ANALOGUE SYSTEMS RS290 User manual

116 ANALOGUE SYSTEMS RS-INTEGRATOR
SAMPLER/DELAYSAMPLER/DELAY
SAMPLER/DELAYSAMPLER/DELAY
SAMPLER/DELAY
RS290
ECHO/DELAYECHO/DELAY
ECHO/DELAYECHO/DELAY
ECHO/DELAY
Echo was almost certainly the earliest 'effect' used on electronic sounds. It is also the easiest to produce:
all you need is a tape recorder with a record head offset by a few centimetres from the playback head. If
you then record a sound onto the tape, you can replay it as a single echo a few fractions of a second later,
with the delay determined by the tape speed and the distance between the heads. Later innovations
included machines with multiple heads that produced a series of echoes, and tape loop systems that - if
you wished - extended the number of echoes to infinity, each sounding muddier and less like the original
sound than the previous. If you listen to the electronic music of the 1950s, you'll find it awash with tape
echo, sometimes used to excellent effect, more often not.
The problem with tape echo was that it was neither convenient nor cheap to produce. A lighter and more
affordable alternative arrived in the 1970s with the development of the bucket brigade device, or BBD.
Although totally analogue in nature, a BBD takes a series of samples of the incoming audio, and allows
you to tap these at various stages as they pass down a series of discrete steps through the device. BBDs
made cheap electronic delay lines a commercial reality and, although they never sounded as good as
their tape-based counterparts, solid state "echo units" soon became a staple of electronic music.
Although the maximum delay times available from BBD echo units tended to be rather short - of the

ANALOGUE SYSTEMS RS-INTEGRATOR 117
order a few hundred milliseconds - they proved to be ideal for a wide range of electronic effects such as
chorus, flanging and phasing, whereupon their often metallic sound could prove to be a benefit rather
than a hindrance. TheAnalogue Systems RS310 Reverb/Chorus is one such device and, unlike the stand-
alone units developed in the '70s, this offers significant benefits such as voltage control of the delay time
and voltage control of the mix between the unaffected and affected signals.
Offering far higher fidelity, digital delay lines (DDLs) were also developed in the 1970s. Although clunky
by today's standards, the earliest of these were unbelievably expensive, which is why they did not come
to the attention of most musicians for another decade or so. To explain precisely how a digital delay line
works would require a thorough treatise on sampling theory, and this manual is not the correct place for
that. Nonetheless, it's not hard to grasp the basics…
Adigital delay line is nothing more nor less than a specialised computer that samples an incoming signal
and stores it in RAM. These samples are typically taken at a rate of 44,100 times per second, and stored
with a resolution of 16- or 24- bits per sample. Once a sample is held, it can be read back at any time (or
times) determined by the delay algorithm, until it is necessary to replace it with another incoming sample.
The amount of time a sample can be stored is determined by the amount of RAM in the system.
If you can modulate the clock rate of a DDL and mix the affected signal with the original, you can create
a much wider range of effects than just simple delays. As on their analogue counterparts, this is the
method used to recreate sounds such as chorusing, flanging and phasing.
SAMPLERSAMPLER
SAMPLERSAMPLER
SAMPLER
Like the digital effects units mentioned above, digital samplers use computer memory to store clips of
audio that have been converted into digital form by an analogue-to-digital converter. Playing back these
clips is simply a matter of reversing the process, reading the information in the memory and converting
this - as accurately as possible - back into the original audio.
It this were the limit to the capabilities of a digital sampler, it would not be a particularly useful tool.
However, if we vary the rate at which the memory is read during the playback process, we can alter the
pitch of the audio, transposing the sound up and down. So, for example, if an audio clip was sampled at
a clock rate of 44,100 times per second, but played back at 22,050 samples per second, the resulting sound
would have a pitch exactly one octave lower than the original. Clearly, if we could control the clock rate
using a keyboard (or other controller of some sort) we could 'play' the audio clip just like the waveform
produced by a conventional, analogue oscillator.
In the 1970s, early users of the newly developed sampling technology were carried away by this idea,
and transposed many vocal and instrumental sounds inappropriately, producing an effect sometimes
called 'munchkinisation'. This arises when the nature of the clip is altered too much by the transposition,
making the tonal qualities unsuitable for the pitch that is being produced. The solution to this was to
develop instruments capable of recording and storing multiple clips, and distributing these clips across
the range of pitches required.
'Multi-sampling' required more powerful processors and a significant increase in memory, so early
performance samplers such as the Fairlight CMI were extremely expensive. But the cost of hardware
diminished rapidly throughout the 1980s and 1990s, and manufacturers can now design low-cost devices
that offer a huge range of sampling, editing, and replay capabilities. The RS290 is one such device, and
although it is a single-voice sampler, its unique combination of digital sampling, computer-based sample
manipulation and control via analogue CVs makes it a unique product that allows you to experiment
with sound in ways that are not possible elsewhere.

