User manual ALESIS QUADRAVERB GT - REFERENCE MANUAL

ALESIS QuadraVerb GT Reference Manual sCHAPTER 1 Ð GETTING STARTED ...............................................1 1.1 INTRODUCTION ......................................................................................1 What It Is ...............................................................................................1 Features..................................................................................................2 1.2 SYSTEM HOOKUP BASICS.....................................................................2 AC Transformer Hookup...................................................................3 1.3 AUDIO HOOKUPS ....................................................................................3 Mono In, Mono Out............................................................................3 Mono In, Stereo Out............................................................................4 Stereo In, Stereo Out ...........................................................................4 Mono Send, Mono Return Effects Loop .........................................5 Mono Send, Stereo Return Effects Loop.........................................5 Stereo Send, Stereo Return Effects Loop.........................................6 Interfacing with Mixer Stereo Effects Sends...................................7 1.4 FOOTSWITCH HOOKUP.........................................................................7 1.5 EXTERNAL EFFECTS HOOKUP ............................................................8 1.6 SETTING LEVELS......................................................................................9 1.7 CHECK OUT THE FACTORY PROGRAMS.........................................9 Selecting Programs ..............................................................................10 1.8 MIDI HOOKUP...........................................................................................10 MIDI Program Selection.....................................................................11 MIDI Controller Pedal Hookup ........................................................12 MIDI Thru/Out Hookup....................................................................13 1.9 ROCK OUT!.................................................................................................13 CHAPTER 2 Ð QuadraVerb GT MODULES AND CONFIGURATIONS 14 2.1 ABOUT THE QUADRAVERB GT's EFFECTS ....................................14 Preamp ...................................................................................................14 Reverb ....................................................................................................14 Delay .......................................................................................................15 Pitch Change .........................................................................................15 Equalization ..........................................................................................16 Panning and Tremolo.........................................................................18 Ring Modulation .................................................................................18 Tunable Resonators.............................................................................18 Sampling................................................................................................18 Mixer.......................................................................................................18 Modulation ...........................................................................................19 ÒBi-TimbralÓ Effects.............................................................................19 2.2 ABOUT CONFIGURATIONS.................................................................20 #1 Preamp > EQ > Tremolo/Panning > Pitch > Delay > Reverb 21 #2 Preamp > Lezlie > Delay > Reverb.............................................22 #4 Preamp > 5 Band EQ > Tremolo/Panning >............................23 #5 #6 #7 #8 Preamp > 3 Band EQ > Reverb....................................................24 Preamp > Ring Modulator > Delay > Reverb..........................25 Preamp > Resonators > Delay > Reverb ...................................25 Preamp > Sampling ......................................................................26 CHAPTER 3 - BASIC EDITING TECHNIQUES .................................27 3.1 HOW EDITING WORKS .........................................................................27 3.2 COMPARING EDITED AND NON-EDITED VERSIONS OF PROGRAMS 29 3.3 SAVING (STORING) EDITED PROGRAMS .......................................29 3.4 RENAMING PROGRAMS ......................................................................30 3.5 RECALLING INDIVIDUAL FACTORY PROGRAMS.......................31 3.6 RECALLING ALL FACTORY PROGRAMS.........................................31 CHAPTER 4 Ð EDITING CONFIGURATION PARAMETERS.............32 4.1 SELECTING A CONFIGURATION .......................................................32 4.2 SELECTING A CONFIGURATION MODULE FOR EDITING.........33 4.3 EDITING PREAMP PARAMETERS ......................................................33 Compression.........................................................................................33 Overdrive ..............................................................................................33 Distortion...............................................................................................34 Preamp Tone.........................................................................................34 Bass Boost ..............................................................................................35 Cabinet Simulator................................................................................35 Effect Loop .............................................................................................35 Noise Gate .............................................................................................36 Preamp Out Level................................................................................36 4.4 EDITING REVERB PARAMETERS.......................................................37 Reverb Type (configs 1, 2, 5, 6, 7).......................................................37 Reverb Input 1 (configs 1, 2, 6, 7) ......................................................37 Reverb Input (config 5).......................................................................38 Reverb Input 2 (configs 1, 2, 6, 7) ......................................................38 Reverb Input Mix (configs 1, 2, 6, 7).................................................38 Reverb Predelay (configs 1, 2, 5, 6, 7)................................................39 Reverb Predelay Mix (configs 1, 2, 5, 6, 7)........................................39 Reverb Decay (configs 1, 2, 5, 6, 7).....................................................40 Reverb Diffusion Amount (configs 1, 2, 5, 6, 7).............................40 Reverb Density (configs 1, 2, 5, 6, 7)..................................................41 Reverb Low Frequency Decay (configs 1, 2, 5, 6, 7)........................41 Reverb High Frequency Decay (configs 1, 2, 5, 6, 7).......................42 Reverb Gate Status (configs 1, 2, 5, 6, 7)...........................................42 Reverb Gate Hold Time (configs 1, 2, 5, 6, 7)..................................42 Reverb Gate Release Time (configs 1, 2, 5, 6, 7) .............................43 Reverb Gated Level (configs 1, 2, 5, 6, 7)..........................................43 4.5 EDITING DELAY PARAMETERS..........................................................43 Delay Type (configs 1, 2, 3, 4, 6, 7)......................................................43 Delay Input 1 (configs 1, 4, 6, 7) .........................................................44 Delay Input (config 3)..........................................................................44 Delay Input Mix (configs 1, 2, 4, 6, 7)................................................45 Delay Time (configs 1, 2, 3, 4, 6, 7).....................................................45 Delay Feedback (configs 1, 2, 3, 4, 6, 7)..............................................46 Right Delay Time (configs 1, 2, 3, 4, 6, 7) .........................................46 Delay Feedback Right (configs 1, 2, 3, 4, 6, 7)...................................46 Multi Tap Number (config 4 only)...................................................47 Multi Tap Delay Time (config 4 only) .............................................47 Multi Tap Volume (config 4 only)...................................................47 Multi Tap Panning (config 4 only)...................................................48 Multi Tap Feedback (config 4 only)..................................................48 Multi Tap Master Feedback (config 4 only) ....................................48 4.6 EDITING PITCH PARAMETERS ...........................................................49 Pitch Mode (configs 1, 4).....................................................................49 Pitch Input (configs 1, 4) .....................................................................50 LFO Waveshape (Chorus only) ........................................................50 LFO Speed (Chorus and Flange only)..............................................50 LFO Depth (Chorus and Flange only)..............................................50 Pitch Feedback (Chorus and Flange only).......................................51 Trigger Flange (Flange only)..............................................................51 Pitch Detune (Detune