberschall® Cali Rectifire MESA/Boogie® Dual Rectifier® ANGLMeteor ENGL® Fireball 100 Solo Lead Clean Soldano® SL0-100 (clean channel) Solo Lead Crunch Soldano® SL0-100 (crunch
    [Show full text]
  • Univeristy of California Santa Cruz Cultural Memory And
    UNIVERISTY OF CALIFORNIA SANTA CRUZ CULTURAL MEMORY AND COLLECTIVITY IN MUSIC FROM THE 1991 PERSIAN GULF WAR A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Jessica Rose Loranger December 2015 The Dissertation of Jessica Rose Loranger is approved: ______________________________ Professor Leta E. Miller, chair ______________________________ Professor Amy C. Beal ______________________________ Professor Ben Leeds Carson ______________________________ Professor Dard Neuman ______________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Jessica Rose Loranger 2015 CONTENTS Illustrations vi Musical Examples vii Tables viii Abstract ix Acknowledgments xi CHAPTER 1: INTRODUCTION 1 Purpose Literature, Theoretical Framework, and Terminology Scope and Limitations CHAPTER 2: BACKGROUND AND BUILDUP TO THE PERSIAN GULF WAR 15 Historical Roots Desert Shield and Desert Storm The Rhetoric of Collective Memory Remembering Vietnam The Antiwar Movement Conclusion CHAPTER 3: POPULAR MUSIC, POPULAR MEMORY 56 PART I “The Desert Ain’t Vietnam” “From a Distance” iii George Michael and Styx Creating Camaraderie: Patriotism, Country Music, and Group Singing PART II Ice-T and Lollapalooza Michael Franti Ani DiFranco Bad Religion Fugazi Conclusion CHAPTER 4: PERSIAN GULF WAR SONG COLLECTION, LIBRARY OF CONGRESS 116 Yellow Ribbons: Symbols and Symptoms of Cultural Memory Parents and Children The American Way Hussein and Hitler Antiwar/Peace Songs Collective
    [Show full text]
  • M Audio Black Box Manual
    Reloaded: with updated firmware and additional features. User Guide English Table Of Contents English . 3 Hello From Roger Linn . 3 Introduction . 3 What’s in the Box . 4 Minimum Computer System Requirements . 4 New Version 2 Firmware Inside . 4 Front Panel Connectors . 5 Rear Panel Connectors . 5 Top Panel . 6 Presets and Drumbeats . 8 Editing the Guitar Amp and Compression Settings . 9 Amp Descriptions . .10 Editing the Modulation and Filter Effects . .15 Modulation and Filter Effect Descriptions . .16 Editing the Delay and Reverb . 20 Editing the Utilities . 22 Assigning Momentary Foot Switch Pedal Settings . 25 Accessing the Shift Parameters . 26 Tuner Function . 27 How to Store and Name a Preset . 27 Initializing Black Box to Factory Settings . 27 Connecting your Hardware to the Computer . 28 Using the Black Box with the Computer . 29 Driver Installation . 30 Windows XP (SP2) . 30 Mac OS X . 32 Control Panels . 37 Effects & MIDI Page . 37 Latency Page (Windows Only) . 37 Presets & Firmware Page . 38 About Page . 39 Recording with a DAW (digital audio workstation) . 40 Troubleshooting . .41 Warranty . 42 Specifications . 43 MIDI Implementation Charts . 44 Channel Mode, System Common and System Real Time Messages . 44 Universal System Exclusive Messages . 46 System Exclusive Messages . 47 Data Structures . 53 7-Bit Data Packing . 55 © 2006 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements and availability are subject to change without notice. Avid, M-Audio and Black Box are either trademarks or registered trademarks of Avid Technology, Inc. All other trademarks contained herein are the property of their respective owners. IMPORTANT! Audio equipment should ALWAYS be powered up and down in a certain order.