118 ANALOGUE SYSTEMS RS-INTEGRATOR
Show delay time
Delay Options
Clock Settings
Sample Rate
Sample Size
LFO
Assign 1
Assign 2
Special Options
Mode
Memories
Mode
Memories
Sample record
Sampler options
Transmit sysex deump
Sample rate
Sample size
Special options
Tape Delay
- or -
Digital Delay
Sampler
Mode menu
Delay time
Delay time display
Show delay time
(press "EDIT")
Delay range
Damping
Left/right delay
External feedback
Delay Options menu
Delay Options
(press "EDIT")
Show BPM
Show delay time
Sync to clock
Clock source
Clocks per beat
Clock settings menu
Clock settings
(press "EDIT")
Sample rate selector
Sample rate
(press "EDIT")
46.9kHz 5.6s
9.8kHz 26.8s
Press EDIT
CANCEL
Press EDIT
CANCEL
Write to memory
Read from memory
Edit memory name
Enable prog change
SysEx dump memory
Erase all memories
Memories menu
Memories
(press "EDIT")
Start recording
Stop recording
Play sample
Sample record menu
Sample record
(press "EDIT")
Record start
Record stop
Playback method
Playback start
Playback stop
Sampler options menu
Sampler options
(press "EDIT")
Transmit sysex dump
Select to send
SysEx dump menu
Transmit sysex dump
(press "EDIT")
IN USE
The RS290 is in many ways two separate products. On one hand, it's a sophisticated Delay unit with six
distinct modes of operation, and its inputs, controls and menus act in ways that are most appropriate for
using it in this fashion. However, a quick change to Sampler mode alters the front panel operation and
substitutes the eleven Delay menus and numerous sub-menus with eight Sampler menus and sub-menus
that allow you to use it as a powerful, voltage controlled, single-voice sampler.
There is some overlap between the operation and menu structures in the two modes, so the rest of this
chapter is divided into three sections:
• Common menus
• Menus and commands specific to the Delay modes
• Menus and commands specific to the Sampler mode
RS290 menu structure: v2.8, dated 9 April 2007

ANALOGUE SYSTEMS RS-INTEGRATOR 119
Show input level
Show output level
Set MIDI channel
Calibrate keyboard
Show version
Upgrade firmware
Show pot values
Factory defaults
Sample size selector
Sample size
(press "EDIT")
16 bits
4 bits
Range
Speed
Depth
Shape
Controls
Sync Mode
LFO menu
LFO
(press "EDIT")
Damping
Sample rate
Sample size
Delay fine
Disabled
LFO Speed
LFO Depth
Left/right delay
Left/right pan
Assign 1 menu
Assign 1
(press "EDIT")
Damping
Sample rate
Sample size
Delay fine
Disabled
LFO Speed
LFO Depth
Left/right delay
Left/right pan
Assign 2 menu
Assign 2
(press "EDIT")
Show input level
Show output level
Set MIDI channel
Calibrate keyboard
Show version
Upgrade firmware
Show pot values
Factory defaults
Special options menu
Special options
(press "EDIT")
Write to memory
Read from memory
Edit memory name
Enable prog change
SysEx dump memory
Erase all memories
Memories menu
Memories
(press "EDIT")
Sample rate selector
Sample rate
(press "EDIT")
Sample size selector
Sample size
(press "EDIT")
Special options menu
Special options
(press "EDIT")
46.9kHz 5.6s
9.8kHz 26.8s
16 bits
4 bits
NAVIGATION
The RS290 is controlled primarily by the menus displayed on its 2 line x 20 character LCD. This display
is backlit to aid its use in darkened conditions.
The two main menus (the top level of each menu hierarchy) offer access to the sub-menus, which in turn
may offer additional sub-sub-menus. (The sub-sub-menus are not shown above.)
• Navigate through any menu by rotating the EDIT knob.
• Move "down" to select a sub-menu by pressing the EDIT knob.
• Enter a value and return to the previous menu by pressing the EDIT knob.
• Jump "up" a level from a sub-menu to a main menu by pressing CANCEL.
• Leave an option or parameter unchanged and return to the menu containing it by pressing
CANCEL.