only)...............................................................51 Phaser Speed (Phaser only)................................................................52 Phaser Depth (Phaser only)................................................................52 Lezlie Stereo Separation (config 2 only)..........................................52 Lezlie Motor Control (config 2 only) ...............................................52 Lezlie Speed (config 2 only) ...............................................................53 Ring Modulator Spectrum Shift (config 6 only) ...........................53 Ring Modulator Output Mix (config 6 only)..................................53 Ring Modulator Delay/Reverb Input (config 6 only) ..................54 Reverb Chorus Mode (config 5 only)...............................................54 4.7 A WORD ABOUT EQ, RESONATORS, AND GUITAR TONE ......55 Resonators, EQ, and Tone..................................................................55 Programmable Tone Curves .............................................................56 4.8 EDITING 3-BAND EQ AND RESONATOR PARAMETERS (config 1) 56 EQ Preset ................................................................................................56 EQ Mode.................................................................................................57 Resonator Tune (Resonators + EQ mode only) ............................57 Resonator Decay (Resonators + EQ mode only)............................57 Resonator Amplitude (Resonators + EQ mode only)..................58 Low EQ Frequency (3 Band EQ mode only)....................................58 Low EQ Amplitude (3 Band EQ mode only)..................................58 Mid EQ Frequency................................................................................59 Mid EQ Bandwidth..............................................................................59 Mid EQ Amplitude..............................................................................59 High EQ Frequency (3 Band EQ mode only) ..................................60 High EQ Amplitude (3 Band EQ mode only).................................60 4.9 EDITING LEZLIE EQ PARAMETERS (config 2)..................................61 High Rotor Level .................................................................................61 4.10 EDITING 11-BAND GRAPHIC EQ PARAMETERS (config 3) .......61 EQ Preset ................................................................................................61 Graphic Frequencies and Levels.......................................................62 4.11 EDITING 5-BAND EQ AND RESONATOR PARAMETERS (config 4)63 EQ Preset ................................................................................................63 EQ Mode.................................................................................................64 Low EQ Frequency ...............................................................................64 Low EQ Amplitude..............................................................................64 Low Mid EQ Frequency (5 Band EQ mode only)...........................64 Low Mid EQ Bandwidth (5 Band EQ mode only) .........................65 Low Mid EQ Amplitude (5 Band EQ mode only) .........................65 Mid EQ Frequency................................................................................65 Mid EQ Bandwidth..............................................................................66 Mid EQ Amplitude..............................................................................66 Hi Mid EQ Frequency (5 Band EQ mode only) ..............................66 Hi Mid EQ Bandwidth (5 Band EQ mode only).............................67 Hi Mid EQ Amplitude (5 Band EQ mode only).............................67 High EQ Frequency..............................................................................67 High EQ Amplitude ............................................................................68 Resonator Number (5 Resonator/3 EQ mode only).....................68 Resonator Tune (5 Resonator/3 EQ mode only)...........................68 Resonator Decay (5 Resonator/3 EQ mode only)..........................69 Resonator Amplitude (5 Resonator/3 EQ mode only)................69 4.12 EDITING 3-BAND EQ (config 5)...........................................................69 EQ Preset ................................................................................................69 Low EQ Frequency ...............................................................................70 Low EQ Amplitude..............................................................................70 Mid EQ Frequency................................................................................71 Mid EQ Bandwidth..............................................................................71 Mid EQ Amplitude..............................................................................71 High EQ Frequency..............................................................................72 High EQ Amplitude ............................................................................72 4.13 EDITING 5 BAND RESONATOR ........................................................72 Resonator Gate Mode (config 7 only) ..............................................72 Resonator Decay (config 7 only)........................................................73 Resonator Tune (config 7 only) ........................................................73 4.14 EDITING MIX PARAMETERS..............................................................73 Direct Signal Level...............................................................................74 Master Effects Level.............................................................................74 Preamp Signal.......................................................................................74 Preamp Level (appears only with Pre-EQ preamp signal) ..........75 EQ Level (appears only with Post-EQ preamp signals)................75 Pitch Output Level...............................................................................75 Delay Output Level..............................................................................75 Reverb Output Level...........................................................................76 Modulation ...........................................................................................76 Modulation Depth...............................................................................76 Modulation Speed ...............................................................................76 4.15 EDITING MIX PARAMETERS..............................................................77 Direct Signal Level...............................................................................77 Master Effects Level.............................................................................77 Lezlie Output Level.............................................................................77 Delay Output Level..............................................................................78 Reverb Output Level...........................................................................78 4.16 EDITING MIX PARAMETERS..............................................................78 Direct Signal Level...............................................................................78 Master Effects Level.............................................................................79 EQ Output Level...................................................................................79 Delay Output Level..............................................................................79 4.17 EDITING MIX PARAMETERS..............................................................80 Direct Signal Level...............................................................................80 Master Effects Level.............................................................................80 Preamp Signal.......................................................................................80 Preamp Level (appears only with Pre-EQ preamp signal) ..........81 EQ Output Level (appears only with Post-EQ preamp signals)..81 Pitch Output Level (appears only with Post-EQ direct signals)..81 Delay Output Level..............................................................................82 Modulation ...........................................................................................82 Modulation Depth...............................................................................82 Modulation Speed ...............................................................................82 4.18 EDITING MIX PARAMETERS..............................................................83 Direct Signal Level (appears only with Pre-EQ direct signals) ...83 Master Effects Level.............................................................................83 Preamp Signal.......................................................................................83 Preamp Level (appears only with Pre-EQ preamp signal) ..........84 EQ Output Level (appears only with Post-EQ preamp signals)..84 Reverb Output Level...........................................................................84 4.19 EDITING MIX PARAMETERS..............................................................85 Direct Signal Level...............................................................................85 Master Effects Level.............................................................................85 Preamp Level........................................................................................85 Ring Modulator Output Level..........................................................86 