Effect Descriptions

When Stereo and Dual versions of an effect are offered, use the Stereo version when the left and right signal are to be altered together
(e.g. on linked stereo channels or buses), or Dual when you want to dial different settings for the left and right signal.

1  Hall, Amb,Plate,Reverb 12  Stereo Phaser 23  Modulation Delay 34  Enhancer
2  Plate Reverb 13  Dimensional Chorus 24  Graphic and Tru EQ 35  Exciter
3  Vintage Reverb 14  Mood Filter 25  DeEsser 36  Stereo Imager
4  Vintage Room 15  Rotary Speaker 26  Xtec EQ1 37  Edison EX1
5  Gated Reverb 16  Stereo Tremolo 27  Xtec EQ5 38  Sound Maxer
6  Reverse Reverb 17  Sub Octaver 28  Wave Designer 39  Guitar Amp
7  Stereo Delay 18  Delay + Chamber 29  Precision Limiter 40  Tube Stage
8  3-Tap Delay 19  Chorus + Chamber 30  Combinator 41  Stereo / Dual Pitch
9  Rhythm Delay 20  Flanger + Chamber 31  Fair Compressor
10  Stereo Chorus 21  Delay + Chorus 32  Leisure Compressor
11  Stereo Flanger 22  Delay + Flanger 33  Ultimo Compressor

Hall, Ambience, Rich Plate, Room, Chamber Reverb

These 5 reverb emulations are inspired by the Lexicon 480L. Hall
simulates the reverberation that occurs when sound is recorded in
medium to large-sized concert halls. Ambience creates a customizable
virtual acoustic space to add warmth and depth without coloring the
direct sound.

The PRE DELAY slider controls the amount of time before the reverb is heard following the source signal. DECAY controls
the amount of time it takes for the reverb to dissipate. SIZE controls the perceived size of the space being created by the
reverb. The DAMP slider adjusts the decay of the high frequencies within the reverb tail. DIFF(usion) controls the initial
reflection density, and LEVEL controls the effect output.

LO and HI CUT allow the frequencies affected by the reverb to be narrowed. BASSMULT(iplier) controls the low frequency
build-up. SPREAD emphasizes the stereo effect of the reverb. SHAPE adjusts the contour of the reverberation envelope.
MOD SPEED controls the reverb tail modulation rate and TAIL GAIN adjusts the volume of the reverb tail. The Rich Plate and
Room reverbs allow the stereo ECHO DELAY and the delay FEEDBACK to be adjusted independently for each side. The
Chamber reverb allows the stereo REFL(ection) DELAY and GAIN to be adjusted independently.

Plate Reverb
A plate reverb was originally created by sending a signal through a
transducer to create vibrations on a plate of sheet metal which were
then picked up as an audio signal. Our algorithm simulates that sound
with high initial diffusion and a bright colored sound. The Plate Reverb
will give your tracks the sound heard on countless hit records since the
late 1950s. (Inspired by the Lexicon PCM-70)
PRE DELAY controls the amount of time before the reverberation is heard following the source signal. DECAY controls the
amount of time it takes for the reverb to dissipate. SIZE adjusts the size of the virtual room created by the reverb effect. The
DAMP knob adjusts the decay of high frequencies within the reverb tail. DIFF(USION) controls the initial reflection density.
The LO CUT knob sets the frequency beneath which the source signal will not pass through the reverb. The HI CUT knob
sets the frequency above which the source signal will not pass through the reverb. The BASS MULT(IPLIER) knob adjusts
the decay time of the bass frequencies. XOVER controls the crossover point for bass. MOD DEPTH and SPEED control the
intensity and speed of the reverb tail modulation.

Vintage Reverb
Based on the legendary EMT250, the Vintage Reverb delivers
shimmering bright reverb that won’t drown out or overpower your live or
recorded tracks. Use Vintage Reverb to sweeten vocals and snare
drums without sacrificing clarity.

