Behringer DEEPMIND 12 Manual - Page 98

98 DeepMind 12 User Manual Rack Amplifier Delay Modelled after the Tech 21 SansAmp, the Stereo / Dual Guitar Amp simulates the sound of plugging into a real guitar amp. From shimmering cleans to saturated crunch, the Stereo / Dual Guitar Amp allows an electric guitar player to sound great without using an amp on stage. The PREAMP knob adjusts the amount of input gain prior to the band-specific distortion adjustment. BUZZ adjusts the low-end breakup, PUNCH adjusts the midrange distortion, and CRUNCH tailors the high-frequency content and distortion for smooth or cutting notes. The DRIVE knob simulates the amount of power amp distortion from a tube amp. The LOW and HIGH knobs allow EQ adjustment independent of distortion content, and the overall output is controlled by the LEVEL knob. There are 11 CABINET emulations which can be selected using the CAB parameter. The CABINET simulation can also be bypassed which allows the effect to function like a boost or distortion pedal. Edison EX1 The EDISON EX1+ is a remarkably effective tool that allows manipulation of the stereo field. The effect offers stereo and mid/side input and output and a phase correlation meter. Exaggerate the stereo field with the ST SPREAD knob and adjust the ratio of mono to stereo content with the BALANCE knob. The CENTER DIST knob allows the mono content to be panned. Compensate for level changes with the OUTPUT GAIN knob. Stereo Delay provides independent control of left and right delay (echo) times and features high and low pass filters for enhanced tone shaping of the delayed signals. Use the Stereo Delay to give your mono signals a wide presence in the stereo field. The MIX control lets you blend the source signal and the delayed signal. TIME adjusts the master delay time up to three seconds. LO CUT adjusts the low frequency cut, allowing lower frequencies to remain unaffected by the delay. HI CUT adjusts the high frequency cut, allowing higher frequencies to remain unaffected by the delay. FACTOR L sets the delay on the left channel to rhythmic fractions of the master delay time. FACTOR R sets the delay on the right channel to rhythmic fractions of the master delay time. OFFSET LR adds a delay difference between the left and right delayed signals. The FEED LO CUT/HI CUT adjusts filters in the feedback paths. FEED L and FEED R control the amount of feedback for the left and right channels. MODE sets the feedback mode: Mode ST sets normal feedback for both channels, X crosses feedbacks between left and right channels. M creates a mono mix within the feedback chain. P-P sets up a Ping-Pong delay. (Note: the FEED R control is disabled in this mode.) 3-Tap Delay Auto-Pan Auto-pan creates an up and down volume change at a constant and even tempo just like the guitar amps of yesteryear. Use the Auto-pan to add a unique "surfmusic" texture. SPEED adjusts the LFO rate and DEPTH sets the amount of modulation. PHASE can be used to set an LFO phase difference between the left and right channel, which can be used for panning effects. The WAVE knob blends the LFO waveform between triangular and square shape. The signal envelope, shaped by ATTACK, HOLD and RELEASE, can be used to modulate the LFO speed (ENV SPEED) and the LFO modulation depth (ENV DEPTH). NoiseGate Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with independent frequency, gain, and pan controls. Create time-based echo effects with the Triple Delay to increase the sense of stereo separation. TIME sets the master delay time, which is also the delay time for the first stage. GAIN T sets the gain level of the first stage of the delay. BASE T sets the position of the first delay stage in the stereo field. X-FEED indicates that stereo crossfeedback of the delays is active. FEEDBACK adjusts the amount of feedback. FACTOR A controls the amount of delay time in the second stage of the delay. GAIN A controls the gain level of the second delay stage. PAN A sets the position of the second delay stage in the stereo field. FACTOR B controls the amount of delay time in the third stage of the delay. GAIN B controls the gain level of the third delay stage. PAN B sets the position of the third gain stage in the stereo field. 4-Tap Delay The Noise Gate not only handles the duties of a traditional version, but also offers enhanced "Transient Accenting" characteristics to gated signals. Enhance the attack envelope beyond merely opening the gate, and provide up to 12 dB of additional transient energy to percussive programs. In many cases the DN265's control over transients may prove to be a viable alternate to EQ. Attack is exponential which means it can be set extremely fast to reduce signal loss at the start of sounds while remaining sonically transparent - no clicks. Gate release is reverse exponential so it can be set relatively fast and blend in seamlessly with the natural decay of the material. The 4-Tap Delay provides 4 stages of delay with independently adjustable gain and rate, allowing unique syncopation to be created in the layered repeats. TIME sets the master delay time, which is also the delay time for the first stage. GAIN sets the gain for the first stage. SPREAD positions the first delay stage in the stereo field. A global FEEDBACK adjustment is also available. FACTOR A, B and C adjust the delay rate relative to the global TIME setting for the 2nd, 3rd and 4th stages respectively. Each stage also has its own GAIN adjustment. X-FEED indicates that stereo cross-feedback of the delays is active.