Delay Output Level..............................................................................86 Reverb Output Level...........................................................................86 4.20 EDITING MIX PARAMETERS..............................................................87 Direct Signal Level...............................................................................87 Master Effects Level.............................................................................87 Preamp Signal Level ...........................................................................87 Resonator Output Level.....................................................................88 Delay Output Level..............................................................................88 Reverb Output Level...........................................................................88 CHAPTER 5 Ð SAMPLING ...............................................................89 5.1 SELECTING THE SAMPLING CONFIGURATION...........................89 5.2 RECORDING A SAMPLE.........................................................................89 Recording By Audio Trigger..............................................................90 Recording from the Front Panel.......................................................90 Playing Back a Sample ........................................................................91 Front Panel Playback ...........................................................................92 Audio Trigger Playback.......................................................................92 MIDI Playback .......................................................................................93 Select MIDI Trigger Mode ..................................................................93 Select the MIDI Trigger Note.............................................................94 Adjusting the Sample Playback Length ..........................................95 Adjusting the Sample Mix Parameters...........................................96 CHAPTER 6 Ð THE MIDI BUTTON..................................................97 6.1 SELECT MIDI MODE.................................................................................97 6.2 PROGRAM CHANGE ENABLE.............................................................98 6.3 EDIT THE PROGRAM CHANGE TABLE.............................................99 6.4 MIDI THRU/OUT SELECTION..............................................................100 6.5 SYSTEM EXCLUSIVE DATA ENABLE.................................................100 6.6 SEND PROGRAM DATA (SYS EX) OVER MIDI................................100 6.7 PROGRAM ADVANCE FOOTSWITCH RANGE..............................103 CHAPTER 7 Ð MIDI MODULATION (NAME/MOD BUTTON) ..........104 7.1 ABOUT MOD SOURCES AND TARGETS ..........................................104 7.2 PROGRAMMING MOD SOURCES AND TARGETS........................105 7.3 TARGET PARAMETER LISTING..........................................................107 Configuration 1 Target Parameters..................................................107 Configuration 2 Target Parameters..................................................108 Configuration 3 Target Parameters..................................................109 Configuration 4 Target Parameters..................................................109 Configuration 5 Target Parameters..................................................110 Configuration 6 Target Parameters..................................................111 Configuration 7 Target Parameters..................................................111 7.4 PARAMETER DEFAULT VALUE CHART .........................................113 CHAPTER 8 Ð MIDI SUPPLEMENT .................................................116 8.1 MIDI BASICS .............................................................................................116 8.2 MIDI HARDWARE..................................................................................116 8.3 MIDI MESSAGE BASICS.........................................................................117 8.4 CHANNEL MESSAGES ..........................................................................117 8.4A Voice Messages...........................................................................117 8.4B Mode Messages ...........................................................................119 8.5 SYSTEM COMMON MESSAGES..........................................................120 8.6 BOOKS ON MIDI ......................................................................................121 8.7 VIDEOS ON MIDI.....................................................................................121 CHAPTER 1 Ð GETTING STARTED 1.1 INTRODUCTION What It Is The Alesis QuadraVerb GT is a stereo effects unit that is ideal for guitar. It combines analog and digital electronics to provide the best of both worlds. Analog effects include: ¥ Compression ¥ Distortion ¥ Flat/Presence/Brightness Control ¥ Bass Boost ¥ Speaker Cabinet Simulator (ideal for use with headphones or recording direct; can be bypassed when feeding a guitar amp) ¥ Noise Gate ¥ Programmable Effects Loop for inserting other effects (can also provide a signal send from the analog outputs, and receive a return signal into the digital processor) The digital effects are the same ones that have made the QuadraVerb Plus a favorite in studios and live equipment racks world-wide: ¥ Reverb ¥ Delay (stereo or mono) ¥ Pitch Change (chorus, flange, detune, phaser, etc.) ¥ Equalization (graphic or parametric) ¥ Panning and Tremolo ¥ Ring Modulation ¥ Tunable Resonators (a very resonant filtering effect) ¥ Sampling (up to 1.5 seconds of sound can be captured and replayed) The order of the analog effects are preset in their optimum positions; the routing of the digital effects is flexible and programmable. All effects parameters are editable. 100 edited programs can be saved in memory, and called up by front panel switches or MIDI program change commands. The QuadraVerb GT is also MIDI controllable. Settings need not be staticÑyou can control them in real time with Continuous Controller foot pedals, or with sequencers or keyboards. 1 Features ¥ 20 Hz to 20 kHz frequency response ¥ Up to 11 simultaneous effects (6 analog, 5 digital) and programmable effects loop ¥ Backlit, descriptive 32 character LCD display ¥ Touch sensitive programming buttons for quick editingÑpress harder to scroll faster through the display ¥ Stores up to 100 programs ¥ Comprehensive MIDI implementation ¥ Real-time parameter control via MIDI controllers ¥ Easy editing of all parameters ¥ All functions, parameters, and volume levels fully programmable ¥ Stereo in and out ¥ Flexible effects routing and mixing ¥ Several types of reverbs, including: Plate, Room, Chamber, Hall, and Reverse ¥ Several types of delay, including: Ping Pong Delay, Mono Delay, Stereo Delay, and Multitap delay ¥ Several types of Pitch Shift, including: Mono Chorus, Stereo Chorus, Mono Flange, Stereo Flange, Pitch Detune, and Phase Shifter ¥ Three types of Digital EQ, including: 3 band Parametric, 5 band Parametric, and 11 band Graphic ¥ Any or all Alesis presets can be recalled from ROM at any time 1.2 SYSTEM HOOKUP BASICS The QuadraVerb GT is designed for mono or stereo guitar, bass, Chapman Stick, etc. but is also right at home in the studio for processing vocals, drums, pianos, synthesizers (try the rotating speaker sound!), tape tracks, and other instruments. The QuadraVerb GT can insert between your guitar and subsequent effects units or amplification systems. This lets you use the amp's overdrive options to further color the QuadraVerb GT's sound. Or, patch the QuadraVerb GT into an ampÕs effects loop. This lets the QuadraVerb GT process the amp's internal sound, and in some cases, lets you use the amplifier's preamp section as an alternate to the QuadraVerb GT's internal preamp. Following are some typical hookups, followed by information on proper 2 level-setting. All inputs and outputs are unbalanced lines. Turn your amplifier volume all the way down when patching the QuadraVerb GT into your system! AC Transformer Hookup Plug the QuadraVerb GT's AC adapter into the wall. The smaller plug inserts into the 9 VAC power jack on the QuadraVerb GT's rear panel. To prolong the AC adapter's life, unplug it from AC power when not in use (turning off the QuadraVerb GT's power switch does not disconnect the AC adapter from AC power). It's good practice to plug all your ACpowered devices into a switched power strip, so that turning off the strip turns off power to all your gear. 1.3 AUDIO HOOKUPS The QuadraVerb GT can interface with a variety of guitar systems and recording studio setups. Mono In, Mono Out From guitar Right Input to mono amp, PA, or mixer Right Output Application Mono guitar feeding a mono amp, PA, or mixer. Hookup Patch the guitar into the right input and feed the right output to your amplifier (Using the left input and output will also work, but for the sake of consistency and simplicity, we'll just refer to the right input and output). 3 Mono In, Stereo Out to stereo amp, PA, or mixer From guitar Right Input Left Output Right Output Application Mono guitar feeding a stereo amp, PA, or mixer. Hookup Patch the guitar into the right input and feed the right and left outputs to your amplifier. Stereo In, Stereo Out From guitar Left Input Right Input Left Output to stereo amp, PA, or mixer Right Output Application Stereo guitar feeding a stereo amp, PA, or mixer. Hookup Patch the guitar into the right and left inputs and feed the right and left outputs to your amplifier. 