When layer 1 is selected, the first slider on the left sets the reverb time from 4 milliseconds to 4.5 seconds. Slider 2 controls
the low frequency multiplier decay time. Slider 3 controls the high frequency multiplier decay time. Slider 4 controls the
amount of modulation in the reverb tail. When layer two is selected, slider 1 adjusts the pre delay. Slider 2 selects the low cut
frequency. Slider 3 selects the Hi Cut frequency. Slider 4 adjusts the output level of the reverb.

When Layer 1 is selected, the far left encoder push button allows you to select between virtual front and rear outputs. Rear is
suitable for drums due to it being less reflective. Front is well-suited for vocals and other dynamic instruments. The Vintage
button enables the simulation of the input transformers.
Vintage Room

Vintage Room simulates the reverberation that occurs when sound is

recorded in a small room. When you want to add a bit of warmth and
just a touch of reverb, the Vintage Room breathes life into close-miced
guitar and drum tracks. (Inspired by the Quantec QRS)

The VU meter displays the input and output levels. Set the early reflection times for the left and right channel with ER DELAY
L and ER DELAY R. ER LEVEL sets the loudness of the early reflection level. REV DELAY controls the amount of time before
the reverberation is heard following the source signal. HI/LOW MULTIPLY adjusts the decay time of the high and bass
frequencies. TIME shows the duration of the reverb effect. ROOM SIZE adjusts the size of the room effect being created
incrementally from small to large. HIGH CUT sets the frequency above which the source signal does not pass through the
reverb. DENSITY manipulates the reflection density in the simulated room. (This slightly changes the reverb decay time).
LOW CUT sets the frequency below which the source signal does not pass through the reverb.

Gated Reverb
This effect was originally achieved by combining a reverb with a noise
gate. Our gated reverb creates the same impression by a special
shaping of the reverb tail. Gated Reverb is especially effective for
creating a 1980s-style snare sound or to enlarge the presence of a kick
drum. (Inspired by the Lexicon 300/480L)

PRE DELAY controls the amount of time before the reverberation is heard following the source signal. DECAY controls the
amount of time it takes for the reverb to dissipate. ATTACK controls how fast the reflection density builds up.

DENSITY shapes the reverb decay tail. The higher the density, the greater the number of sound reflections. SPREAD
controls how the reflection is distributed through the envelope of the reverb. The LO CUT knob sets the frequency beneath
which the source signal will not pass through the reverb. The HiSvFr/ HiSvGn knobs adjust a Hi-Shelving filter at the input of
the reverb effect. DIFF(USION) controls the initial reflection density.

Reverse Reverb

Reverse Reverb takes the trail of a reverb, turns it around, and places it
in front of the sound source. Use the swelling crescendo of the Reverse
Reverb to add an ethereal quality to vocal and snare tracks. (Inspired by
the Lexicon 300/480L)

Adjusting the PRE DELAY knob adds up to 200 milliseconds of time before the reverb follows the source signal. The DECAY
knob adjusts the time it takes for the reverb to completely dissipate. RISE controls how quickly the effect builds up.
DIFF(USION) controls the initial reflection density. SPREAD controls how the reflection is distributed through the envelope of
the reverb. The LO CUT knob sets a low frequency beneath which the source signal will not pass through the reverb. The
HiSvFr/HiSvGn knobs adjust a Hi-Shelving filter at the input of the reverb effect.

Stereo Delay

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.
3-Tap Delay

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 BASE sets the master delay time, which is also the delay time for the first stage. GAIN BASE sets the gain level of the
first stage of the delay. PAN BASE sets the position of the first delay stage in the stereo field. LO CUT sets the frequency at
which the source signal can begin passing through the delay. HI CUT sets the frequency at which the source signal no longer
passes through the delay. X-FEED indicates that stereo cross-feedback of the delays is active.

MONO activates a mono mix of both channels for the delay input. FEED 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.

Rhythm Delay

The Rhythm Delay provides 4 stages of delay with independently

adjustable gain and rate, allowing unique syncopation to be created in
the layered repeats.

