User manual ART SGX T2 QUICK GUIDE

[. . . ] 3 Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 CONTROLS AND OPERATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Input Level Indicators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Digital Processor Input Level Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] Normal should be used for virtually all other applications of pitch shifting. There is a little less delay than the Smooth setting and qualitive processing is achieved. When you select the Quick setting, a shorter delay time is used causing faster splicing. If you encounter problems relating to delay time, use the Quick Type and if detuning becomes a problem, use the Smooth Type. The PITCH control lets you set the range of pitch change in half steps. Use the fine tune parameter to create or adjust micro pitch shifting or fat chorusing effects. REGENeration is useful when you stack the Pitch Transposer with the MONO DDL algorithm. Each time a repeat is done it is shifted up or down by the pitch selected. The Base Key parameter should be used when triggering the Pitch Transposer from a MIDI keyboard. The values selected in the Base Key parameter correspond to the MIDI Key Number. Example: BASE KEY = 60, (= middle C) if a D above middle C is played, the shift amount will be set to (2). TREMOLO [TREMOLO], [TRM] Parameters: :MOD % =0 to 100 percent in % increments [100%] :SPEED= . 04Hz to 27. 3Hz [2. 16Hz] Tremolo creates an amplitude modulating effect at the output. The actual output signal level is being cut in and out at a certain rate. Re-create the effect found on vintage as well as current guitar amplifiers. NATURAL REVERBERATION ALGORITHMS REVERB-1 [REVERB-1], [REV] Parameters: :TYPE= HALL-1, ROOM-1, PLATE-1, VOCAL-1, OFF [HALL-1] :IN = PRE DDL, POST DDL [PRE DDL] :DECAY = 0 to 25 seconds in varying increments [2. 4s] :HFDAMP = 0 to 50 percent in % increments [14%] :POSITN= FRONT to REAR in % increments [83%] :LEVEL = 0 to 100 percent in % increments [100%] REVERB-2 [REVERB-2], [REV] Parameters: :TYPE= HALL-2, ROOM-2, PLATE-2, VOCAL-2, OFF (REVERB-1 TYPEs are also available) [HALL-2] :IN = PRE DDL, POST DDL [PRE DDL] :DECAY = 0 to 25 seconds in varying increments [2. 4s] :HFDAMP= 0 to 50 percent in % increments [14%] :POSITN= FRONT to REAR in % increments [83%] :LEVEL = 0 to 100 percent in % increments [100%] REVERB-3 [REVERB-3], [REV] Parameters: 28 :TYPE= HALL-3, ROOM-3, PLATE-3, VOCAL-3, OFF (REVERB-1 and REVERB-2 TYPEs are also available) [HALL-3] :IN = PRE DDL, POST DDL [PRE DDL]:DECAY = 0 to 25 seconds in varying increments [2. 4s] :HFDAMP= 0 to 50 percent in % increments [14%] :POSITN= FRONT to REAR in % increments [67%] :DIFFUS= 40 to 100 percent in four % increments [100%] :LEVEL = 0 to 100 percent in % increments [100%] REVERB-1 algorithms are best used when you are using multiple effects. They have less density and are more suited to effects where the reverb is not the main effect but is used for presence. REVERB-2 algorithms use more delay and have a higher complexity than the REVERB1. Generally this reverberant sound is used for tight and harsh sounding reverb. They tend to be a little looser allowing the sound to "bounce" around more adding color to the sound. The Hall types are the largest allowing you to fill in the spaces with reflections and build up density. Once you decide what type of space is required, the length of DECAY is selected. Generally the size of the space is proportional to the time it takes the signal to decay. [. . . ] Select TYPE GTR12F or BASS 12F to tune your instrument to the twelfth fret. After you choose what "type" of instrument, the Reference frequency (Refrnc) parameter defaults to the appropriate Guitar or Bass tuning frequencies. The frequency A 440 is included for tuning keyboards, or checking the intonation of your neck. When you select Refrnc to equal Off, it allows you to access the preset and display the preset number instead of [- - ]. [. . . ]