Effects

Effects Overview

Audity 2000 has two stereo effects processors. When playing presets one at a time, the two processors can be programmed as part of the preset. When the MIDI Mode is set to multi, the Audity uses a global effects assignment (Master Effects). The diagram below shows how the effects are integrated into the signal path using a parallel effects send/return model, similar to a mixing console.

FX Send Amount
Reverb, Delay

Effect A
Sum

Preset

Dry Signal Sum

Main Outs

Effect B
Chorus, Flange

FX Send Amount

The Effects Sends

On a mixing console you can control the amount of signal each channel Sends to the effect bus. This allows each channel to be placed in a slightly different sonic space which creates an airy, open sound. Audity 2000 uses this basic concept, but works in a slightly different manner. There are three effects busses: Main, Sub 1 and Sub 2. Each preset or each MIDI channel (you determine which), can be directed to one of the three busses. Each effect processor contains three Send Amounts which

Audity 2000 Operations Manual 149

Effects Effects Overview

allow you to set the wet/dry mix on each of the three busses going into the effect. A setting of 0% is completely dry (no effect). A setting of 50% contains an equal mix of affected and normal (dry) signal. The submix bus selection is programmed for each layer in the Edit menu. These settings can be overwritten in the Master menu Mix Output screen by changing the submix setting from Main to Sub 1 or 2 which routes the preset on that MIDI channel to the selected submix bus. In the screen below, MIDI channel 2 is programmed to the submix 1 bus. The submix bus routings are also available at the Sub Output jacks on the rear panel. Note that these outputs contain only dry signal. The Effects Processors are ONLY connected to the Main Outputs.

By LAYER
Layer

OUTPUT SECTION & EFFECTS PROCESSORS

FX Sends
Main 15% Sub 1 10% Sub 2 0%

Hall 1

Layer
M A I N

Effect A
BA

Layer

FX Sends
Main 0% Sub 1 0% Sub 2 25%

Chorus

M A I N

Layer

Effect B
S U B 1

MIDI Channel 1 MIDI Channel 2 MIDI Channel 3

S U B 1

S U B 2

S U B 2

MIDI Channel 16

By MIDI CHANNEL
Individual presets or MIDI channels can be routed to the three busses. Note that the signal lines represent stereo signals.

If a plug is inserted into a Sub Output jack, the dry signal from that bus is removed from the effects processor. This feature allows you to have two dry mixes from the Sub Outputs and an Effects Only mix from the Main Outputs.

150 E-MU Systems

Effects Effect Types

Effect Types

A Effect Types
Room 1-3 Hall 1 & 2 Plate Delay Panning Delay Multitap 1 Multitap Pan 3 Tap 3 Tap Pan Soft Room Warm Room Perfect Room Tiled Room Hard Plate Warm Hall Spacious Hall Bright Hall Bright Hall Pan Bright Plate BBall Court Gymnasium Cavern Concert 9 Concert 10 Pan Reverse Gate Gate 2 Gate Pan Concert 11

Medium Concert Large Concert Large Concert Pan Canyon DelayVerb 1-3 DelayVerb 4-5 Pan DelayVerb 6-9

B Effect Types
Chorus 1-5 Doubling Slapback Flange 1-7 Big Chorus Symphonic Ensemble Delay Delay Stereo Delay Stereo 2 Panning Delay Delay Chorus Pan Delay Chorus 1 & 2 Dual Tap 1/3 Dual Tap 1/4 Vibrato Distortion 1 & 2 Distorted Flange Distorted Chorus Distorted Double

Effect Parameters

A Effect types contain Reverb and Delay effects. B Effect types contain Chorus, Flange and Distortion effects. There are 44 A effects and 32 B effects. In addition to the effect type, there are user adjustable parameters for each effect. The A effects have programmable Decay and High Frequency Damping. The B effects have user programmable Feedback, LFO Rate, and Delay Time.

