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VIMA JM-5
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24. MFX types and parameters
Note: Most parameter names mentioned below cannot be dis-
played in full on the JM-5 and are therefore abbreviated.
1. Thru
The effects processor is bypassed.
2. Stereo EQ
This is a four-band stereo equalizer (low, mid x 2, high). Stereo
signals (like certain piano sounds) are thus not combined to a
mono signal before being processed.
●
EQ Low Frequency (200, 400Hz)—Frequency of the low range
you wish to boost or cut.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low range. Negative
values reduce the level.
●
EQ High Frequency (2000, 4000, 8000Hz)—Frequency of the
high range you wish to boost or cut.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high range. Nega-
tive values reduce the level.
●
EQ Mid 1 Frequency (200~8000Hz)—Frequency of the middle
range 1 you wish to boost or cut. This is a parametric EQ band.
●
EQ Mid 1 Q (0.5, 1.0, 2.0, 4.0, 8.0)—Width of the middle range 1.
Set a higher value for “Q” to narrow the range to be boosted or
cut.
●
EQ Mid 2 Gain (–15dB~0~15dB)—Gain of middle range 1.
●
EQ Mid 2 Frequency (200~8000Hz)—Frequency of the middle
range 2 you wish to boost or cut. This is a parametric EQ band.
●
EQ Mid 2 Q (0.5, 1.0, 2.0, 4.0, 8.0)—Width of the middle range 2.
Set a higher value for “Q” to narrow the range to be boosted or
cut.
●
EQ Mid 2 Gain (–15dB~0~15dB)—Gain of the middle range 2.
●
Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
3. Overdrive
Creates a soft distortion similar to that produced by vacuum
tube amplifiers.
●
Drive (0~127)—Degree of distortion. Also changes the volume.
●
Panpot (L64~0~63R)—Stereo location of the output sound. This
is a mono effect that combines incoming signals. You can, how-
ever, place the processed signal anywhere between the left and
right channels.
●
Amp Simulator Type—Allows you to specify what kind of guitar
amp will be simulated: SMALL: small amp, BUILT-IN: single-unit
type amp, 2-STACK: large double stack amp, 3-STACK: large tri-
ple stack amp.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low range.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high range.
●
Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
4. Distortion
Produces a more intense distortion than the above. The param-
eters are the same as for “3. Overdrive”.
5. Phaser
Adds phase-shifted copy to the original sound and modulates
it.
●
Phaser Manual (100~8000Hz)—Adjusts the basic frequency that
is modulated by the effect.
●
Phaser Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed.
●
Phaser Depth (0~127)—Modulation intensity.
●
Phaser Resonance (0~127)—Amount of feedback. Higher values
create a rather more “synthetic character”.
●
Phaser Mix Level (0~127)—Level of the phase-shifted sound
with respect to the original signal.
●
Panpot (L64~0~63R)—Stereo location of the output sound. This
is a mono effect that combines incoming signals. You can, how-
ever, place the processed signal anywhere between the left and
right channels.
●
Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
6. Spectrum
Spectrum is a type of filter that modifies the timbre by boost-
ing or cutting the level at specific frequencies.
●
Spectrum 250Hz Gain (–15dB~0~15dB)
●
Spectrum 500Hz Gain (–15dB~0~15dB)
●
Spectrum 1000Hz Gain (–15dB~0~15dB)
●
Spectrum 1250Hz Gain (–15dB~0~15dB)
●
Spectrum 2000Hz Gain (–15dB~0~15dB)
●
Spectrum 3150Hz Gain (–15dB~0~15dB)
●
Spectrum 4000Hz Gain (–15dB~0~15dB)
●
Spectrum 8000Hz Gain (–15dB~0~15dB)—Gain of each fre-
quency band.
●
Spectrum Band Width Q (0.5, 1.0, 2.0, 4.0, 8.0)—Simultaneously
adjusts the width of the adjusted ranges for all the frequency
bands.
●
Panpot (L64~0~63R)—Stereo location of the output sound. This
is a mono effect that combines incoming signals. You can, how-
ever, place the processed signal anywhere between the left and
right channels.
●
Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
7. Enhancer
This effect controls the overtone structure of the high frequen-
cies, adding sparkle and tightness to the sound.
●
Enhancer Sens (0~127)—Sensitivity of the enhancer.
●
Mix Level (0~127)—Level of the overtones generated by the
enhancer.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low range.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high range.
●
Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
8. Auto Wah
This effect controls a filter to create cyclic change in timbre (an
automatic wah effect).
●
Auto Wah Filter Type (LPF, BPF)—Type of filter. LPF: the wah
effect is applied over a wide frequency range. BPF: the wah
effect is applied over a narrow frequency range.
●
Auto Wah Rate (0.05~10.0Hz)—Frequency, i.e. modulation
speed.
●
Auto Wah Depth (0~127)—Modulation intensity.
●
Auto Wah Sens (0~127)—Adjusts the sensitivity with which the
filter is controlled.
●
Auto Wah Manual (0~127)—Adjusts the center frequency at
which the effect is applied.
●
Auto Wah Peak (0~127)—Adjusts the amount of the wah effect
that will occur in the range of the center frequency. Set a higher
value to narrow the range to be affected.
●
Level (0~127)—Output level. Use this parameter to compensate
for exaggerated level differences resulting from the settings you
made.
JM-5_US.book Page 93 Tuesday, December 14, 2010 10:29 AM