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COMMON MENUSCOMMON MENUS
COMMON MENUSCOMMON MENUS
COMMON MENUS
(Refers to v2.8)
There are five sub-menus that are
common to the Tape delay, Digital
Delay and Sampler modes.
• Mode
• Sample rate
• Sample size
• Special options
• Memories
Of these, Mode, Sample rate and
Sample size offer all their options
within the sub-menu itself. In
contrast, Special Options and
Memories have extensive sub-sub-
menus.
Mode
This menu allows you to switch
between Tape delay, Digital
delay and Sampler modes.
When you do so, all settings are
remembered, so you can return
to the previous mode and find
that its dedicated menus and
settings are in the same state as
you left them.
Tape delay
Digital delay
Sampler
Mode menu
Mode
(press "EDIT")

ANALOGUE SYSTEMS RS-INTEGRATOR 121
46.9kHz 5.6s
9.8kHz 26.8s
Sample rate selector
Sample rate
(press "EDIT")
16 bits
4 bits
Sample size selector
Sample size
(press "EDIT")
Sample rate
You may select the sample rate
of the digital audio data stored
and used within the RS290.
You can not set the sample rate
independently for the Delay and
Sampler modes, and the value set
in this menu will be used by both.
The time (in seconds) shown to
the right of the sample rate is the
amount of sample time available
at the selected sample rate.
Sample size
You may select the sample size
(or 'wordlength') used within the
RS290.
You can not set the sample size
independently for the Delay and
Sampler modes, and the value set
in this menu will be used by both.
Higher sample sizes increase
fidelity, while lower sizes
increase the 'grittiness' of the
sound, and offer additional
creative options.

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1
16
Set MIDI channel
(press "EDIT")
Set MIDI channel
(Requires Analogue Systems RS295
Delay Expander module)
The channel set here is used
throughout the RS290 and RS295.
You cannot set it independently
for the Delay and Sampler
modes.
The selected MIDI channel is
used for both SysEx dumps and
program change commands.
-------+++++
****
!!
Show input level
(press "EDIT")
-------+++++
****
!!
Show output level
(press "EDIT")
Show input level
Show output level
These display the levels of the
signals presented to the SIGNAL
IN input and provided at the
OUT L output, respectively.
For optimum results, the signals
should lie in the "+" range. If
either signal lies below this in the
"-" range, you should check the
input level and, if necessary,
increase the INPUT GAIN or the
level offered by the device
providing the signal.
Peaking in the * range is
acceptable, but if either display
shows the "!" symbol, the signal
will be clipping, and unpleasant
distortion may result.
Show input level
Show output level
Set MIDI channel
Calibrate keyboard
Show version
Upgrade firmware
Show pot values
Factory defaults
Special options menu
Special options
(press "EDIT")

ANALOGUE SYSTEMS RS-INTEGRATOR 123
Calibrate keyboard
This option allows you to
calibrate the RS290 so that, in
Sample mode, you can play the
sample from an "x" V/Oct
keyboard and have it track
correctly across a wide range.
To calibrate:
Apply a CV of 0v to the
ASSIGN/SAMPLE PITCH
input, select "Apply 0V to
Sample pitch input" and then
press SELECT.
Next, apply a CV of 3V to the
same input (on a 1V/Oct
keyboard play a note three
octaves higher than before),
select "Apply 3V to Sample pitch
input", and then press SELECT.
The RS290 is now calibrated.
Apply 0V to assign
then press Edit
Calibrate keyboard
(press "EDIT")
Apply 3V to assign
then press Edit
Vx.x dd.mm.yy
Show version
(press "EDIT")
Show version
Display the version of the
operating system loaded.
Are you sure?
NO
Yes
Upgrade firmware
(press "EDIT")
Upgrade firmware
This option allows you to
upgrade the firmware that lies at
the heart of the RS290.
If you answer "Yes", the device
will show:
Flash programmer
Waiting for data...
If you are unable to present the
new software to the MIDI Input
on the RS295 Delay Expander,
the RS290 will lock up.
DO NOT WORRY.
Switch off the RS290, wait a few
seconds, and switch on again. It
will then function as before.