TIME BASE sets the master delay time, which is also the delay time for the first stage. GAIN BASE sets the gain for the first
stage. SPREAD positions the first delay stage in the stereo field. A global FEEDBACK, LO and HI CUT adjustment are also
available. FACTOR A, B and C adjust the delay rate relative to the global TIME BASE setting for the 2nd, 3rd and 4th stages
respectively. Each stage also has its own GAIN adjustment. MONO activates a mono mix of both channels for the delay
input. X-FEED indicates that stereo cross-feedback of the delays is active.

Stereo Chorus

Chorus samples the input, slightly detunes it and mixes it with the
original signal to produce a somewhat thicker, shimmering sound. Use it
to thicken up background vocals, or to double the sound of brass and
woodwind instruments.

Where as DELAY L/R set the total amount of delay for the left and right channel, WIDTH determines the amount of
modulated delay. SPEED sets the modulation speed. MIX adjusts the balance of the dry and wet signals. You can further
sculpt the sound by trimming some of the low and high end from the effected signal with the LO and HI CUT knobs.
Additionally, the PHASE knob can tweak the phase offset of the LFO between left and right channel and the SPREAD knob
adjusts how much of the left channel is mixed into the right and vice versa. Finally, the WAVE knob blends between the
“Danish-style” digital triangular chorus sound and the classic analog sine wave.

Stereo Flanger

The Flanger emulates the phase-shifting sound (comb-filtering)

originally created by applying pressure against the flange of the reel on
a tape recorder. This effect creates a unique “wobbly” sound that is
quite dramatic when used on vocals and instruments.

The controls of this effect are nearly identical to the Chorus effect block. Additionally, the FEEDBACK can be adjusted with
positive and negative amounts and also band-limited with the FEED HC (high-cut) and FEED LC (low-cut) knobs.
Stereo Phaser
A Stereo Phaser, or phase shifter, applies multiple STAGES of
modulated filters to the input signal to create a “notch” in the frequency
response, and then applies a MIX with the original for a “swirling” effect.
Use the Stereo Phaser to add a “spaced-out” sound to vocal or
instrument tracks.

SPEED adjusts the LFO rate and DEPTH sets the LFO modulation depth. The BASE knob adjusts the frequency range of the
modulated filters. The resonance is adjusted with the RESO knob. The WAVE knob shapes the symmetry of the LFO
waveform and PHASE dials in an LFO phase difference between the left and right channel. The modulation source can also
be the signal envelope, which produces vowel-like opening and closing tones. The ENV MOD knob adjusts how much this
effect takes place (positive and negative modulation is possible), and the ATTACK, HOLD and RELEASE knobs all tailor the
response of this feature.

Dimensional Chorus
The Dimensional Chorus offers the most user-friendly and classic
sounds, best described as “space” and “dimensional”. The 4 MODE
buttons can be engaged individually or simultaneously for light chorus or
very thick, exaggerated modulation.

Mood Filter
The Mood Filter uses an LFO generator and an auto-envelope
generator to control a VCF (voltage-controlled filter), as well as a side
chain function where the channel B signal controls the envelope of
channel A. When applied to electronic instruments, the Mood Filter can
be used to emulate the natural sound of acoustic instruments. (Inspired
by the MiniMoog)

This filter can be modulated with the signal’s envelope using the ENV MOD (with positive and negative amounts), ATTACK
and RELEASE knobs, or the LFO can modulate the filter. The WAVE knob selects between 7 different wave forms –
triangular, sine, saw plus, saw minus, ramp, square, and random. The PHASE can be off set by up to 180 degrees. The
SPEED knob adjusts the rate of the LFO and the DEPTH adjusts the amount of LFO modulation. Adjust the resonance of the
filter until self-oscillation with the RESO(nance) knob. BASE adjusts the range of the filter from 20 Hz to 15 kHz. The MODE
switch selects between low pass (LP), high-pass (HP), band-pass (BP) and Notch. Use the MIX knob to blend the effected
signal with the dry sound. With the 4 POLE switch engaged, there will be a steeper slope than the OFF (2 pole) setting. The
DRIVE knob adjusts the level and can also introduce an overdrive effect (as with real analogue filters) if pushed hard. In
Sidechain mode, only the left input signal is processed and fed to both outputs. The envelope of the right input signal can be
used as a modulation source.