Audity 2000 Operations Manual 151

Effects Effect Types

Decay
The Decay parameter is used when setting A type effects. Decay sets the length of time it takes an effect to fade out. When setting up reverb effects, Decay controls the room size and the reectivity of the room. For larger room sizes and greater reectivity, set the Decay value higher. When setting up delay effects, the Decay parameter controls how many echoes are produced or how long the echoes last. The greater the value, the more echoes and longer lengths of time. The Decay value range is from 0 to 90.

High Frequency Damping

The HF Damping parameter is used when setting A type effects. High Frequency energy tends to fade away rst as a sound is dissipated in a room. the HF Damping parameter adjusts the amount of damping applied to the signals high frequency elements which, in turn, changes the characteristics of the room. Rooms with smooth, hard surfaces are more reective and have less high frequency damping. Rooms lled with sound absorbing materials, such as curtains or people, have more high frequency damping. The value range for High Frequency Damping is from 0 through 127.

Feedback
The Feedback parameter is used when setting B type effects. The Chorus and Flange effects have a controllable feedback loop after the delay element. Feeding back a small amount of the signal intensies the effect by creating multiple cancellations or images. Higher feedback values increase the amount of the Feedback loop. The Feedback value range is from 0 to 127.

LFO Rate
The LFO Rate parameter is used when setting B type effects. Both Chorus and Flange effects use a Low Frequency Oscillator (LFO) to animate the effect. LFO applied to a chorus effect creates the slight changes necessary for a realistic choral effect. Applied to a anger effect, the LFO moves the comb lter notches and adds animation to the sound. The LFO Rate value range is from 0 to 127.

Delay
Flanging, chorus and echoes are all based on a delay line where the signal is delayed by some time period and then mixed back with the unaltered signal. This parameter species the how much time passes before you hear the delayed signal. On some effects, this value cannot be changed. In this case, the eld contains a dash. The Delay value range is from 0ms to 635ms.

152 E-MU Systems

Effects Effects Programmed in the Preset

Effects Programmed in the Preset

Effects are normally programmed as part of the preset allowing you to have a different effect for each. This section describes how to program and modify Audity 2000s preset effects.

v
1. 2.

To Program the Effects as Part of the Preset:

Press the Edit button. The LED illuminates and the Edit screen appears. Use the Data Entry Control to select the FXA Algorithm screen.

FXA ALGORITHM Lg Concert Pan

3.

4.

Select an Effect. Do not select the Master Effect setting or the global effects set up in the Master menu will be used instead of the Preset Effect settings. Use the Data Entry Control to select the FXA parameter screen.

FXA

DECAY 90

HFDAMP 127

FxB>FxA 127

The FxB -> FxA parameter lets you route the B effect through the A effect. See Effect B Into Effect A on page 158.
5. 6.

Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters. Use the Data Entry Control to select the FXB Algorithm screen.

FXB ALGORITHM Distorted Flange

7.

8.

Select an Effect. Do not select the Master Effect setting or the global effects set up in the Master menu will be used instead of the Preset Effect settings. Use the Data Entry Control to select the FXB parameter screen.

Audity 2000 Operations Manual 153

Effects Master Effects

FXB

FEEDBK 127

LFORATE 127

DELAY 635ms

9. 10.

Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters. Save the preset. The programmed effects setting will be saved along with the preset.

Master Effects

You might want the effects to be programmed on a global basis when in Omni or Poly modes. You could choose your favorite reverb, for example, and have it applied to any preset you select. When playing single presets, the effects are normally programmed as part of the preset.

v
1. 2.

To Program the Master Effects

Press the Master menu button. The LED illuminates and the Master screen appears. Use the Data Entry Control to select the FXA Algorithm screen.

FXA ALGORITHM Lg Concert Pan

3. 4.

Select an Effect. Use the Data Entry Control to select the FXA parameter screen.

