Creative Emu 1820m Manual
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5 - Effects Core Effects Descriptions E-MU Digital Audio System71 Freq Shifter This unusual effect is sometimes called “spectrum shifting” or “single sideband modulation”. Frequency shifting shifts every frequency in the signal by a fixed number of Hz which causes the harmonics to lose their normal relationship. The more common pitch shifter, in contrast, preserves the harmonic relationships of the signal and so is better suited to creating “musical” harmonies. fYou can also type in exact frequencies to a resolution of 1/10 Hz.This isn’t to say that the frequency shifter can’t be used musically. Small intervals of frequency shifting (1 Hz and below) can produce a wonderful, lush chorusing or phasing effect. For bizarre frequency shifting effects, simply crank up the frequency knob. Frequencies can be shifted up or down by any specified amount from .1 Hz to 24 kHz. You can also shift pitch up on one side and down on the other if you wish. Comparison between Pitch and Frequency Shifting HarmonicOriginal (Hz)Pitch Shifted (100 Hz) Frequency Shifted (100 Hz) 1200 300300 2400600500 3600900700 48001200900 5100015001100 6120018001300 7140021001500 8160024001700 ParameterDescription FrequencySets the number of Hz that will be added or subtracted with every harmonic in the signal. Range: .01Hz to 24kHz Left DirectionSets pitch shift up or down for the left channel. Right DirectionSets pitch shift up or down for the right channel.
5 - Effects Core Effects Descriptions 72Creative Professional Leveling Amp The first compressors developed in the 1950’s were based on a slow-acting optical gain cells which were able to control the signal level in a very subtle and musical way. This effect is a digital recreation of the leveling amps of yesteryear. The leveling amp uses a large amount of “lookahead delay” to apply gentle gain reduction. Because of this delay, the leveling amp is not suitable for applications which require realtime monitoring of the signal. This smooth and gentle compressor is designed to be used in situations where delay does not pose a problem, such as mastering a mix or compressing prerecorded stereo material. Post Gain is the only control on the leveling amp. This control is used to make up the volume lost by the compression. The Compression Ratio is fixed at about 2.5:1. If a large peak is detected, the effect will automatically increase the compression ratio to keep the audio output controlled. The gain reduction meter shows you how much gain reduction is being applied. Since the gain reduction meter displays how much the gain is being turned down, the meter moves from right to left, instead of left to right like most meters. Post GainAmplifies the signal after it has been compressed to bring up the volume. Range 0dB to 36dB
5 - Effects Core Effects Descriptions E-MU Digital Audio System73 Lite Reverb Reverberation is a simulation of a natural space such as a room or hall. The Lite Reverb algorithm is designed to simulate various rooms and reverberation plates while using fewer DSP resources than the Stereo Reverb. Up to five Lite Reverbs can be used at once. Decay time defines the time it takes for the reflected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope. After a short pre-delay period, the echoes from the closest walls or ceiling are heard. These first echoes, or Early Reflections, vary greatly depending on the type of room. Some time after the early reflection cluster ends, the actual Reverberation (a dense cloud of complex wall reflections) begins and decays according to the time set by the Decay Time parameter. The Reverberance parameter controls the density and smearing of both the early reflections and the reverberation cloud. High frequency energy tends to fade away first as a sound is dissipated in a room. The High Frequency Decay Factor adjusts the time it takes for the high frequency energy to die away and thus changes the characteristics of the room. Rooms with smooth, hard surfaces are more reflective and have less high frequency damping. Rooms filled with sound absorbing materials, such as curtains or people, have more high frequency damping. The Low Frequency Decay Factor parameter adjusts the time it takes for the low frequencies to die away. This control adjusts the “boominess” of the room. ParameterDescription Decay TimeSets the reverb decay time. Range: 0% to 100% HF Decay FactorSets the rate at which high frequencies die away. The high frequencies last longer as the percentage is increased. Range: 0% to 100% LF Decay FactorSets the rate at which low frequencies die away. The low frequencies last longer as the percentage is increased. Range: 0% to 100% Early ReflectionsSets the volume of the initial wall reflections. Range: 0% to 100% ReverberanceSets the amount of scattering of the early reflections and the reverberation cloud. Range: 0% to 100% TimeEarly ReflectionsReverberation