Rotary Speaker

Rotary Speaker emulates the sound of a Leslie rotating speaker. The

Rotary Speaker provides more flexibility than its electro-mechanical
counterpart, and can be used with a variety of instruments, and even
vocals, to create a whirling, psychedelic effect.

The LO SPEED and HI SPEED knobs adjust the rotational speed of the SLOW and FAST Speed selection, and can be
toggled with the FAST button. The ACCEL(eration) knob adjusts how quickly the speed increases and decreases from the
Slow mode to the Fast mode. The rotation effect can also be disengaged with the STOP button, which will stop the
movement of the speakers. DISTANCE adjusts the distance between the Rotary speakers and the virtual microphone.

Stereo Tremolo
Stereo Tremolo creates an up and down volume change at a constant
and even tempo just like the guitar amps of yesteryear. Use the Stereo
Tremolo to add a unique “surf-music” texture to a vocal or instrument
track.
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).
Sub Octaver
The Sub Octaver provides two channels of sub harmonics generation,
one or even two octaves below the input signal. Adjust the DIRECT
knob to blend the “dry” signal with the lower octaves. Use the RANGE
switch to optimize the tracking by selecting the frequency range of the
input signal. The OCT1 and OCT2 knobs adjust how much 1 octave
down and 2 octaves down content is included.

Delay + Chamber

Here we have combined Delay and Chamber reverb, so a single device

can provide a variety of delay settings, plus add just the right type and
amount of reverb to the selected signal. This device only uses one FX
slot. (The Reverb is Inspired by the Lexicon PCM 70)

Use the BALANCE knob to adjust the ratio between delay and reverb. Low frequencies can be excluded with the LO CUT
knob, and the MIX adjusts how much of the effect is added to the signal. The TIME knob adjusts the delay time for the left
channel delay, and the PATTERN sets the delay ratio for the right channel delay. Adjust the FEEDBACK and trim some high
frequencies with the FEED HC (high-cut) knob. The XFEED knob allows you to send the delay sound to the reverb effect, so
instead of running completely parallel, the reverb affects the echos to a selected degree. The PREDELAY knob determines
the hesitation before the reverb affects the signal. The DECAY knob adjusts how quickly the reverb fades. The SIZE controls
how large or small the simulated space is (room, cathedral, etc.). The DAMPING knob determines the decay of high
frequencies within the reverb tail.

Chorus + Chamber

Taking up only one FX slot, the Chorus + Chamber effect combines the
shimmer and doubling characteristics of a studio-grade Chorus with the
sweet sound of a traditional Chamber reverb. (Reverb is Inspired by the
Lexicon PCM 70)

The BALANCE knob adjusts the balance between chorus and reverb. Low frequencies can be excluded with the LO CUT
knob, and the MIX knob adjusts how much of the effect is added to the signal. SPEED, DELAY and DEPTH adjust the rate,
delay, and modulation depth of the chorus. The LFO PHASE between left and right channel can be offset by up to 180
degrees, and WAVE adjusts the LFO waveform from a sine wave to triangular wave. The PREDELAY knob determines the
hesitation before the reverb affects the signal. The DECAY knob adjusts how quickly the reverb fades.

The SIZE controls how large or small the simulated space is (room, cathedral, etc.). The DAMPING knob determines the
decay of high frequencies within the reverb tail.