FXA

DECAY 90

HFDAMP 127

FxB>FxA 127

The FxB -> FxA parameter lets you route the B effect through the A effect. See Effect B Into Effect A on page 158.

154 E-MU Systems

Effects Master Effects

5. 6.

Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters. Use the Data Entry Control to select the FXB Algorithm screen.

FXB ALGORITHM Distorted Flange

7. 8.

Select an Effect. Use the Data Entry Control to select the FXB parameter screen.

FXB

FEEDBK 127

LFORATE 127

DELAY 145ms

9.

Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters.

The FXB Delay Time can also be set to a time signature. This allows the echoes to be synchronized with the Master Clock. Delay Time will follow the Master Tempo using either internal or external (MIDI) clock.
10. 11.

Press the Edit menu button. The LED illuminates and the Edit menu displays the last screen used. Use the Data Entry Control to access the FXA Algorithm page and select Master Effect A.

Audity 2000 must be set to Omni or Poly mode in the MIDI Mode parameter in the Master menu.

FXA ALGORITHM Master Effect A

12. 13.

Repeat step 11 for the FXB Algorithm Save the preset. The programmed effects setting will be saved along with the preset.

Audity 2000 Operations Manual 155

Effects Master Effects

Effects Mode

This control provides a true bypass of the effects engine. Bypass is a useful feature if you are using external effects at the mixing console and want to turn the effects off for all presets.

v
1. 2.

To Bypass the Effects:

Press the Master menu button. The LED lights and the last Master parameter screen used is displayed. Use the Data Entry Control to select the Effects Mode screen.

FX MODE enabled
3. 4. 5.

Use the cursor button to advance the cursor to the bottom line in the screen. Use the Data Entry Control to change the value. Press the Enter key to save the settings.

The Effects Mode values are enabled and bypassed. Enabling the Effects Mode turns on effects. Selecting bypassed turns off the effects.

Effects Multi Mode Control

The effects processor controls are very exible. The effects can be controlled in three different ways to suit your personal preference and to adapt to different situations. When in Omni or Poly mode, effects are normally programmed as part of the preset. In Multi mode, the two effects processors can be controlled using the Master settings or by using the effects settings of a preset on a specic MIDI channel. The effects control is as follows:
1. 2.

You can create special Effects Presets which are assigned to the FX Multi mode Control channel, then use standard MIDI Program Change commands to switch effects during sequence playback.

3.

Programmed as part of the preset when playing single presets (Omni or Poly Modes). Programmed from the Master Effects Section when playing either single presets (preset Effect Type set to Master) or when in Multi Mode. Programmed from the designated control preset when in Multi Mode.

Refer to the following diagram for a look at how effects are programmed.

156 E-MU Systems

Effects Master Effects

Master FX Preset FX
(Omni or Poly Mode)

Effects are part of the Preset

Master FX

Preset Ch 1 FX Master Effects

(Omni, Poly or Multi modes)

Preset Ch 16 FX

Master FX

Preset Ch 1 FX One Channel's Preset determines the Effect Settings

(Multi mode) Selected FX Control Channel

Preset FX Ch 16

v
1. 2.

To Program the Effects Globally for all Presets in Multi Mode:

Press the Master menu button. The LED illuminates and the Master menu screen appears. Use the Data Entry Control to select the MIDI mode page. Choose multi for the mode.

MIDI MODE multi

CHANGE accepted

Audity 2000 Operations Manual 157

Effects Master Effects

3.

Move the cursor to the Multi mode Effects Control page using the Data Entry Control.

FX MULTIMODE CONTROL use master settings

4. 5.

Set the Effect Control channel to use master settings using the Data Entry Control. Press the Enter key to save the settings and return to the main screen.

Using the Effects Channel Settings in Multi Mode

In Multi mode, the two effects processors can be controlled from the Master Effects settings or they can follow the effects settings of the preset on a special MIDI channel. Because up to 16 channels can play at once in multi mode, the effects cannot be programmed at the preset level. There are only two effects processors!

v
1. 2. 3. 4.