5 - Effects Core Effects Descriptions 74Creative Professional Mono Delays - 100, 250, 500, 750, 1500, 3000 A delay line makes a copy of the incoming audio, holds it in memory, then plays it back after a predetermined time. The delay number refers to the maximum delay time that can be produced by the delay line. The six lengths, from 100 ms to 3 seconds, allow you to make the most efficient use of the effect memory resource. Long delays produce echoes, short delays can be used for doubling or slapback effects. Very short delays can be used to produce resonant flanging and comb filter effects or create monotone robotic-sounding effects (Hint: use feedback). Stereo signals are summed together before entering the Mono Delay. There is also a feedback path to send the delayed audio back through the delay line. When creating echo effects, the feedback controls how many echoes will be produced. With short delays, the feedback control acts as a resonance control, increasing the amount of comb filtering produced by the delay line. Comb fi ltering: See page 70. A High Frequency Rolloff filter in the feedback path cuts some of the high frequency energy each time the audio goes through the delay line. This simulates the natural absorption of high frequencies in a room and can also be used to simulate tape-based echo units. The Wet/Dry mix controls how loud the echoes are in relation to the original signal. ParameterDescription Delay Time Mono Delay 100 Mono Delay 250 Mono Delay 500 Mono Delay 750 Mono Delay 1500 Mono Delay 3000 Sets the length of the delay in milliseconds. (.01ms. minimum increment between settings) Range: 1 millisecond to 100 milliseconds Range: 1 millisecond to 250 milliseconds Range: 1 millisecond to 500 milliseconds Range: 1 millisecond to 750 milliseconds Range: 1 millisecond to 1.5 seconds Range: 1 millisecond to 3 seconds FeedbackSets the amount of delayed signal that will be recirculated through the delay line. Range: 0% to 100% High Freq. RolloffDamps high frequencies in the feedback path. Range: 0% to 100% Delay L InFeedback Delay Time R InL Out R Out HF Rolloff
5 - Effects Core Effects Descriptions E-MU Digital Audio System75 Phase Shifter A phase shifter produces a fixed number of peaks and notches in the audio spectrum which can be swept up and down in frequency with a low frequency oscillator (LFO). This creates a swirly, ethereal sound with harmonically rich sound sources of a type of pitch shift with simpler sounds. The phase shifter was invented in the 1970’s and the characteristic sound of this device evokes emotions of that musical era. By setting the LFO Depth to zero and tuning the LFO Center, a fixed multi-notch filter is created. Rotary This is a simulation of a rotating speaker used on organs. The rotating speaker was invented to give static organ tones a pipe organ type of animation, but this distinctive sound became a legend in its own right. Spinning a sound around the room creates a doppler pitch shift along with many other complex and musically pleasing sonic effects. The Rotary incorporates acceleration and deceleration as you switch between the two speeds. ParameterDescription LFO CenterSets the initial offset of the LFO and changes the position of the peaks and notches. Range: 0% to 100% FeedbackIncreases the depth of the notches and height of the peaks. Range: 0% to 100% LFO RateControls the sweep rate of the Low Frequency Oscillator. Range: .01Hz to 10Hz LFO DepthControls how much the Center Frequency is swept by the LFO. Range: 0% to 100% WaveformSelects a Sine or Triangle wave for the LFO LFO L/R PhaseControls the stereo width by adjusting the phase difference between the left and right sweeps. Range: -180° to +180° ParameterDescription SpeedSwitches between slow or fast rotor speeds with acceleration and deceleration as the speed changes. Phase Shifter LFO In Ou t Feedback LFO Center LFO Rate Signal path = Stereo
5 - Effects Core Effects Descriptions 76Creative Professional Speaker Simulator The Speaker Simulator provides realistic guitar speaker responses and is designed for use with guitar, bass or synthesizer. Twelve popular guitar amp speaker cabinets are modeled. There is only one parameter on this effect. Just select the speaker you want and listen. Normally this effect should be used with the Mix control set to 100%. Speaker TypeDescription British Stack 1 & 2Modeled from a British 8-speaker high power amplifier stack. British Combo 1-3Modeled from a British 2-speaker combo amplifier. Tweed Combo 1-3Modeled from an American, 1950’s era, 2-speaker combo amplifier. 2 x 12 ComboModeled from an American, 1960’s era, 2-speaker combo amplifier. 4 x 12 ComboModeled from an American, 1960’s era, 4-speaker amplifier set. Metal Stack 1 & 2Modeled from a modern era, power amplifier stack.