    [Show full text]
  • Boss GT-1000CORE Parameter Guide
    Parameter Guide 01 Contents REVERB 25 Basic Operation 3 PEDAL FX 26 Basic Procedure for Effect Editing 3 FOOT VOLUME 27 Effect Placement 3 DIVIDER 1–3 27 Using STOMPBOX 4 MIXER 1–3 28 Editing the STOMPBOX 4 SEND/RETURN 1, 2 28 Reading STOMPBOX Settings into a Patch 4 Writing Patch Settings into a STOMPBOX 4 OUTPUT SP.SIMULATOR L, OUTPUT SP.SIMULATOR R, SUB OUT SP.SIMULATOR L, SUB OUT SP.SIMULATOR R 29 Basic MENU Operations 5 MASTER 30 Effect 6 MENU 32 COMPRESSOR 6 CONTROL MODE 32 DISTORTION 1, 2 6 CONTROL ASSIGN 32 AIRD PREAMP 1, 2 7 CONTROL FUNCTION 32 NOISE SUPPRESSOR 1, 2 8 ASSIGN SETTING 34 EQUALIZER 1–4 9 Virtual Expression Pedal (Internal Pedal / Wave Pedal) 42 DELAY 1–4 9 INPUT (Input Level) 42 MASTER DELAY 10 INPUT SENS (Input Sens) 42 12 CHORUS PATCH MIDI 43 FX1–FX3 13 LED COLOR 43 AC.G SIM (AC. GUITAR SIMULATOR) 13 TEMPO HOLD 43 AC RESO (AC RESONANCE) 13 IN/OUT SETTING 44 AUTO WAH 14 INPUT 44 CHORUS 14 OUTPUT, SUB OUT 44 CHO BASS (CHORUS BASS) 16 TOTAL 45 C-VIBE (CLASSIC VIBE) 16 USB-Related Settings 46 16 COMP (COMPRESSOR) PLAY OPTION 47 DEFRETR (DEFRETTER) 17 MIDI 47 DEFRET B (DEFRETTER BASS) 17 MIDI SETTING 47 DIST (DISTORTION) 17 PROGRAM MAP BANK1–BANK4 48 FEEDBAKR (FEEDBACKER) 18 BULK DUMP 48 FLANGER/FLANGR B (FLANGER B) 18 HARDWARE SETTING 49 HARMONST (HARMONIST) 19 KNOB 49 HUMANIZR (HUMANIZER) 20 AMP CONTROL 54 OCTAVE 20 EXP HOLD 54 OCT BASS (OCTAVE BASS) 20 GROUND LIFT 54 OVERTONE 20 OTHER 54 PAN 21 FACTORY RESET 55 PHASER 21 TUNER 55 PITCH SFT (PITCH SHIFTER) 22 METRONOME 55 RING MOD 22 ROTARY 23 Saving a Sound (WRITE) 56 SITAR SIM.
    [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]
  • Guitar Effects Guide Book
    Guitar & Bass Effects / Tuners / Metronomes GUITAR EFFECTS GUIDE BOOK Vol.19 CommitCommitmentment toto QualityQuality andand InnovationInnovation BOSS forges into 2005 with a rrock-solidock-solid family of effects and accessories. TTechnicalechnical innovation and tanktank-tough-tough construction make BOSS prproductsoducts the most respected and soughtsought-after-after tone totoolsols in the world. Players who want the best plug into BOSS. INDEX The Many Roles of Guitar Effects 4 Bass Effect Units 43 AB-2 2-Way Selector 51 DB-30 Dr. Beat 78 GE-7 Equalizer 34 OS-2 OverDrive/Distortion 13 AC-2 Acoustic Simulator 36 DB-60 Dr. Beat 78 GEB-7 Bass Equalizer 46 PH-3 Phase Shifter 31 History of BOSS 6 Reduce Noise 49 ACA-Series AC Adaptors 79 DB-90 Dr. Beat 78 GT-6B Bass Effects Processor 72 PS-5 SUPER Shifter 41 Add Distortion 8 Change Connections 50 AD-3 Acoustic Instrument Processor 65 DD-3 Digital Delay 24 GT-8 Guitar Effects Processor 72 PSA-Series AC Adaptors 79 AD-5 Acoustic Instrument Processor 65 DD-6 Digital Delay 23 LMB-3 Bass Limiter Enhancer 47 PW-10 V-Wah® 62 Boost Tips 18 Next-Generation Pedals 53 AD-8 Acoustic Guitar Processor 64 DD-20 Giga Delay 58 LS-2 Line Selector 50 RC-20XL Loop Station™ 61 Guitar Amp Settings 20 Acoustic Processors 64 AW-3 Dynamic Wah 35 DS-1 Distortion 14 MD-2 Mega Distortion 17 RV-5 Digital Reverb 25 BCB-60 Pedal Board 74 DS-2 TURBO Distortion 15 ME-50 Guitar Multiple Effects 73 SD-1 SUPER OverDrive 11 Add Acoustic Dimensions 22 Challenge Yourself 66 BD-2 Blues Driver® 12 EQ-20 Advanced EQ 60 ME-50B
    [Show full text]