124 ANALOGUE SYSTEMS RS-INTEGRATOR
Are you sure?
NO
Yes
Factory defaults
(press "EDIT")
Factory defaults
This allows you to reset the
operation of the RS290 to the
factory defaults.
Be careful how you use this; the
operation cannot be undone and,
if you wish to re-use effects that
you previously created, you will
need to reprogram or (if
appropriate) reload any of your
own effects, sounds or settings.
Show pot values
The screen displays the knob
values as follows.
Upper row:
• Input gain
• Repeat speed / Sample start
• F/B gain / Sample end
• Wet/Dry mix
Lower row:
• Assign / Sample pitch
• RS295 Assign 2 (if connected)
Note: The Wet/Dry mix value is
only shown when the
Bypass on/off switch is set
to On.
If CVs are received at the
following inputs, the readouts
show the values generated by the
sum of the knob positions and
the input voltages.
Upper row:
• -
• Repeat speed / Sample start
• F/B gain / Sample end
• -
Lower row:
• Assign / Sample pitch
• RS295 Assign 2 (if connected)
Triggers:
The two dash "-" marks report
when triggers are received at
TRIG1 or TRIG2 by changing to
hash "#" marks.
Clock:
The asterix in the top righthand
corner shows the clock, which is
by default triggered by TRIG1.

ANALOGUE SYSTEMS RS-INTEGRATOR 125
Write to memory
Read from memory
Edit memory name
Enable prog change
SysEx dump memory
Erase all memories
Memories menu
Memories
(press "EDIT")
1
50
Write to memory
(press "EDIT")
1
50
Read from memory
(press "EDIT")
Edit memory name
xxxxxxxxxxxxxxxx
Edit memory name
(press "EDIT")
Write to memory
You may write your current
settings (but not sample data) to
any one of the 50 internal
memories.
Rotate the EDIT knob to cycle
through the memory locations,
and press it to store your current
setup.
Warning… this operation
overwrites any existing settings and
parameter values, which will be
permanently lost unless saved
elsewhere beforehand.
Read from memory
Rotate the EDIT knob to cycle
through the memory locations,
and press it to recall a saved
setup.
Edit memory name
With this menu selected you can
rotate the EDIT knob to move left
and right across the memory
name.
Press the EDIT knob to select the
character you wish to edit, then
rotate it clockwise or anti-
clockwise to scan through the
alphanumeric table.
You may insert a character into
the selected position by pressing
EDIT again.

126 ANALOGUE SYSTEMS RS-INTEGRATOR
Yes
No
Enable prog change
(press "EDIT")
Select to send
Sysex dump memory
(press "EDIT")
Are you sure?
NO
Yes
Erase all memories
(press "EDIT")
Enable prog change
(Requires Analogue Systems RS295
Delay Expander module)
• Yes
The RS290 will respond to MIDI
program change messages in the
range 1 to 50, selecting the
memory of that number.
This operation overwrites any
existing settings and parameter
values, which will be permanently
lost unless stored beforehand.
• No
The RS290 will not respond to
MIDI program change messages.
Sysex dump memory
(Requires Analogue Systems RS295
Delay Expander module)
Press EDIT to dump the
currently active memory via
SysEx.
Note that the unit receiving the
information must be ready to
accept the SysEx dump, or it will
not be stored.
Erase all memories
Clears all fifty memory locations.
This operation cannot be undone,
and all information stored within the
RS290 will be lost unless it has been
archived elsewhere using the
RS295's SysEx capabilities.