5 - Effects Core Effects Descriptions E-MU Digital Audio System77 Stereo Delays - 100, 250, 500, 750, 1500 The Stereo Delays are true stereo delay lines in that the left and right channels are kept entirely separate from each other. The delay number refers to the maximum delay time that can be produced by the delay lines. The five different lengths, from 100 ms to 1.5 seconds, allow you to make the most efficient use of the effect memory resource. Because the left and right channels can have different delay times, you can create a panning effect by setting one delay long and the other short. Very short delay times combined with a high feedback amount can be used to create monotone robotic- sounding effects. Using the longer stereo delays, you can “overdub” musical lines one on top of the other with the feedback control turned up. ParameterDescription Left Delay TimeSets the length of the delay for the left channel in milliseconds. Right Delay TimeSets the length of the delay for the right channel in milliseconds. Delay Time (L & R) Stereo Delay 100 Stereo Delay 250 Stereo Delay 500 Stereo Delay 750 Stereo Delay 1500 (.01ms. minimum increment between settings) Range: 1 millisecond to 100 milliseconds Range: 1 millisecond to 250 milliseconds Range: 1 millisecond to 500 milliseconds Range: 1 millisecond to 750 milliseconds Range: 1 millisecond to 1.5 seconds FeedbackSets the amount of delayed signal that will be recirculated through the delay line. Range: 0% to 100% High Freq. RolloffDamps high frequencies in the feedback path. Range: 0% to 100% Delay In Ou t Feedback R Delay TimeL Delay Time HF Rolloff Signal path = Stereo
5 - Effects Core Effects Descriptions 78Creative Professional Stereo Reverb Reverberation is a simulation of a natural space such as a room or hall. The stereo reverb algorithm is designed to simulate various halls, rooms and reverberation plates. Decay time defines the time it takes for the reflected sound from the room to decay or die away. The diagram below shows a generalized reverberation envelope. After a short pre-delay period, the echoes from the closest walls or ceiling are heard. These first echoes, or early reflections, vary greatly depending on the type of room. Some time after the early reflection cluster ends (late reverb delay), the late reverberation (a dense cloud of complex wall reflections) begins and decays according to the time set by the Decay Time parameter. Diffusion is the amount of scattering and density of the late reverberation cloud. Rooms with many complex surfaces have more diffusion than bare rooms. High frequency energy tends to fade away first as a sound is dissipated in a room. The High Frequency Damping parameter adjusts the time it takes for the high frequency energy to die away and thus changes the characteristics of the room. Rooms with smooth, hard surfaces are more reflective and have less high frequency damping. Rooms filled with sound absorbing materials, such as curtains or people, have more high frequency damping. The Low Frequency Damping parameter adjusts the time it takes for the low frequencies to die away. This control adjusts the “boominess” of the room. ParameterDescription Decay TimeSets the length of the Late Reverb. Range 1.5 to 30seconds Early Reflections LevelSets the volume of the initial wall reflections. Range: 0% to 100% Early/Late Reverb BalAdjusts the balance between early refections and late reverb. Range: 0% to 100% Late Reverb DelaySets the time between early reflections and the onset of the late reverb cloud. Range: 1ms to 350ms DiffusionSets the amount of scattering of the late reverb cloud. Range: 0% to 100% High Freq. DampingSets the rate at which high frequencies die away. Range: -10.0 to +3.0 damping factor Low Freq. DampingSets the rate at which low frequencies die away. Range: -10.0 to +3.0 damping factor Time Early ReflectionsLate Reverb