Flanger + Chamber

Add the mind-bending, filter-sweeping effect of a state-of-the-art Flanger

to the elegant sweetening of a traditional Chamber reverb — all in one
FX slot. (Reverb is Inspired by the Lexicon PCM 70)

The BALANCE knob adjusts the ratio between flanger and reverb. Low frequencies can be excluded with the LO CUT knob,
and the MIX knob adjusts how much of the effect is added to the signal. SPEED, DELAY and DEPTH adjust the rate, delay,
and modulation depth of the flanger. FEEDback can be adjusted with positive and negative amounts. The PHASE can be off
set by up to 180 degrees. The PREDELAY knob determines the hesitation before the reverb affects the signal. The DECAY
knob adjusts how quickly the reverb fades. The SIZE controls how large or small the simulated space is (room, cathedral,
etc.). The DAMPING knob determines the decay of high frequencies within the reverb tail.
Delay + Chorus
This combination effect merges a user-definable Delay (echo) with a
studio quality Chorus sure to fatten up even the “skinniest” track. Uses
only one FX slot. (Inspired by the TC Electronic D-Two)

The TIME knob adjusts the delay time, and the PATTERN knob sets the delay ratio for the right channel and negative values
activate a cross feedback between the two channels. The FEEDHC knob adjusts the delay high-cut frequency, while the
FEEDBACK knob adjusts the number of repeats. The X-FEED knob allows you to send the delay sound to the chorus effect.
The BALANCE knob adjusts the ratio between delay and chorus. SPEED, DELAY and DEPTH adjust the rate, delay, and
modulation depth of the chorus. The right channel LFO PHASE can be offset by up to 180 degrees, and WAVE adjusts the
chorus character by shaping the LFO waveform from sine wave to triangular wave. Use the MIX knob to blend the effected
signal with the “dry” sound.

Delay + Flanger
This handy dynamic duo blends the “woosh” of soaring jet planes with
classic Delay, and can be adjusted from mild to wild. This combination
effect only takes up one FX slot. (Inspired by the TC Electronic D-Two)

The TIME knob adjusts the delay time, and the PATTERN knob sets the
delay ratio for the right channel and negative values activate a cross
feedback between the two channels. The FEEDHC knob adjusts the delay high-cut frequency, while the FEEDBACK knob
adjusts the number of repeats. The X-FEED knob allows you to send the delay sound to the flanger effect. The BALANCE
knob adjusts the ratio between delay and flanger. SPEED, DELAY and DEPTH adjust the rate, delay, and modulation depth
of the flanger. The right channel LFO PHASE can be offset by up to 180 degrees, and FEED (positive and negative amounts)
adjusts the feedback effect. Use the MIX knob to blend the effected signal with the “dry” sound.

Modulation Delay
Modulation Delay combines three of the most used time modulation
effects into one easy-to-operate unit, featuring true-stereo delay with a
lush chorus, topped off with three reverb models to choose from.

The BALANCE knob adjusts ratio of delay to reverb. The processor

chain can operate as serial where one effect flows into the next, or
parallel where each effect is applied to the source signal independently. TIME, FEED(back), LOW and HI CUT all affect the
delay. Modulation DEPTH and RATE are adjustable. Three types of reverb are available – ambience, club and hall – with
adjustable DECAY and HI DAMP.

Graphic and Tru EQ

The dual and stereo EQs are standard graphic equalizers that provide 31 bands of adjustment between 20 Hz and 20 kHz. A
master volume slider compensates for changes in volume caused by the equalization. A maximum boost or cut of 15 dB is
available for each band.
The TruEQ incorporates a special algorithm that compensates for the gain adjustment overlapping effect that adjacent
frequency bands have on one another. On a standard EQ, when neighboring bands are boosted together, the resulting effect
is magnified beyond what is visible from the positioning of the sliders. This compensated EQ will produce an adjustment that
is identical to the actual positioning of the sliders.
DeEsser
The DeEsser effect allows the sibilance to be controlled for singers that
have a pronounced "S" sound. Separate knobs allow the low and high
bands to be adjusted, and the effect can be optimized for male and
female voices.

Xtec EQ1
Inspired by the Pultec EQP-1a, this passive equalizer is a very powerful
tool for sound enhancement. GAIN allows compensation for level
changes resulting from frequency adjustments. Toggle the IN switch to
engage or disengage the effect. Select the low frequency with the LO
FREQ knob, adjust the amount of enhancement with the LO BOOST,
then adjust the attack with the LO ATT. The same adjustments are
available for the high frequencies.