ANALOGUE SYSTEMS RS-INTEGRATOR 127
THE DELAY MODESTHE DELAY MODES
THE DELAY MODESTHE DELAY MODES
THE DELAY MODES
The RS290 provides two delay modes; one which echoes the operation of a vintage tape delay, and the
other of which is that of a modern digital delay unit.
Tape delay
In Tape delay mode, the operation is very similar to a true tape delay, on which the delay time is determined
by the speed of the tape as it passes across the heads, and is controlled by speeding up the tape and
slowing it down, as appropriate. This makes it possible to create unusual effects that are not as common
today as they were thirty years ago. For example, if the tape is running slowly (you have a long delay
time) and you then speed up the tape the delay time will decrease and the pitch of the delayed sound
will increase. Once the whole loop of tape has run through the machine, the delay time will stay at its
new, faster rate, but the pitch of the delayed sound will drop back to the input pitch. Extending this idea
a bit further, imagine that you increase the tape speed and then quickly decrease it. The pitch will increase
and then decrease. Then, as the loop is replayed on its next revolution a few seconds later, the opposite
will happen; the pitch will decrease, then increase.
The Tape delay mode on the RS290 imitates this unusual behaviour, thus making it possible to create all
manner of unusual effects. However, due to the nature and complexity of the algorithm needed, you
may experience the generation of digital artefacts. You may wish to avoid these, or alternatively use
them to create extreme sounds, as you choose.
Digital delay
If you think of the Digital delay mode in analogue terms it differs from the Tape delay in the following
manner:
• In Tape delay mode, changes in delay time and pitch are caused by changing the tape speed,
while the distance between the heads remains constant.
• In Digital delay mode the ‘tape’ runs at a fixed speed but the distance between the heads varies.
Digital delay mode is capable of creating larger pitch shifts, but the shift only occurs while the virtual
‘tape head’ (delay time) is being moved. As soon as you stop changing this, the pitch at the output
returns to the input pitch.
One novel consequence of this is that, if you increase the delay time quickly enough, you can make the
RS290 play the sound backwards briefly. (To visualise this, imagine moving the head faster than the tape
is moving).
The incidence of artefacts in much smaller in Digital delay mode than in Tape delay mode, but you may
still experience some at extreme settings.
Delay Sub-Modes
Both types of delay offer three sub-modes of operation (for a total of six delay modes) as described in the
following pages.

128 ANALOGUE SYSTEMS RS-INTEGRATOR
Amplifier Delay
Signal
Level
Signal IN
Amplifier
Feedback
Gain
Low-pass
filter
Damping
Amplifier
Amplifier
Wet/dry mix
OUT L
Inverter
Amplifier OUT R
L/R delay time
(Refers to v2.8)
The RS290 offers three delay sub-modes, selected using the Delay Options menu. There are myriad ways
in which you will be able to use these to create new sounds and effects; far more than can be described
here. To help you to understand these, the signal path diagrams show the three configurations:
• Stereo delay (no external feedback loop)
The RS290 acts as a stereo delay unit, with two taps presented to the Left and Right outputs.
• Mono delay ('Pre' effect loop)
With this selected, you can patch external effects and treatments into the regeneration loop.
• Mono delay ('Post' effect loop)
With this selected, you can patch external effects and treatments into the signal path following the output
from the delay itself. As in 'Pre' mode, these will affect the regeneration loop, but will also affect the
output signal.
Stereo Delay
DELAY SUB-MODES

ANALOGUE SYSTEMS RS-INTEGRATOR 129
Amplifier Delay
Signal
Level
Signal IN
Amplifier
Feedback
Gain
Low-pass
filter
Damping
Feedback
send
Feedback
return
Amplifier
Amplifier
Wet/dry mix
OUT L
Inverter
Amplifier Delay
Signal
Level
Signal IN
Amplifier
Feedback
Gain
Low-pass
filter
Damping
Feedback
send
Feedback
return
Amplifier
Amplifier
Wet/dry mix
OUT L
Inverter
'Pre' effect
'Post' effect

130 ANALOGUE SYSTEMS RS-INTEGRATOR
THE FRONT PANEL
In the delay modes, the front panel controls, inputs and outputs operate as follows:
Controls
• INPUT GAIN
Adjusts the input level in the range -80dB to +3dB
• REPEAT SPEED
Adjusts the delay time. To keep quantisation noise to a minimum, use as short a delay range as
possible for your desired delay
• F/B GAIN
Controls the feedback gain.
- With the knob turned fully anticlockwise, the Gain is zero.
- With the knob turned fully clockwise, the Gain is unity.
• WET/DRY MIX
Controls the amount of wet (affected) and dry (original) signal in the output mix.
- With the knob turned fully anticlockwise, the output comprises input signal only.
- With the knob turned fully clockwise, the output comprises delayed signal only.
• BYPASS
When switched to Bypass, this determines that the output contains no affected signal. It is
equivalent to rotating the WET/DRY MIX knob to its fully anticlockwise position.
• ASSIGN
This input can be assigned various functions