4 Mono Send, Mono Return Effects Loop from effects loop send Right Input to effects loop return Right Output Application Patching into a guitar amp with a mono effects loop. Do not confuse this with the QuadraVerb GTÕs internal effects loop; the loop in an amplifier is specifically designed for the insertion of signal processors such as the QuadraVerb GT. Hookup Patch the effects loop send into the right QuadraVerb GT input and feed QuadraVerb GT's right output to the effects loop return. Mono Send, Stereo Return Effects Loop to effects loop stereo returns From effects loop send Right Input Left Output Right Output Application Patching into a guitar amp with a mono send and stereo return effects loop. Do not confuse this with the QuadraVerb GTÕs internal effects loop; the loop in an amplifier is specifically designed for the insertion of signal processors such as the QuadraVerb GT. Hookup Patch the effects loop send into the right QuadraVerb GT input and patch the QuadraVerb GT's right and left outputs to the effects loop stereo return. 5 Stereo Send, Stereo Return Effects Loop From effects loop sends Left Input Right Input Left Output to effects loop returns Right Output Application Patching into a guitar amp with a stereo send and stereo return effects loop. Do not confuse this with the QuadraVerb GTÕs internal effects loop; the loop in an amplifier is specifically designed for the insertion of signal processors such as the QuadraVerb GT. Hookup Patch the effects loop sends into the right and left QuadraVerb GT inputs, and patch the QuadraVerb GT's right and left outputs to the effects loop stereo return. 6 Interfacing with Mixer Stereo Effects Sends From mixer sends to mixer returns Left Input Right Input Left Output Right Output Application Patching into a mixer's stereo effects sends for use as a reverb or other processor while recording. Hookup Patch the mixer's auxiliary bus (or effects bus) sends into the right and left QuadraVerb GT inputs, and patch the QuadraVerb GT's right and left outputs to the mixer's stereo returns or if not available, two standard mixer channel inputs. 1.4 FOOTSWITCH HOOKUP There are two footswitch jacks on the rear panel that accept standard, normally open, momentary contact footswitches. A footswitch plugged into the Bypass jack duplicates the BYPASS button function. Press on the footswitch to toggle between bypass and active modes. When bypassed, the LED in the middle of the BYPASS button will be lit. A footswitch plugged into the Advance jack increments (or decrements) 7 the program number by one with each footswitch press. You can set an upper and lower program number limit, as described in section 5.7. 1.5 EXTERNAL EFFECTS HOOKUP The QuadraVerb GT offers an effects loop where you can patch in effects other than the ones included in the unit (you might want to insert, for example, a wah-wah pedal or vintage fuzz). The effect can be bypassed or enabled for each patch. Patch the Effects Loop Send jack to the effect input, and the Effects Loop Receive jack to the effect output. Also note that the Send jack provides a post-analog effects, pre-digital effects send suitable for driving guitar amps or a studio console; the Receive jack lets you plug directly into the digital effects and bypass the analog effects. The effects loop can therefore split the QuadraVerb GT into two separate effects, as described in section 2.1. It is important to note that turning off the effects loop does not turn off the effects send. Selecting In or Out on the Effects Loop page will only enable or disable the Effects Loop Return jack. Also, the effects loop will be bypassed if there are no jacks inserted, regardless of whether the Effects Loop page is set to On or Off. 8 1.6 SETTING LEVELS After hooking up your cables, set the proper levels. Start off with your amplifier turned down to a low volume to prevent any ear-shattering surprises as you learn about the QuadraVerb GT. After you know what you're doing, increase the level to normal monitoring levels. 1. Press the BYPASS button (its red LED will light) so that you hear only the straight guitar sound. 2. Play your instrument and observe the 4-step LED meter toward the left of the QuadraVerb GT. 3. Adjust the Input control so that the -6 dB LED lights consistently but the Clip (red) LED lights rarely, if ever. The red LED indicates that distortion is either about to occur or is actually occurring. 4. Adjust the output control for a comfortable monitoring level. Make sure the output is turned up high enough to provide the amplifier, mixer, or subsequent processor with sufficient level, but not turned up so high that it overloads the unit it is feeding. 5. Press the BYPASS button again so that you can hear the effect of the different QuadraVerb GT programs. BYPASS can be used at any time to toggle between processed and straight sounds. 1.7 CHECK OUT THE FACTORY PROGRAMS The QuadraVerb GT contains 90 programs that put your guitar through serious sonic gyrations. Initially, these programs contain factory presets. However, they can be edited or replaced with your own programs. You can also recall the original factory sound associated with a program location at any time, even if that location has been modified or erased, because the parameters for these programs are stored in ROM (permanent memory). Assuming you've hooked up your guitar as described in the previous section, it's time to audition the QuadraVerb GT programs and see what this baby can do. 9 Selecting Programs 1. Press the PROGRAM (PROG) button. The LED in the middle of the button will light. 2. There are three ways to select programs: ¥ MIDI program changes. See next section. ¥ Press either VALUE button to scroll through the available programs (VALUE UP increases the program number, VALUE DOWN decreases the program number). The harder you press the VALUE button, the faster the Program numbers will scroll. Stop on a program, and it will be selected. ¥ Key in a particular two-digit program number. Note that the module buttons (REVERB, DELAY, PITCH, etc.) also have numbers printed in gray. These can be used for entering numbers as long as the PROGRAM button is held down. Example: To enter program 56, press the PROGRAM button and while it is being held down, press the 5 (MIDI) and 6 (CONFIG) buttons. The display will show 56, and that program will be selected. If you release the PROGRAM button before entering the two digit program number, the program number will revert to what it was before you pressed the PROGRAM button. The number you enter must be a two-digit number, so enter a Òleading zeroÓ if necessary. Example: To enter program 9, enter 09. 1.8 MIDI HOOKUP MIDI is an internationally-accepted protocol that allows musical-related data to be conveyed from one device to another. See the MIDI supplement if you are not familiar with how MIDI works. The most popular MIDI applications are hooking up a MIDI footswitch to change programs, and/or a MIDI continuous controller pedal to vary QuadraVerb GT parameters in real time, as you play. The following sections describe how this process works. 10 MIDI Program Selection The QuadraVerb GT responds to MIDI program change commands. Therefore, sending a particular program number via MIDI to the QuadraVerb GT will call up the program you specified. If a device can generate program change commands, patching its MIDI Out to the QuadraVerb GT's MIDI In allows for remote program selection. MIDI In MIDI Out Footswitch Several devices can generate program change commands: ¥ MIDI footswitch This is probably the option that most guitarists will use. A MIDI footswitch sends program changes in response to footswitch presses. Many companies make MIDI footswitches; their manuals explain how to program the footswitch to send out particular program changes. ¥ MIDI sequencer A sequencer can record and play back MIDI data, including program change commands. ¥ Synthesizer Selecting a new program on a synthesizer usually sends out a corresponding program change command. This allows any signal processor hooked up to the synth to change its settings in response to different synth programs. ¥ Other effects boxes If you use more than one effects box, calling up a program on it will often send a corresponding program change through its MIDI Out. NOTE: Your QuadraVerb GT and the MIDI footswitch must both be set to the same MIDI channel to execute program changes. 11 MIDI Controller Pedal Hookup Several QuadraVerb GT parameters can be changed remotely over MIDI. Usually this is done with a footpedal that generates MIDI continuous controller data. There are 128 controllers, most of which are available for remote parameter control (some of the higher-numbered controllers are used to set up synthesizer modes and other things we donÕt need to worry about). The basic idea is to set the parameter to be controlled to a particular controller number. Then set the pedal to the same controller number. As you vary the pedal, it will generate data that will change the QuadraVerb GT parameter. For example, assigning a foot pedal to delay feedback would allow you to kick in a slapback delay at the end of a phrase. The MIDI controller pedal may be part of your footswitch unit, a separate stand-alone device, or a combination standard volume pedal and converter (e.g., Anatek Pocket Pedal). Synthesizers and other devices also generate MIDI continuous controller data. If you want to feed the QuadraVerb GT with both a footswitch for program change control and a pedal for real time control, either the footswitch or pedal will need a merging input, or you will need a MIDI merger. MIDI In Controller Pedal Footswitch MIDI In Controller Pedal MIDI Merger Footswitch 12 MIDI Thru/Out Hookup The MIDI Thru/Out jack can have its function changed via software (see section 5.4). When MIDI Thru is turned on, this jack carries a duplicate of the MIDI data appearing at the MIDI In jack. In addition to the Thru function, the Thru/Out jack can then feed the MIDI In of other MIDIcontrolled unit, thus distributing the MIDI signal to two different units. MIDI In MIDI Thru/Out MIDI In MIDI Out Footswitch In addition to the Thru function, data generated by the QuadraVerb GT can be sent to other MIDI units. This is more of a feature for advanced MIDI users and is described in sections 5.5 and 5.6 on QuadraVerb GT System Exclusive options (for more information on System Exclusive information, see the MIDI supplement). Generally, the data generated from the QuadraVerb GT is used for one of two purposes: ¥ Transfer program data directly from one QuadraVerb GT to another. ¥ Send program data to a such as the Alesis DataDisk or other MIDI storage device in order to back up the data inside the QuadraVerb GT. 1.9 ROCK OUT! Play for a while and get a feel for how the QuadraVerb GT sounds. The factory programs give a good idea of what the QuadraVerb GT can do, and can also be modified later on if you want to customize the factory programs to your own specifications. 