Sony DPS-D7 User manual

3-752-185-21 (1)
Digital
DelayUnit
Operating Instructions
DPS-D7
©1991 by Sony Corporation

WARNING
FOR CUSTOMERS IN THE UNITED STATES
Owner’s Record
The model and serial numbers are located on the left side.
Record these numbers in the spaces provided below.
Refer to these numbers whenever you call upon your Sony
dealer regarding this product.
Model No. DPS-D7 Serial No.
WARNING
To prevent fire or shock hazard, do not
expose the unit to rain or moisture.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.
DO NOT REMOVE COVER (OR BACK )
.
NO USER -SERVICEABLE PARTS INSIDE.
REFER SERVICIN6 TO QUAUFIED SERVICE PERSONNEL.
This symbol is intended to alert the
user to the presence of uninsulated
"dangerous voltage" within the prod-
uct's enclosure that may be of suffi-
cient magnitude to constitute arisk of
electric shock to persons.
AThis symbol is intended to alert the
/|\ user to the presence of important
/I\operating and maintenance (servicing)
/i\instructions in the literature accompa-
ZAnying the appliance.
For detailed safety precautions, see the leaflet
“IMPORTANT SAFEGUARDS”.
INFORMATION
This equipment generates and uses radio frequency energy
and if not installed and used properly, that is, in strict ‘
accordance with the manufacturer’s instructions, may cause
interference to radio and television reception. It has been
type tested and found to comply with the limits for aClass B
computing device in accordance with the specifications in
Subpart J of Part 15 of FCC Rules, which are designed to
provide reasonable protection against such interference in a
residential installation. However, there is no guarantee that
interference will not occur in aparticular installation. If this
equipment does cause interference to radio or television
reception, which can be determined by turning the
equipment off and on, the user is encouraged to try to
correct the interference by one or more of the following
measures:
Reorient the receiving antenna
Relocate the equipment with respect to the receiver
Move the equipment away from the receiver
Plug the equipment into adifferent outlet so that
equipment and receiver are on different branch circuits.
If necessary, the user should consult the dealer or an
experienced radio/television technician for additional
suggestions. The user may find the following booklet
prepared by the Federal Communications Commission
helpful:
“How to Identify and Resolve Radio-TV Interference
Problems”. This booklet is available from the U.S.
Government Printing Office, Washington, DC 20402, Stock
No. 004-000-00345-4.
.The shielded interface cable recommended in this manual
must be used with this equipment in order to comply with
the limits for acomputing device pursuant to Subpart Jof
Part 15of FCC Rules.
FOR CUSTOMERS IN CANADA
CAUTION:
TO PREVENT ELECTRIC SHOCK, DO NOT USE THIS
POLARIZED AC PLUG WITH AN EXTENSION CORD,
RECEPTACLE OR OTHER OUTLET UNLESS THE
BLADES CAN BE FULLY INSERTED TO PREVENT
BLADE EXPOSURE.
This apparatus complies with the Class Blimits for radio
noise emissions set out in Radio Interference Regulations.
2

Precautions
FOR CUSTOMERS IN THE UNITED KINGDOM
WARNING
THIS APPARATUS MUST BE EARTHED
IMPORTANT
The wires in this mains lead are coloured in accordance with
the following code:
Green-and-yellow: Earth
Blue: Neutral
Brown: Live
As the colours of the wires in the mains lead of this
apparatus may not correspond with the coloured markings
identifying the terminals in your plug proceed as follows:
The wire which is coloured green-and-yellow must be
connected to the terminal in the plug which is marked by the
letter Eor by the safety earth symbol -i or coloured green or
green-and-yellow. The wire which is coloured blue must be
connected to the terminal which is marked with the letter N
or coloured black. The wire which is coloured brown must be
connected to the terminal which is marked with the letter L
or coloured red.
On Safety
•To avoid electrical shock, do not open the cabinet. Refer
servicing to qualified personnel only.
•Before connecting the unit to the power source, check to
confirm that the operating voltage of your unit is the same
as the local power line voltage. The operating voltage is
indicated on the nameplate on the left side of the unit.
.Should anything fall into the cabinet, unplug the unit and
have it checked by qualified personnel before operating it
any further.
.If the unit will not be used for an extended period, unplug it
from the wall outlet. To disconnect the cord, pull it out by
the plug. Never pull the cord itself.
.The unit is not disconnected from the mains (AC power
source) as long as it is connected to the mains outlet, even
if the unit itself has been turned off.
On Installation
.Allow adequate air circulation to prevent internal heat build-
up.
•Do not place the unit on asurface (rugs, blankets, etc.) or
near materials (curtains, draperies, etc.) that may block the
ventilation holes.
•Do not install the unit near heat sources such as radiators
or air ducts or in aplace subject to direct sunlight,
excessive dust, mechanical vibration or shock.
.The unit is designed for operation in ahorizontal position.
Do not install it in an inclined position.
•Keep the unit away from equipment with strong magnets,
such as microwave ovens or large loudspeakers.
.Do not place any heavy object on the unit.
On Operation
.When the unit is not in use, turn the power off to conserve
energy and to extend its life.
On Cleaning
•Clean the cabinet, panel and controls with adry soft cloth,
or asoft cloth slightly moistened with amild detergent
solution.
•Do not use any type of solvents, such as alcohol or
benzine, which might damage the finish.
On Repacking
•Do not throw away the carton and packing materials. They
make an ideal container to transport the unit.
If you have any questions about the unit, contact your Sony
service facility.
CAUTION!
Danger of explosion if battery is incorrectly replaced.
Replace only with the same or equivalent type
recommended by the equipment manufacturer.
Discard used batteries according to manufacturer s
instructions.
3
Warning/Precautions