To Program the Effects by Channel Number in Multi Mode

Press the Master menu button. The LED illuminates and the Master menu screen appears. Use the Data Entry Control to select the MIDI mode page. Choose multi for the mode. Move the cursor to the Multi mode Effects Control eld using the Data Entry Control Set the Effect Control to preset on Channel # (where # is replaced by the actual channel number from 1 through 16) using the Data Entry Control. Press Enter to save the settings and return to the main screen.

5.

Effect B Into Effect A

The output of effects processor B can be routed into effects processor A. This connects the effects in series instead of their normal parallel conguration. Two effects connected in series sound very different than the same two effects in parallel. For example, a chorus patched through reverb can turn a bland string section into a lush wall of sound. The B >A amount can also be controlled for even more exibility.

v
1.

To Send the Output of Effect B through Effect A:

Access the FXA parameter screen (in either the Master or Edit menus) that contains the FXB >FXA parameter.

In this example, 100% of Effect B will be sent into Effect A.

158 E-MU Systems

Effects Master Effects

FXA

DECAY 127

HFDAMP 127

FxB>FxA 127

2. 3.

Set this amount to 127. Press the cursor button to return the cursor to the top line in the display. Use the Data Entry Control to select the FXA submix routing parameter screen.

FXA SEND AMOUNTS 2 : 20% 3 : 30%

1 : 10% 4 : 0%

4. 5. 6. 7. 8. 9.

Press the cursor buttons to advance the cursor to the Main eld. Set the Main send amount to any amount other than zero. Press the cursor button again to return the cursor to the FXA title. Use the Data Entry Control to advance to the FXB Algorithm page. Select an effect. Advance to the FXB submix routing page and set the Main FXB send percentage to zero. Play the keyboard and you should hear the B Effect running through Effect A. This patch is shown below.

Main Send 50%

Effect B

Main Send 0%

BA
100%

Effect A

Audity 2000 Operations Manual 159

Effects General Effect Descriptions

General Effect Descriptions

Reverb
Reverberation is a simulation of a natural space such as a room or hall. The reverb effects simulate various halls, rooms and reverberation plates. In addition, there are several other reverb effects such as Gated Reverbs, Multi Tap (early reections), Delay and Panning effects. There are two adjustable parameters on the reverb effects - Decay Time and High Frequency Damping. Decay time denes the time it takes for the reected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope.

AMPLITUDE

Pre Reflex Delay Cluster

Reverb

TIME

Decay Time

After an initial pre-delay period, the echoes from the closest walls or ceiling are heard. These rst echoes, or the early reection cluster, vary greatly depending on the type of room. Roughly 20 milliseconds after the early reection cluster, the actual reverberation begins and decays according to the time set by the Decay Time parameter. High frequency energy tends to fade away rst as a sound is dissipated in a room. The High Frequency Damping parameter allows you adjust the amount of high frequency damping and thus change the characteristics of the room. Rooms with smooth, hard surfaces are more reective and have less high frequency damping. Rooms lled with sound absorbing materials such as curtains or people have more high frequency damping.

General Descriptions of the Reverb Types Room: Programs simulate small rooms with high frequency absorption caused by drapes and furniture. Plates: Simulates plate type reverbs with their tight, dense, early reflections and sharp reverb buildup. Hall: Presets recreate the open, spacious ambience of large concert halls. Gated Reverbs: Add ambience only while the original signal is still sounding. As soon as the signal falls below a threshold, reverb is cut off. Delay: Programs can be used to create echo and doubling effects. Multi Tap: Programs consist of the reflection cluster only without the reverb decay.
160 E-MU Systems

