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Appendix | MFX and IFX types and parameters
E-80 Music Workstation
r
255
19. Mod. Delay
This effect adds modulation to the delayed sound, producing
an effect similar to a Flanger.
● Delay FBK Mode (Normal, Cross)—Select the way in which
delay sound is fed back into the effect. NORMAL: The left
delay sound will be fed back into the left delay and the
right delay sound into the right delay. CROSS: The left
delay sound will be fed back into the right delay and the
right delay sound into the left delay.
● Delay Left (0.0~500.0ms)—Adjust the time from the direct
sound until when the left delay sound is heard.
● Delay Right (0.0~500.0ms)—Adjusts the time until the
delay sound is heard.
● Delay Feedback (–98%~0~98%)—Adjusts the amount of
the delay sound that’s fed back into the effect. Negative (–)
settings invert the phase.
● Delay HF Damp (200~8000Hz, Bypass)—Adjusts the fre-
quency above which sound fed back to the effect is filtered
out. If you don’t want to filter out any high frequencies, set
this parameter to BYPASS.
● Modulation Rate (0.05~10.0Hz)—Frequency, i.e. modula-
tion speed.
● Modulation Depth (0~127)—Adjust the depth of the
modulation.
● Modulation Phase (0~180 deg)—Adjust the spatial spread
of the sound
● EQ Low Gain (–15dB~0~15dB)—Gain of the low range.
● EQ High Gain (–15dB~0~15dB)—Gain of the high range.
● Balance (D100:0W, D50:50W, D0:100W)—Volume bal-
ance between the direct (D) and the effect sound (W).
● Level (0~127)—Output level.
20. 3 Tap Delay
The Triple Tap Delay produces three delay sounds: center, left
and right.
● Delay Left (200~1000ms, note)—Adjust the time from the
direct sound until when the left delay sound is heard.
● Delay Right (200~1000ms, note)—Adjust the time from
the direct sound until when the right delay sound is heard.
● Delay Center (200~1000ms, note)—Adjust the time delay
from the direct sound until when the center delay sound is
heard.
● Delay Feedback (–98%~0~98%)—Adjusts the amount of
the delay sound that’s fed back into the effect. Negative (–)
settings invert the phase.
● Delay HF Damp (200~8000Hz, Bypass)—Adjusts the fre-
quency above which sound fed back to the effect is filtered
out. If you don’t want to filter out any high frequencies, set
this parameter to BYPASS.
● Delay Level Left (0~127)—Adjust the volume of the left
delay sound.
● Delay Level Right (0~127)—Adjust the volume of the right
delay sound.
● Delay Level Center (0~127)—Adjust the volume of the
center delay sound.
● EQ Low Gain (–15dB~0~15dB)—Gain of the low range.
● EQ High Gain (–15dB~0~15dB)—Gain of the high range.
● Balance (D100:0W, D50:50W, D0:100W)—Volume bal-
ance between the direct (D) and the effect sound (W).
● Level (0~127)—Output level.
21. 4 Tap Delay
Delay with four repetition lines.
● Delay 1~4 (200~1000ms, note)—Adjusts the time until
the delay is heard.
● Delay Level 1~4 (0~127)—Output level of the delay
sound.
● Delay Feedback (–98%~0~98%)—Adjusts the amount of
the delay sound that’s fed back into the effect. Negative (–)
settings invert the phase.
● Delay HF Damp (200~8000Hz, Bypass)—Adjusts the fre-
quency above which sound fed back to the effect is filtered
out. If you don’t want to filter out any high frequencies, set
this parameter to BYPASS.
● Balance (D100:0W, D50:50W, D0:100W)—Volume bal-
ance between the direct (D) and the effect sound (W).
● Level (0~127)—Output level.
22. Time Delay
This effect controls the delay time and pitch in realtime.
Lengthening the delay time will lower the pitch and shorten-
ing it will raise the pitch.
● Delay Time (200~1000ms, note)—Adjusts the time until
the delay is heard.
● Delay Feedback (–98%~0~98%)—Adjusts the amount of
the delay sound that’s fed back into the effect. Negative (–)
settings invert the phase.
● Delay Acceleration (0~15)—Adjusts the time over which
the Delay Time changes from the current setting to a spec-
ified new setting. The rate of change for the Delay Time
directly affects the rate of pitch change.
● Delay HF Damp (200~8000Hz, Bypass)—Adjusts the fre-
quency above which sound fed back to the effect is filtered
out. If you don’t want to filter out any high frequencies, set
this parameter to BYPASS.
● Panpot (L64~0~63R)—Stereo location of the output
sound. This is a mono effect that combines incoming sig-
nals. You can, however, place the processed signal any-
where between the left and right channels.
● EQ Low Gain (–15dB~0~15dB)—Gain of the low range.
● EQ High Gain (–15dB~0~15dB)—Gain of the high range.
● Balance (D100:0W, D50:50W, D0:100W)—Volume bal-
ance between the direct (D) and the effect sound (W).
● Level (0~127)—Output level.
23. 2 Pitch Shifter
A Pitch Shifter changes the pitch of the original sound. This
2-voice effect contains two pitch shifters and adds two trans-
posed copies to the original sound.
● Pitch Shift Mode (1~5)—Higher settings of this parameter
will result in slower response, but steadier pitch.
● Pitch A Coarse (–24~0~+12 semitone)—Adjusts the pitch
of Pitch Shift A in semitone steps (–2~+1 octaves).
● Pitch B Coarse (–24~0~+12 semitone)—Adjusts the pitch
of Pitch Shift B in semitone steps (–2~+1 octaves).
● Pitch A Fine (–100~0~+100 cent)—Makes fine adjust-
ments to the pitch of Pitch Shift A in 2-cent steps (–100~
+100 cents). One cent is 1/100th of a semitone.
● Pitch B Fine (–100~0~+100 cent)—Makes fine adjust-
ments to the pitch of Pitch Shift B in 2-cent steps (–100~
+100 cents). One cent is 1/100th of a semitone.
● Pitch A Pre Delay (0.0~500.0ms)—Adjust the time delay
from when the direct sound begins until the Pitch Shift A
sound is heard.