13 CHAPTER 2 Ð QUADRAVERB GT MODULES AND CONFIGURATIONS Many guitarists will find that the 90 factory presets take care of most, if not all, of their musical needs. However, the QuadraVerb GT is a very flexible device and comes into its own when edited to your own specific needs. To do this, it is necessary to understand the QuadraVerb GT's effects and configurations, which is what this chapter is all about. The next chapter covers how to edit those effects and configurations. 2.1 ABOUT THE QUADRAVERB GT's EFFECTS The QuadraVerb GT has 11 main effects sections (including the mixer) and the ability to alter (modulate) some of the effects parameters in real time. Each effect modifies your signal in a particular way. A particular combination of the 11 effects is called a configuration, as explained in section 2.2. Preamp The Preamp section includes effects found in standard rack preamps, such as compression, overdrive, distortion, flat/bright/presence switch, bass boost, cabinet simulator, and noise gate. This section is followed by a programmable effects loop that lets you insert your favorite classic wah-wah, phase shifter, etc.; you can enable or bypass the effect as part of a program. This loop can also be used to split the QuadraVerb GT into two separate effects (see the last part of this section on ÒBi-TimbralÓ Effects). Reverb Reverb is made up of a large number of distinct echoes, called reflections. In a natural acoustic space, each reflection's amplitude and brightness decays over time. This decaying action is influenced by the room size, the location of the sound source in the room, the hardness of the walls, and other factors. 14 There are five main reverb types, as described later. Furthermore, any reverb type can be gated, which is the process of abruptly cutting off the reverbÕs decay for a more ÒchoppyÓ sound. Delay Delay provides a discrete repetition of a signal. By adding feedback within the effect, the delayed signal can repeat many times, with each successive decay softer than its predecessor. The QuadraVerb GT offers four types of delay: ¥ Ping-Pong Delay In stereo, the delayed signal bounces back and forth between channels, with the speed determined by the delay time parameter. Maximum delay is 375 milliseconds in QuadMode, 400ms in the Lezlie and Ring Modulation configurations, 750 ms in the Graphic > Delay configuration, 705ms in the 5 Band EQ > Pitch > Delay configuration, and 320ms in the Resonator configuration. ¥ Stereo Delay This has two individual delays, one for each channel. Setting them to different delay times allows for polyrhythmic delays. Maximum delay specs are the same as for ping-pong delay. ¥ Mono Delay Because this is a single delay line, it has twice the maximum delay time of the stereo delay (up to 1500 ms). ¥ Multitap Delay Available only in the 5 BAND EQ > PITCH > DELAY configuration, this delay includes 8 taps with variable delay time, volume, panning, and feedback amount for each tap. The total delay time of all eight delays cannot exceed 1470 ms. Pitch Change This module alters the pitch of a signal in various ways to produce ÒanimatedÓ timbres that are more complex than the original signal. The various pitch change options are: ¥ Chorus This combines a delayed (typically 10-25 ms), detuned version of the original signal with the straight signal. Modulating the delayed version creates phase, amplitude, and time differences that sound like two instruments playing together. Mono and stereo functions are available; stereo modulates two delayed signals instead 15 of just one. ¥ Flanging Flanging is similar to chorusing, but modulates the delayed signal over a much shorter delay range (typically 0-12 ms). This produces a Òjet airplaneÓ-like sound. Mono and stereo flanging is available, and the flange modulation sweep can be triggered in order to sync up with the rhythm of your playing. ¥ Detune Shifts the pitch by a fixed amount. This creates a thickening effect similar to the difference between a 12-string and 6-string guitar. ¥ Phase Shifter This effect is similar to flanging, but covers a narrower delay range and has a more diffused timbral quality. ¥ Lezlie Speaker Simulator With the Lezlie configuration selected, the pitch change module becomes a rotating speaker simulator. Rotating speakers, which involved mechanically rotating one or two speakers to produce complex timbral changes, were extremely popular during the 1960s. Equalization Equalization provides control over the tone of your signal by altering the frequency response in various ways. The QuadraVerb GT's three different types of EQ are: ¥ 3 Band Parametric This combines high and low frequency shelving equalizers (like the tone controls found on stereo systems and guitar amps) along with a sweepable midrange parametric stage (see Ó5 Band Parametric,Ó next) that has variable boost or cut, frequency, and bandwidth (resonance, or ÒbiteÓ). This works well for dialing in rhythm guitar sounds. The high and low shelving bands offer two parameters, amplitude and frequency. Amplitude sets the amount of boost or cut; frequency sets the frequency at which the maximum boost or cut occurs. This boost continues for frequencies higher than the high frequency and lower than the low frequency. 16 The middle band is parametric and offers amplitude, frequency, and bandwidth parameters as described next. ¥ 5 Band Parametric This is identical to the 3 Band Parametric but offers two additional sweepable midrange stages with variable boost or cut, frequency, and bandwidth. The following diagram shows the relationship between three parameters. The complex response of the 5 band parametric lets you compensate for dead spots on a guitar's neck, or set up a very specific frequency response. ¥ 11 Band Graphic The graphic equalizer can boost or cut any of 11 different bands (16 Hz, 32 Hz, 62 Hz, 126 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz, and 16 kHz. 17 Panning and Tremolo Panning shifts the signal back and forth between the stereo outputs at a cyclical, adjustable rate. Tremolo provides a ÒpulsingÓ sound via cyclical level changes. Both have ÒdepthÓ parameters; with panning this varies the width of the pan in the stereo field, with tremolo this sets the difference between volume peaks and valleys. Ring Modulation Ring modulation shifts a signal's harmonics up and/or down by an adjustable frequency (expressed in Hertz). The QuadraVerb GTÕs ring modulator features individual outputs for the up and down signals. The resulting sound takes on a Òclangorous,Ó bell-like quality that is used mostly with percussive effects. Try this on a drum machine, or muted guitar parts. Tunable Resonators A resonator is a filter whose response is so sharp that it actually imparts a pitch to any signal going through it. In the Resonator configuration, there are up to five resonators, depending on the configuration, so you can tune the resonators to complex chord types. You can also transpose the resonator frequencies via MIDI notes to match a particular chord progression. Sampling Sampling is the process of digitally recording a signal into the QuadraVerb GT's memory, which can then be triggered via an external audio input (e.g., a snare drum sound coming from a tape track), a front panel button, or a MIDI note. Different MIDI notes will transpose the sample. Sampling is useful if you want to capture a particular effect or chord change, then play over it. Try it in the studio for drum sound replacement, reproducing unusual vocal effects, etc. Mixer The multiple effects are all placed in parallel. Each effectÕs output feeds a 18 mixer, and is variable so that you can change the balance of that particular effect with respect to the overall sound. The effect input can come from the main input if you only want the effect to process the dry sound, but in many configurations, the effect can get its input from the output of other effects, or from a combination of processed and dry sounds. Modulation As mentioned earlier, many QuadraVerb GT parameters can be changed in real time via pedals that generate continuous controller commands, or from commands issued by a sequencer or synthesizer. Continuous controller pedals are available from a variety of manufacturers at various price points. These generate signals that are ÒtaggedÓ with a particular controller identification number. If you set a QuadraVerb GT parameter to be controlled by this particular controller number, moving the pedal will change the QuadraVerb GT parameter. Modulation consists of choosing up to 8 ÒtargetÓ parameters to be modulated by any one of several types of MIDI ÒsourceÓ data types (pitch bend, aftertouch, note number, and note velocity as well as continuous controllers). Several parameters can be changed by one controller, so that, for example, moving a pedal could increase chorus depth and boost the midrange frequencies. ÒBi-TimbralÓ Effects The QuadraVerb GT can serve as two separate effects units by proper patching to and from the effects loop. For example, consider a situation where a guitarist plays guitar and sings. Plug the guitar into the QuadraVerb input; the effects loop send provides the post-analog effects signal, which can be routed to a guitar amp. Meanwhile, the voice mic can be externally preamplified and sent into the effects loop return. This allows the vocal to be processed by the digital chorus, reverb, equalization, etc. sections. The QuadraVerb GT output, which now carries only the processed vocal sound, can be routed to a PA for further amplification. 