Effects General Effect Descriptions

Chorus

The function of a chorus device is to thicken the sound or to make one voice sound like many. This effect is usually created by mixing one or more delayed versions of the signal with the original. The delay times used are too short to be perceived as an echo, but long enough so that comb ltering does not occur. In addition, the delay time is varied via a low frequency oscillator to simulate the random differences which occur when multiple instruments are playing together. A slight amount of feedback improves the effect by creating multiple images of the sound as it recirculates again and again. All the choruses are true stereo using two separate delay lines controlled by a single set of controls. The delay times are slightly different for each channel and the LFO phase is inverted on one channel to help contribute to the overall chorus effect. The LFO Rate and Depth settings are critical to achieving a realistic effect, with faster LFO rates generally requiring less LFO amount and vice-versa.

Doubling

When a copy of a sound delayed by about 26 milliseconds is added back to the original, two audio images are perceived by your brain. When the delayed image is slightly varied or modulated, the illusion of two voices is created. Slapback is a single short echo in the range of 50-60 milliseconds. A sound delayed by this length of time is perceived as a discrete and separate image which is useful for a thickening effect or as a pre-delay for reverb simulating a hard, reective surface such a gymnasium wall. A anger consists of a short audio delay line whose output is mixed together with the original signal. Mixing the delayed and original signals results in multiple frequency cancellations called a comb lter. Since the anger is a type of lter, it works best with harmonically rich sounds. Flanging was originally created using two tape recorders playing identical recordings. By exactly synchronizing the two decks and then slowing the speed of one by grasping the tape reel anges, the anging effect was born. The anger is a stereo device consisting of two separate delay lines controlled by a single set of controls. A Low Frequency Oscillator (LFO) varies this initial delay setting, changing the frequency of the notches and adding animation to the sound. LFO Rate controls the rate of change and LFO Depth controls how much the LFO changes the delay. The Feedback control sends some of the delayed signal through the delay line again. When feedback is used the comb lter notches are deepened.

Slapback

Stereo Flanger

Audity 2000 Operations Manual 161

Effects General Effect Descriptions

Delay

Delay is an effect which can be used for doubling, reverb pre-delay, or echoes. Delay Time is variable from 0-635 mS and controls the time between echoes. Feedback and determines how long the echoes continue sounding. Innite delay effects are also possible without the risk of runaway.

Synced Delay

Any of the Effect B Delays can be synchronized to the Master Clock. This powerful feature allows you to to use echo as a rhythmic element in your music regardless of tempo. Setting the Delay Time value below 0 mS displays note values that are synced to delay time.

FXB

FEEDBK 127

LFORATE 127

DELAY 1/8t

Set below 0mS for Tempos

Select from: dotted 1/4 note, 1/2 note triplet, 1/4 note, 1/4 note triplet, 1/8 note, dotted 1/16 note, 1/8 note triplet, 1/16 note, dotted 1/32 note, 1/16 note triplet, or 1/32 notes. Note: If the selected note value and tempo causes the delay time to be longer than 635 mS, the delay time will be halved so that the delay falls within allowable limits.

Stereo Delay

Similar to delay except that the delay line outputs a stereo signal from the mono input. The two output signals are a few milliseconds apart to create a stereo image. The delay times are variable from 0-635 mS. A panning delay is similar to the normal delay lines except that the echoes bounce back and forth between the two stereo speakers. These are delay lines where the signal is tapped off at two unevenly spaced locations. When feedback is used, multiple complex echoes are produced. The fraction in the name (i.e. 1/3, 1/4) refers to the distance between the taps. Basically, this a delay line modulated by an LFO, but with none of the original signal added in. The LFO modulation creates a Doppler shift and a resultant cyclical pitch shift. The vibrato created in this manner sounds very different than vibrato created by frequency modulating the sample. Distortion uses a technique called soft-clipping to create additional harmonics in the signal. As the level increases, the top of the waveform becomes somewhat squared. As the level increases further, it transforms into a true square wave.

Panning Delay Dual Tap

Vibrato

Distortion

162 E-MU Systems