ANALOGUE SYSTEMS RS-INTEGRATOR 131
Inputs
• SIGNAL IN
Accepts audio signals in the range ±3V. Signals in excess of 6V p-p will cause clipping.
• F/B RETURN
Accepts audio signals in the range ±3V. Signals in excess of 6V p-p will cause clipping.
Note: The Feedback return is effective only when one of the external feedback modes are enabled in the
menus.
• REPEAT SPEED CV
Accepts control voltages in the range -5V to +5V. The incoming voltage is added to that determined
by the REPEAT SPEED knob immediately above it.
• F/B GAIN CV
Accepts control voltages in the range -5V to +5V. The incoming voltage is added to that determined
by the F/B GAIN knob immediately above it.
• ASSIGN CV
Accepts control voltages in the range -5V to +5V. The incoming voltage is added to that determined
by the ASSIGN knob immediately above it.
• TRIG1
Apply pulses in the range +1.5V to 20V to this input for use as a clock or LFO 'sync' reset.
• TRIG2
Apply pulses in the range +1.5V to 20V to this input for use as a clock or LFO 'sync' reset.
Outputs
• OUT L
Outputs a signal in the range ±2.25V. Signals in excess of 4.5V p-p may be clipped.
• OUT R / F/B SEND
Depending upon the Delay Mode, this acts as the output for the right audio channel (stereo
delay sub-mode) or as the Send for an external feedback loop ('Pre' and 'Post' sub-modes).
Indicators
• LEVEL (Signal IN & Signal OUT)
These offer visual feed back regarding the signal level at input and output.
- LED off very low signal level
- LED green/amber optimum signal level
- LED red clipping is occurring

132 ANALOGUE SYSTEMS RS-INTEGRATOR
Show delay time
Delay Options
Clock Settings
Sample Rate
Sample Size
LFO
Assign 1
Assign 2
Special Options
Mode
Memories
Default Delay
(Top Level 0f Heirarchy)
Press
’EDIT’
CANCEL
DELAY MENUSDELAY MENUS
DELAY MENUSDELAY MENUS
DELAY MENUS
The following pages outline the menu structure in the Delay modes,
and detail all the options available.
The top level of the menu heirarchy is as shown here.
Five sub-menus are common to both the Delay and Sampler modes.
These are:
• Mode
• Sample rate
• Sample size
• Special options
• Memories
The following pages will, therefore, explain the functions of the
remaining six sub-menus:
• Show delay time
• Delay Options
• Clock Settings
• LFO
• Assign 1
• Assign 2
Of these, Show delay time offers no sub-sub-menus. The other five
sub-menus have extensive sub-sub-menus, with each offering
additional sets of options.

ANALOGUE SYSTEMS RS-INTEGRATOR 133
Delay time
Delay time display
Show delay time
(press "EDIT")
Show delay time
This sub-menu displays the
delay time to four decimal places
(i.e. to an accuracy of one ten
thousandth of a second).
This menu has no sub-menus.

134 ANALOGUE SYSTEMS RS-INTEGRATOR
Delay range
Damping
Left/right delay
External feedback
Delay Options menu
Delay Options
(press "EDIT")
Damping
Select feedback damping from
0% to 100%
0.0001s to 0.01s
0.0010s to 0.06s
0.0100s to 0.56s
0.0999s to 5.59s
Delay range
(press "EDIT")
0%
100%
Damping
(press "EDIT")
Delay Options
This sub-menu provides four
sub-sub-menus that allow you to
control the primary nature of the
echo/delay effect.
Delay range
You may select from four ranges.
The exact nature of the ranges is
dependent upon the sample rate
selected in the Sample Rate sub-
menu. At the maximum rate of
46.9kHz, the ranges offer delays
lying between 0.0001s to 5.59s.At
the minimum sample rate of
9.8kHz, the ranges lie between
0.005s and 26.85s.
The Repeat Speed front-panel
control will work within the
selected range, with the fastest
repeats (i.e. the shortest delay) at
the clockwise extreme, and the
slowest repeats (i.e. the longest
delay) at the anticlockwise
extreme.

ANALOGUE SYSTEMS RS-INTEGRATOR 135
0%
100%
Left/right delay
(press "EDIT")
Off
Pre effect
Post effect
External feedback
(press "EDIT")
External feedback
Allows you to use the external
feedback loop (F/B SEND - F/B
RETURN) in three ways:
• Off:
There is no external feedback
• Pre effect:
The F/B SEND output lies before
the effect in the signal path. For
further information, refer to the
diagrams earlier in this chapter.
• Post effect:
The F/B SEND output lies after
the effect in the signal path. For
further information, refer to the
diagrams earlier in this chapter.
Left/right delay
The percentage of the overall
delay time between the left and
right outputs (50%=halfway)