5 - Effects Core Effects Descriptions E-MU Digital Audio System79 Vocal Morpher This unique effect allows you to select two vocal phonemes and morph between them using an LFO. Phonemes are the consonants and vowels we use in articulating speech sounds and these sounds are very distinctive and evocative. 30 different phonemes are available and these can be shifted up or down in pitch for even more effects. To use the Vocal Morpher, you just select Phoneme A and Phoneme B from the list of thirty. Now the LFO automatically morphs back and forth between the two selected phonemes, creating interesting vocal articulations. The rate of the LFO is adjustable and you can select between Sine, Triangle or Sawtooth waveforms. The sine and triangle waves fade smoothly. The sawtooth wave gradually fades, then jumps abruptly back. When the frequency of the A or B Phonemes is shifted up or down, entirely new effects can be produced. These frequency controls can also be used to tune the phoneme frequencies to the range of audio you are processing. List of Available Phonemes AE IOUAA AEAHAOEHERIH IYUHUWBDF GJKLMN PRSTVZ ParameterDescription Phoneme ASelect any of the available Phonemes for Phoneme A. Phoneme A TuningAdjusts the frequency of Phoneme A up or down 2 octaves in semitone intervals. Range: -24 semitones to +24 semitones Phoneme BSelect any of the available Phonemes for Phoneme B. Phoneme B TuningAdjusts the frequency of Phoneme B up or down 2 octaves in semitone intervals. Range: -24 semitones to +24 semitones LFO RateControls how fast the phonemes morph back and forth. Range: .01Hz to 10Hz LFO WaveformSelects the waveform for the morph: Sinusoid, Triangle, Sawtooth Frequency Time Phoneme APhoneme B
5 - Effects Core Effects Descriptions 80Creative Professional Gate This stereo noise gate is useful both for background noise reduction applications and also for special effects. The gate uses an envelope follower and threshold detector to turn on its output when the input signal is above the turn-on threshold, and shut down its output when the signal falls below the shut-off threshold. When ”turned on” the Gate passes the input signal through to the output at unity gain and when “shut off” the Gate silences the output or attenuates it by an adjustable gain factor. While the Gate is a stereo effect, the left and right signals are gated in unison, with the envelope follower defaulting to the louder of the two signals. In normal operating mode, Gate turn-on is nearly instantaneous when the input signal exceeds the Threshold level, while Gate Release time is an adjustable parameter. The effect of the fast turn-on can be enhanced by using an optional 1 millisecond lookahead in the Gates envelope detector. Together with the Threshold setting, tuning the Release time parameter is very useful in order to achieve the least-obtrusive, most natural-sounding gating effect, which is highly dependent on the specific program material being processed. The gate does not offer an adjustable wet/dry mix parameter but does supply a Bypass switch for effectively removing the effect from the signal path. Applications •Basic Gating - reduce background noise during periods of low signal level •Re-Enveloping - extreme release time/attenuation can be used to re-sculpt the signal envelope •Punch Enhancement - high threshold+fast shuttoff+modest attenuation perform an expander-like function that accentuates transients Out Threshold Max Gain Reduction Lookahead Release Gate1mS Delay Signal path = Stereo Envelope Follower/ Threshold Detector In The Gate behaves exactly as a straight wire, except when activated by a signal level below the Threshold (with Lookahead Off).