19 to Amplifier From guitar from Microphone to PA Right Input Effects Send Effects Return Right Output 2.2 ABOUT CONFIGURATIONS No matter which program you select, the analog effects are always in the same order. However, the digital effects can be connected together in one of eight different ways, each of which is called a configuration. A configuration doesn't just include a specific collection of effects, but also the way in which they interconnect (e.g., whether the delay signal is derived from an equalized or non-equalized signal). This allows for a great deal more flexibility than you would expect from a fixed configuration of effects. This flexibility allows for some great sounds, but also requires a bit of experimentation to learn the subtleties of each configuration and how these subtleties affect the sound. It's probably easiest to start off by ÒtweakingÓ the factory presets to learn what the different parameters do, then graduate to creating programs from scratch. These configuration descriptions use block diagrams to indicate signal flow. Keep the following in mind: ¥ Think of the connecting lines as Òpatch cordsÓ between different Òeffects boxesÓ (the individual modules). ¥ Switches are enclosed in rectangular boxes with rounded corners. ¥ The knobs act as volume controls if two wires hook into the knob, or mix (ÒpanÓ) between two signals (incoming wires) and provides an output (outgoing wire) if three wires hook into the knob. ¥ Heavy lines indicate a stereo path. Note that most effects output a stereo signal, but accept a summed, mono signal at the input. 20 #1 Preamp > EQ > Tremolo/Panning > Pitch > Delay > Reverb Configuration 1 Pitch Input INPUT Delay Input 1 Delay Input Mix Reverb Input 1 Mono Stereo Reverb Input Mix PREAMP EQ REVERB Preamp Pre/Post EQ PITCH Reverb Input 2 Effects Output DELAY EQ Output Pitch Output Delay Output PANNING & TREMOLO Reverb Output OUTPUT Pre-Amp Signal Direct Output QuadModeª is a complex configuration that offers comprehensive switching and mixing possibilities. ItÕs excellent for creating larger-thanlife, animated sounds. The Pitch module can switch its input between the preamp or EQ signals. The Delay moduleÕs Delay Input Mix control chooses a blend between the output of the Pitch module, or the preamp or EQ signal (as selected by the Delay Input 1 switch). The Reverb moduleÕs Reverb Input Mix control chooses a blend between two input options. Reverb Input 1 switches between preamp, EQ, preDelay, or post-Pitch signals; Reverb Input 2 switches between the postDelay or post-Pitch signal. Panning and Tremolo are available in this configuration, and are in series with the preamp or EQ signal line. The Preamp Signal Pre/Post EQ switch chooses whether the Preamp Output comes from preamp or EQ. 21 #2 Preamp > Lezlie > Delay > Reverb Configuration 2 Delay Input Mix Reverb Input 1 Mono Stereo Reverb Input Mix INPUT REVERB PREAMP LEZLIE Reverb Input 2 DELAY Lezlie Output Delay Output Reverb Output Effects Output OUTPUT Direct Output This is similar to the QuadModeª configuration, but replaces the EQ and Pitch modules with a Lezlie (rotating speaker simulator) module and does not have a Preamp level control. The Lezlie module simulates the common two-speaker system with two different speeds. The switching and mixing options are similar to those used in QuadMode. This configuration produces complex frequency and amplitude modulation effects and works very well with rhythm guitar. 22 #3 Preamp > Graphic EQ > Delay Configuration 3 Delay Input Mono Stereo DELAY INPUT PREAMP GRAPHIC EQ EQ Output Delay Output Effects Output OUTPUT Direct Output This combines the 11 band graphic EQ with delay. The EQ provides sophisticated sound-shaping for the preamp sound, and the delay adds ambience for lead effects. #4 Preamp > 5 Band EQ > Tremolo/Panning > Pitch Change > Delay Configuration 4 Pitch Input INPUT Delay Input 1 Mono Stereo Delay Input Mix PREAMP 5 BAND EQ DELAY Preamp Pre/Post EQ PITCH EQ Output PANNING & TREMOLO Pitch Output Delay Output Effects Output OUTPUT Pre-Amp Signal Direct Output This is just the ticket for rich chorus sounds. Use the 5 Band EQ to shape your timbre, Pitch Change to add chorusing (or other pitch effects such as flanging, etc.), and Delay to add evocative echo effects. Using the Multi Tap option in the Delay module creates unusual echo effects along with chorusing. The Pitch module can switch its input between preamp or EQ signals. The Delay moduleÕs Delay Input Mix control chooses a blend between the output of the Pitch module, or the preamp or EQ signal (as selected by the Delay Input 1 switch). 23 Multi Tap delay is also available in this mode along with the standard mono, stereo, and ping-pong delays. Up to eight taps are available along the delay line; each tap has variable delay time, panning, volume, and feedback. For more details about multitap delays, see section 4.5. Panning and Tremolo are available in this configuration, and are in series with the EQ signal line. The Preamp Signal Pre/Post EQ switch chooses whether the Preamp Output comes from before or after the EQ. #5 Preamp > 3 Band EQ > Reverb Configuration 5 Reverb Input INPUT Mono Stereo REVERB + CHORUS PREAMP 3 BAND EQ Preamp Pre/Post EQ Delay Output Effects Output EQ Output OUTPUT Pre-Amp Signal Direct Output This is the recommended configuration when you want the best possible reverb sound. By restricting the number of effects, the QuadraVerb GT can devote its full computing power to creating awesome reverberation effects. However, EQ is still available for additional tone shaping, as is a simpler version of chorusing. 24 #6 Preamp > Ring Modulator > Delay > Reverb Configuration 6 Ouput Shift Mix Up INPUT Delay Input Mix Mono Stereo Reverb Input 1 Reverb Input Mix REVERB PREAMP RING MOD Down Delay & Reverb Shift Mix DELAY Reverb Input 2 Reverb Output Delay Output Effects Output Ring Modulator Output OUTPUT Pre-Amp Signal Direct Output This configuration features the Ring Modulation in conjunction with Delay and Reverb. The Ring Modulator is not available in other configurations. The Ring Modulator produces two outputs, both of which are mathematically derived (sum and difference frequencies) from the input signal. The Ring Modulator output can pan between these two output signals, as can the Delay & Reverb Shift Mix control, which chooses a blend of both outputs to send to the Delay and Reverb inputs. #7 Preamp > Resonators > Delay > Reverb Configuration 7 Reverb Input 1 Delay Input Mix Mono Stereo Reverb Input Mix RESON 1 INPUT RESON 2 PREAMP RESON 3 RESON 4 RESON 5 Resonator Output Reverb Input 2 REVERB DELAY Reverb Output Delay Output Effects Output OUTPUT Pre-Amp Signal Direct Output This configuration features the Resonators in conjunction with Delay and Reverb. 25 #8 Preamp > Sampling Configuration 8 Trigger Audio Trigger MIDI Note Looping On-Off Start Mono Stereo Length Trigger In Pitch In Sampling Output SAMPLING INPUT PREAMP Pre-Amp Signal OUTPUT Direct Output In this configuration, you can record sounds (processed by the Preamp if desired) into the QuadraVerb GT and play them back in a variety of ways. 26 CHAPTER 3 - BASIC EDITING TECHNIQUES Editing is the key to using the QuadraVerb GT to its fullest potential. If you like a sound but want more reverb, less treble, more distortion, or whatever, editing is the answer. Make sure that if you develop a custom set of programs, that you save your data to some form of MIDI system exclusive storage device, like the Alesis DataDisk (see sections 5.5-5.6). 3.1 HOW EDITING WORKS The QuadraVerb GT contains five Effects Groups, each with its own corresponding front panel selection button: Reverb, Delay, Pitch, Equalization (EQ), and Guitar Preamp (Pre-Amp). These all contain editable parameters. Four other editable functions (with front panel buttons) are also available: MIDI, Name/Mod, Mix, and Configuration. The basic editing procedure is the same for whatever you want to edit; weÕll get into specifics later. 1. Select What You Want to Edit Push the button associated with the Effect Group (Reverb, Delay, Pitch, EQ, Preamp) or function (MIDI, Config, Mix, Mod) you want to edit. The LED in the middle of the button will light. 