Xtec EQ5

This Pultec emulation is a classic analog passive equalizer that offers

very warm and musical frequency sculpting. Simply select the center
frequency for the 3 bands, then adjust how much low and high you want
to boost and how much midrange you want to cut.

Wave Designer
Wave Designer is a powerful tool for adjusting signal transients and
dynamics, such as attack and sustain. Use it to make a snare drum
really “crack” in the mix or level out volume inconsistencies of slap bass
tracks. (Inspired by the SPL Transient Designer)

Adjusting the ATTACK knob can add punch or tame overly dynamic signals. Increasing the SUSTAIN knob acts in a similar
way as a compressor, allowing the peaks to carry longer before decay. The effect can also be used to reduce the sustain for
a more staccato sound. The GAIN knob compensates for level changes caused by the effect.

Precision Limiter

Stereo Precision Limiter allows you to set a precise volume limit,

ensuring distortion-free, optimal signal integrity. Use the Stereo
Precision Limiter to boost quiet signals or preventing clipping while
preserving the level of “hot” signals.

AUTOGAIN activates an additional long-term gain correction, allowing automatic gain scaling of varying input level ranges.
STEREO LINK applies limiting to both channels equally when activated. INPUT GAIN provides up to 18 dB of gain to the
input signal prior to limiting. OUTPUT GAIN sets the final gain level of the processed signal. SQUEEZE adds compression to
the signal to add punch and a slight distortion depending on the amount you dial in. ATTACK sets the attack time, ranging
from 0.05 mS to 1 mS. RELEASE adjusts the release time from 0.05 mS to 1.04 seconds. KNEE adjusts the soft limiting
threshold point from hard limiting (0 dB) to maximum soft limiting (10 Db).

Combinator

The Combinator emulates famous broadcasting and mastering

compressors, utilizing automatic parameter control that produces very
effective yet “inaudible” results.

The MIX knob allows some of the source signal to pass through unaffected. ATTACK and RELEASE have dedicated controls,
and an Auto Release function can be engaged. Global X-OVER, RATIO, THRESH(old) and GAIN controls are available.
Engage the Spectral Balance Control (SBC) to allow automatic gain balancing between the audio bands and its SPEED
control to determine how aggressively the effect works. The meters can also display band reduction or the SBC gain balance,
and can display peak outputs. The THRESH(old) and GAIN can be adjusted for each band independently.
Fair Compressor
This model of a Fairchild 670 delivers some of the finest colorations in
compressor history. Two small trim VRs, BIAS and BALANCE, preset
the control side chain action, a 6-step knob determines the timing, and
the 2 large INPUT GAIN and THRESHOLD knobs adjust the levels.
There are models available for dual, stereo-linked, or mid/side
operation.

Leisure Compressor
This model of a popular tube-based optical compressor provides natural
and effortlessly musical compression, inspired by the Teletronix LA-2A.
Simply adjust the input GAIN and PEAK REDUCTION knob to dial in
the amount of desired compression, then adjust the OUTPUT GAIN
knob for the desired output level. The COMP setting will give a gentle
compression ratio, whereas the LIMIT setting results in a higher ratio.

Ultimo Compressor
The Ultimo Compressor is based on the Urei 1176LN Limiting Amplifier
and authentically captures the smooth character of the original class-A
output stage in its FET's legendary fast attack.
Start with the INPUT and OUTPUT knobs at the -24 position for unity
gain and set the ATTACK and RELEASE knobs fully counterclockwise.
Select the compression ratio, then raise the ATTACK knob to lightly
compress the signal. Increase the ratio for heavier compression and experiment with ATTACK, RELEASE and INPUT levels
to achieve your desired result. Compensate for overall level reduction with the OUTPUT knob.

Enhancer
These Enhancers are so called “Psycho EQs”. They can enhance the
signal spectrum in bass, midrange and high frequencies but they differ
from traditional equalizers. When you need to generate maximum
punch, clarity and detail, without turning up the overall volume, our
enhancers are the solution. (Inspired by the SPL Vitalizer). Adjust the BASS, MID and HI GAIN knobs to add or reduce
content in those spectrums. The BASS and HI Frequencies can be specifically selected, while the MID Q (bandwidth) can be
adjusted instead. The OUT GAIN knob compensates for changes in level resulting from the effect, and the SPREAD knob
(Stereo version only) emphasizes the stereo content for a wider mix. Engage the SOLO MODE to isolate only the audio
resulting from the effect so you can hear exactly what you’re adding to the mix.