2. Select the Page with the Parameter to be Edited Each effect/function includes several pages. Each page shows the name and value of one (or sometimes more) parameters, and each parameter controls some particular aspect of the QuadraVerb GTÕs sound or operation. Most effects or functions require multiple pages to show all available parameters. The page's upper display line shows the parameter name, and the lower line, the parameter value. Press the PAGE UP and DOWN buttons to select a page containing a parameter to be edited. The harder you press the PAGE button, the faster the pages will scroll. NOTE: The NAME/MOD button is the exception to this rule,as it 27 accesses both program name parameters as well as the QuadraVerb GT's MIDI modulation parameters. (See section 3.4) 3. Change the Parameter's Value A parameter's value is like the Òcalibration scaleÓ a knob would point to on a regular guitar effects box, except instead of setting a physical device to a certain position, you see the parameter setting on the screen and adjust its value with a pair of buttons (increase/decrease value). For example, a volume knob on a guitar amplifier might be set to 5 would be the same as a volume parameter with a range of 00-99 set to 50. In either case, the control is set halfway. A small line under a parameter indicates it can be edited. Use the VALUE buttons to change a parameter's value. The harder you press the VALUE button, the faster the values will scroll. 4. Edit More Parameters Repeat steps 1-3 until all the parameters you want to edit have been edited. Notes ¥ All edits are not made to the original program, but to a copy of the program that resides in a special place in QuadraVerb GT memory called the Edit Buffer. A decimal point to the right of the program number indicates that you are listening to an edited program in the Edit Buffer. You must save an edited program by transferring the edit buffer contents into the original program memory location before selecting another program, or your edits will be lost. ¥ Each parameter has a default value that works well in most applications. To return to this value, press both VALUE buttons simultaneously. See chart on page 113. 28 3.2 COMPARING EDITED AND NON-EDITED VERSIONS OF PROGRAMS Editing a program does not change the original version permanently until it is stored (see section 3.3 below). Because your edited version is separate from the original, you can compare the two versions without altering the original. This can be very useful if you ÒovereditÓ a program and want to see if the edited version really does represent an improvement over the original program. To compare: 1. Press the PROG button. 2. Press the PAGE UP button. The display says * COMPARING * and you can hear the program you started with. 3. To exit compare mode, hit any button except a VALUE button. IF YOU PRESS A VALUE BUTTON, YOUR EDITED VERSION WILL BE LOST. 3.3 SAVING (STORING) EDITED PROGRAMS 1. To save an edited program, press the STORE button. The LED in the middle of the button will light. The display says: STORE PROGRAM AT LOCATION: XX Éwhere XX is the original program number. 2. To save to a different program number, press the appropriate VALUE button to select the desired program location. Warning! This edited program will overwrite the program stored in this location. Before saving, make sure the program to be overwritten is expendable. 3. Press the STORE button a second time to save the program. The display will say PROGRAM STORED. 29 3.4 RENAMING PROGRAMS You may want to give your edited program a distinctive name. 1. Press the NAME/MOD button. The LED in the middle of the button will light and the display says: EDIT NAME: Ò(Name of Song)Ó 2. Use the PAGE buttons to select the character to be changed. Characters available (in addition to a blank space, Yen symbol, and left and right arrows) are: ! ( / 6 = D K R Y a h o v } Ò ) 0 7 > E L S Z b i p w # * 1 8 ? F M T [ c j q x $ + 2 9 @ G N U ] d k r y % , 3 : A H O V ^ e l s z & 4 ; B I P W _ f m t { Õ . 5 < C J Q X ` g n u | 3. Use the VALUE buttons to select the desired character. To enter a space, press both VALUE buttons simultaneously (or press the DOWN VALUE button and scroll to the last character of the character list, which is a blank space). 4. Repeat steps 2 and 3 until the program is named. 6. To store the name, press the STORE button twice. 7. Press any button other than PAGE or VALUE to exit the Name page. 3.5 RECALLING INDIVIDUAL FACTORY PROGRAMS 1. Press STORE. The LED in the middle of the button will light. 2. Press the PAGE UP button to select the Recall page. The display says: 30 RECALL ALESIS PROG YY INTO XX 3. Press either VALUE button to select the program to be recalled (the first parameter). 4. Press the PAGE UP button again to move the cursor under the second parameter. 5. The factory program will be recalled into the program selected as the second parameter. Press either VALUE button to select this program number. 6. Press STORE to complete the recalling operation. 3.6 RECALLING ALL FACTORY PROGRAMS 1. Press STORE. The LED in the middle of the button will light. 2. Press the PAGE UP button three times. The display says: RECALL ALL 90 ALESIS PROGRAMS 3. Press STORE and all the program locations will be occupied by factory programs. Any other data will be overwritten. 31 CHAPTER 4 Ð EDITING CONFIGURATION PARAMETERS In this section, weÕll describe how to select a configuration, then how to edit the parameters for each configuration. Please refer to the configuration block diagrams in section 2.2 for details on how particular mixing and switching parameters work with a particular configuration. Remember that after selecting a configuration, the PAGE buttons select the various pages with different parameters. If a page has more than one parameter, the PAGE buttons also move between those parameters. Once a parameter is selected, as indicated by a cursor (small underline), use the VALUE buttons to change the parameter value. Sampling is such a different type of application that it has its own chapter. All sampling parameters are covered in that chapter. Important! In many of the following sections, a diagram will show what you can expect to see when you call up a particular page. The parameter value shown for each page will usually be representative, but when you actually call up the page on the QuadraVerb GT, a different parameter value from the one shown in the manual may appear. 4.1 SELECTING A CONFIGURATION 1. Select the program whose configuration you want to change or edit. 2. Press the CONFIG button. The LED in the middle of the button will light. 3. Use the VALUE buttons to select the desired configuration. 32 4.2 SELECTING A CONFIGURATION MODULE FOR EDITING After selecting the desired configuration, press the button associated with the module you want to edit (REVERB, DELAY, PITCH, EQ, or MIX). If the module is not used in a particular configuration, the display briefly says: NOT USED IN THIS CONFIGURATION 4.3 EDITING PREAMP PARAMETERS Since all configurations use the Preamp section, weÕll describe those edits first. Press the PRE-AMP button. Its LED will light and the first page will show the compression amount. Use the PAGE buttons to access the various pages described below. Compression A compressor reduces the guitar's dynamic range to increase sustain and even out amplitude peaks. Recordings often use compression to give a smooth guitar sound. Compression is an important first link in any guitar effects chain. COMPRESSION: 07 There are seven compression amounts (1-7) with higher numbers giving more compression. Compression can also be turned off. Overdrive The Overdrive stage provides a Òrhythm guitar crunchÓ type of sound as opposed to the smoother, more biting Distortion module (which is used more for leads). The overdrive stage also gives a fuller, more harmonically dense sound than the Distortion module. The QuadraVerb GT's Overdrive stage utilizes both odd and even order harmonics to 33 attain a warmer, fuller, more tube-like sound. OVERDRIVE: 07 There are seven overdrive amounts (1-7) with higher numbers giving more distortion. Overdrive can also be turned off. Experiment with various settings of both overdrive and distortion to produce a variety of different tones. It is important to note that you can get quite a different tone from combining Overdrive and Distortion in addition to using either of the effects independently. Distortion The QuadraVerb GT includes several distortion options, as selected with the VALUE buttons. DISTORTION: OFF Off No distortion 1 Mild distortion for rhythm guitar & smooth leads. 2 A little more bite for leads. 3 Mild rock distortion for rhythm guitar and crunchy leads. 4 Rock distortion for lead or rhythm. 5 Bright, highly overdriven sound for lead and heavy rhythms. 6 Mild heavy metal distortion for rhythm guitar and metal leads. 7 Heavy metal distortion for lead or rhythm with tons of edge. 8 Big shred sound for lead. Preamp Tone The display says: PREAMP TONE: FLAT There are three options: Flat (doesn't affect the sound), Presence (provides a treble boost), and Bright (provides an treble boost/midrange 34 cut). Both the Preamp Tone and Bass Boost parameters can be used to shape the initial sound of your tone, while the EQ and/or Resonators (see section 4.8) can be used for fine tuning. Bass Boost The display says: BASS BOOST: ON Set to On for a fuller, bassier sound. Otherwise, set to Off. The Bass Boost can also be used to get a fuller sound at low volumes. Cabinet Simulator The display says: CAB SIMULATOR: ON Much of the sound of an electric guitar doesn't come from effects or the power amp, but from the sound of the speaker cabinet. When feeding a recording console or PA, choose either Cabinet 1 (sounds like two 10Ó speakers) or Cabinet 2 (simulates a cabinet with four 12Ó speakers). When using the QuadraVerb GT with a standard guitar amp, leave this set to Off. However, if you like the sound of the cabinet simulators while using a guitar amp, it's perfectly OK to use these settings. You be the judge. Effect Loop The display says: EFFECT LOOP: IN The QuadraVerb GT's Effect Loop is designed to let you insert other signal processing devices into your signal chain. The effect send and return jacks also allow you to use the analog and digital sections independently as described in section 2.1. 35 Noise Gate The display says: NOISE GATE: A UTO Extreme compression and distortion settings, as well as hum and noise picked up from your guitar pickups, can add undesirable noise. The noise gate cuts off the signal when it dips below a certain threshold level, as set by the noise gate parameter value. Set the threshold just above the noise so that your playing exceeds the threshold and passes through the gate, but residual noise that is present when you are not playing will not exceed the threshold and will be blocked. You can set the Quadraverb GT's noise gate threshold manually, or you can enable the Auto Gate feature to set it for you. The auto gate estimates a moderate gate level for you, depending on the amount of compression and distortion you have chosen. To set the noise gate manually, don't play your guitar. If you hear noise, start with the value at Off and slowly increase value (up to 16) until the noise goes away. With extremely noisy signals, you may have to compromise a bit and have either a little bit of noise get through, or have more of a noteÕs decay get cut off. Preamp Out Level The display says: PREAMP OUT LEVEL 00 The Preamp Out Level is located in the Quadraverb GT's digital section, post-effects return. It controls the level of all of the analog effects as they are fed into the processor that generates all of the QuadraVerb GT's digital effects. Proper adjustment of the Preamp Out Level allows you to prevent overloading of this processor without sacrificing the input level necessary to provide sufficient gain to drive the QuadraVerb GT's analog section properly. To set the Preamp Out Level, do the following: 36 1. Press the BYPASS button and play your guitar. Even though you won't hear any effects, check the QuadraVerb GT's input level meter. If the red clip light still lights, turn down the Input knob. 2. If the clip LED doesn't light with the BYPASS button pressed, press it again to disengage the bypass function. Play your guitar and decrease the Preamp Out Level until the level indicator stops clipping. 4.4 EDITING REVERB PARAMETERS Reverb Type (configs 1, 2, 5, 6, 7) In configuration 5, the following reverb type parameters are followed by the number 2 instead of 1 to remind you that this configuration uses the ultra-high-performance reverb algorithm. ¥ Plate 1 Provides a bright reverb sound that's popular with vocals and snares. ¥ Room 1 You can program the room's size and surface (harder or softer). ¥ Chamber 1 Simulates the acoustic Òecho chambersÓ that were built into studios prior to the days of high-quality electronic reverb. ¥ Hall 1 This provides a concert hall ambience with long, dense reflections. ¥ Reverse 1 This type of reverb does not exist in nature; reflections get louder over time, until they are cut off upon reaching a maximum volume level. Reverb Input 1 (configs 1, 2, 6, 7) The number in [brackets] indicates the configuration in which the parameter is found. Multiple numbers indicate that the parameter is found in more than one configuration. ¥ Preamp Output [1, 2, 6, 7] The reverb input signal comes from the preamp output. ¥ EQ Output [1] The reverb input signal comes after the EQ module. ¥ Lezlie Output [2] The reverb input signal comes after the Lezlie 37 module. ¥ Ring Output [6] The reverb signal comes from the Resonator Output. ¥ Resonator Output [7] The reverb signal comes from the Resonator Output. ¥ Pitch Output [1] The reverb signal comes from the pitch module output. ¥ Delay Mix Input [1, 2, 6, 7] The reverb signal comes from the Delay input, which consists of a blend, selected by the Delay Input Mix parameter, of the pitch output and either pre- or post-EQ signal (as selected by the Delay Input 1 switch). Reverb Input (config 5) ¥ Preamp Output [5] The reverb input signal comes from the preamp output. ¥ EQ Output [5] The reverb input signal comes after the EQ module. Reverb Input 2 (configs 1, 2, 6, 7) ¥ Delay Output [1, 2, 6, 7] The reverb input signal comes from the delay output. ¥ Pitch Output [1] The reverb input signal comes from the pitch module output. ¥ Lezlie Output [2] The reverb input signal is post-Lezlie. ¥ Ring Output [6] The reverb input signal comes from the ring modulator output. ¥ Resonator Output [7] The reverb input signal comes from the resonator output. Reverb Input Mix (configs 1, 2, 6, 7) The display shows: REVERB INPUT MIX 1 ¬00® 2 When set to 00, the signal sources selected in Reverb Input 1 and Reverb Input 2 are mixed equally into the reverb. 38 Larger numbers with the arrow pointing toward 1 indicate that more of the signal from Reverb Input 1 will be selected. When set to ¬99, only the signal from Reverb Input 1 will feed the reverb. Larger numbers with the arrow pointing toward 2 indicates that more of the signal from Reverb Input 2 will be selected. When set to 99®, only the signal from Reverb Input 2 will feed the reverb. Reverb Predelay (configs 1, 2, 5, 6, 7) The display shows: REVERB PREDELAY: 001 milliseconds With reverberation, it takes a few milliseconds before the signals from a sound source go through the acoustic space and encounter a surface, thus creating the first series of reflections. Predelay is the amount of delay that occurs before the first reflections begin. This parameter is variable from 1 to 140 ms. The larger this number, the greater the perceived size of the acoustic space. NOTE: Don't confuse the Reverb Predelay parameter with the parameters found in the delay section. The Reverb Predelay is a function of the Reverb section. Reverb Predelay Mix (configs 1, 2, 5, 6, 7) The display shows: PREDELAY MIX: PRE ¬99® POST This parameter lets you mix some of the non-predelayed signal into the reverb input. This is useful if you want to hear a bit of reverb immediately, with more reverb coming in after the amount of time set 39 by the predelay parameter. When set to 00, the predelayed and non-predelayed signals are mixed equally into the reverb. Larger numbers with the arrow pointing toward POST indicate that more of the predelayed signal will be selected. When set to 99® only the predelayed signal will feed the reverb. Larger numbers with the arrow pointing toward PRE select more of the non-predelayed signal. When set to ¬99 only the non-predelayed signal will feed the reverb. Reverb Decay (configs 1, 2, 5, 6, 7) The display shows: REVERB DECAY: 40 This determines how long it takes for the reverb to fade out, on a scale of 00 (shorter) to 99 (longer). Reverb Diffusion Amount (configs 1, 2, 5, 6, 7) The display shows: REVERB DIFFUSION AMOUNT: 1 Diffusion determines the ÒthicknessÓ of the reverb sound by altering the time that occurs between reverberant reflections. With lower diffusion settings, you may be able to actually hear the individual echoes that make up the overall reverb sound. With higher diffusion settings, the echoes increase in number and blend together. Greater diffusion works better with percussive sounds, whereas less amounts of diffusion work well with vocals and other sustained sounds. This parameter is variable from 1 to 9. 40 Reverb Density (configs 1, 2, 5, 6, 7) The display shows: REVERB DENSITY: 4 Usually, in natural acoustic spaces, some time elapses between the first reflection and all other reflections that make up the reverb sound. If you listen to only the reverb with Density set to 1, you will hear the source sound repeat (the first reflection), a short bit of silence, then the onset of the rest of the reverb. Increasing the Density shortens the time between the first reflection and the remaining reverb reflections. At the maximum setting of 9, the reverb will seem to ÒexplodeÓ since the first reflection will no longer be perceived as a separate echo. This parameter is very useful with percussive sounds, since an isolated first reflection may sound like an additional percussive Òhit.Ó It is available in all of the reverbs except for Hall 1 and Hall 2. Reverb Low Frequency Decay (configs 1, 2, 5, 6, 7) The display shows: LOW FREQUENCY DECAY: -40 Separating the decay times for the high and low frequencies changes the timbral quality of the reverb over time. The value is always a negative number since this parameter shortens the time of reverb with low frequency content compared to the master reverb decay time parameter. 41 Reverb High Frequency Decay (configs 1, 2, 5, 6, 7) The display shows: HIGH FREQUENCY DECAY: -40 Separating the decay times for the high and low frequencies changes the timbral quality of the reverb over time. The value is always a negative number since this parameter shortens the time of reverb with high frequency content compared to the master reverb decay time parameter. Reverb Gate Status (configs 1, 2, 5, 6, 7) The display shows: REVERB GATE: ON The level of natural, acoustic reverb decays gradually to zero. Gated reverb abruptly shuts off the reverb ÒtailÓ after a user-settable elapsed time. The next few parameters control the time the gate stays Òopen,Ó the amount of time it takes to Òclose,Ó and the residual reverb level that remains after the gate has closed. NOTE: Don't confuse the Reverb Gate Status parameter with the Noise Gate parameter found in the preamp section. The Reverb Gate is a function of the Reverb section. Reverb Gate Hold Time (configs 1, 2, 5, 6, 7) The display shows: REVERB GATE HOLD TIME: 00 This parameter sets the amount of elapsed time (00-99) before the gate closes and cuts off the reverb tail. 42