Exciter
Exciters increase presence and intelligibility in live sound applications,
and are indispensable for adding clarity, air and harmonic overtones in
the recording studio. This effect is particularly useful for filling out the
sound in difficult rooms and for producing a more natural live/recorded
sound. (Inspired by the famous Aphex Aural Exciter). Set the frequency of the side-chain filter with the TUNE knob, and
further shape the filter slope with the PEAK and ZERO FILL knobs. Turning the TIMBRE knob left of center adds more odd
harmonics, while turning it right of center adds more even harmonics. Adjust the harmonic content added to the signal with
the HARMONICS knob, and blend in the effected signal with the MIX knob. Engage the SOLO MODE to isolate only the
audio resulting from the effect so you can hear exactly what you’re adding to the mix.

Stereo Imager
A Stereo Imager is typically used to control the placement of a signal
within the stereo field during mixdown or mastering. Modeled after the
BEHRINGER Edison rack unit, the Stereo Imager will lend a
professional quality to your live and recording performances.

The BALANCE knob allows you to emphasize the mono or stereo components of the input signal. The mono and stereo
signals can be panned independently with the MONO PAN and STEREO PAN knobs. OUT GAIN is used to compensate for
level changes resulting from the effect. The phase can also be shifted using the shelving knobs. Select the frequency and
bandwidth (Q) using the corresponding knobs, then adjust the gain with the SHV GAIN knob.
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.

Sound Maxer
Inspired by the Sonic Maximizer 482i, this effect restores natural
brilliance and clarity to any audio signal by adjusting the phase and
amplitude integrity to reveal more of the natural texture of the sound. LO
CONTOUR adjusts the level of phase-corrected low frequencies and
PROCESS adjusts the level of phase-corrected high frequencies. GAIN compensates for level changes caused by the effect.

Guitar Amp
Modeled 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.
The CABINET simulation can be bypassed if the guitarist is already using a real cab, which allows the effect to function like a
boost or distortion pedal. The Dual Guitar Amp allows the left and right channels to be adjusted independently.

Tube Stage
Tube Stage/Overdrive is a versatile effect capable of emulating a variety
of modern and classic tube preamps. Available in stereo and dual-mono
versions, use Tube Stage/Overdrive to dial in warm and fuzzy sounds
from subtle to fully saturated. DRIVE adjusts the amount of harmonics
being driven by the effect. EVEN and ODD adjust the amount of even
and odd harmonics.
GAIN adjusts the output gain of the effect. LO CUT sets the input frequency below which the source signal will not pass
through the effect. HI CUT sets the input frequency above which the input signal will not pass through the effect. BASS GAIN/
FREQ adjust a low shelving filter at the output of the effect. TREBLE GAIN/FREQ adjust a high shelving filter at the output of
the effect.

Stereo / Dual Pitch

Pitch shifting is often used in two different ways. One is to set the Mix knob lower and only use the Cent knob to make a
small off set in pitch between the wet and dry tones. This results in a “voice doubling” effect that thickens the overall sound in
a more subtle way. The extreme use of the effect is to turn the Mix knob fully clockwise so the entire signal is effected. This
way, the signal can be shifted into other keys up to an octave above or below the original. When used on a voice, this results
in a “chipmunk” sound or a low Darth Vader effect.

When the SEMI and CENT knobs are set at 12:00, the pitch is not altered. Making adjustments by semitone will have a very
pronounced effect, whereas changes to the CENT knob will be very minor. The DELAY knob creates a time difference
between the wet and dry sound. The LO and HI CUT knobs allow the effected signal to be band-limited. The Dual Pitch effect
allows the left and right channels to be adjusted independently, and allows GAIN compensation and panning of the two
channels.