Table of Contents
Warning 2
Precautions 3
Chapter 1Getting Started
Overview of the DPS-D7 5
Hooking Up aSystem 6
Fundamental Connections as an Effector 6
Fundamental Connections for Recording 6
Connections with PA facilities 7
Identifying the Parts 8
Chapter 2Operation at aGlance
Let’s Try to Operate Your DPS-D7 10
Selecting aPreset Effect 10
Chapter 3Parameters of Each Block
Overview of the Signal Processing Blocks 1
1
General Block Diagram 1
1
Input Block 13
Equalizer Block 14
Delay Block 1
5
Algorithm 1Stereo Delay STD 15
Algorithm 2Feedback Delay FBD 15
Algorithm3 Double Delay DBD 16
Algorithm 4Tap Delay TPD 17
Algorithm 5Long Tap Delay LGD 18
Algorithm 6Panpot Tap Delay PTD 19
Algorithm 7Multi-Delay MTD 20
Auto Panner Block 21
Output Block 22
Other Blocks 23
Memory Block 23
SYS. MIDI Block 23
LCL. MIDI Block 24
Applications for LCL. MIDI 24
System Block 25
Chapter 4Operation'
Calling Up aMemory (LOAD) 26
Changing the Effects (EDIT) 27
Important Points for Editing 29
Saving the Changed Effects (SAVE) 30
APPENDIX
A. MIDI Implementation Chart 32
B. Parameter Variation Range for LCL.MIDI 36
C. Classification Chart for Editing 38
D. Specifications 41
E. Troubleshooting 41
F. Glossary 42
G. Block Diagram 43
4

Overview of the DPS-D7
S
The DPS-D7 is adigital delay unit equipped entirely with
Sony’s digital andaudio technology at its highest level of
sophistication which was released before with the Digital
Reverberator, DRE-2000 and MU-R20 1and has received
much praise.
Quality-conscious design -A/D and D/A high
performance converter
The DPS-D7 converts the incoming analog signal to adigital
signal, passes it through various effects, then re-converts it
to an analog singnal before output. The determinant to the
sound quality is the conversion mechanism that adopts the
18-bit oversampling stereo A/D converter and the pulse D/A
converter of 49,152 MHz. These account for highly accurate,
less deteriorated effects.
User-friendly and comfortable operation
The large size backlit LCD of 40 characters by 2lines makes
it possible to proceed with smooth operation while viewing
the operating condition in real time. Moreover, the LCD
display incorporates an on-line manual (in English) which
displays information required for operation.
Abundant preset memory settings
The unit has ahundred variations of the effects created by
musicians, sound mixers and acoustic engineers around the
world in its preset memory. This will help you select and
replay immediately the desired effects for aparticular
purpose.
Sound creation of any kind
The EDIT function allows you to modify the presets or to
create some individual effects. Besides the preset memory
for ahundred effects, the unit has aso-called user memory
where you can save up to 256 effects you are going to
create. Using this memory allows more varicolored play of
effects.
Wide range of effects
The DPS-D7 is equipped with 7types of algorithms in the
Delay block; Stereo delay, Feedback delay, Double delay,
Tap delay, Long tap delay, Panpot tap delay and Multi-delay.
In addition, it is provided with the Equalizer block and the
Auto panner block.
By using these blocks and algorithms, the DPS-D7 can
create the wide range of effects which no other existing
delay unit can achieve.
Remote control
The remote commander (not supplied) makes it possible to
remotely control the unit.
2types of I/O connectors are provided
The DPS-D7 has XLR connectors (balanced-type) and
phone jacks so that it can be connected to instruments,
recording equipment or PA (public address) equipment.
Linkage with MIDI equipment
The MIDI device incorporated in the DPS-D7 can receive
program change signals from another MIDI equipment
connected so that the DPS-D7 can be controlled by the MIDI
equipment connected. Thus it can function as an effector
when connected to digital instruments. In addition, controls
from PC’s or MIDI sequencers are very helpful for
composition.
GETTING STARTED 5
Table
of
Contents/Overview
of
the
DPS-D7

Hooking Up aSystem
Turn all the power off before making connections, and
connect the ACpower cord last.
1.Connect akeyboard to the INPUT jacks, or the MIDI IN
connector.
2.Connect active speakers to the OUTPUT jacks.
3.Insert the AC power cord firmly into the AC IN jack.
4.Connect the AC power cord to awall outlet.
For models equipped with avoltage selector
Check to confirm that the voltage selector is set to the local
power line voltage. If not, set the selector to the correct
poisition before connecting the AC power cord to awall
outlet.
Notes:
•Be sure to insert the plugs firmly into the jacks. Loose connection
may cause hum and noise.
•Leave alittle slack in the connecting cord to allow for inadvertent
shock or vibration.
•Connect the AC power cord last.
•Connections with some equipment of which the output capacity is
very high may result in sound distortion. When this happens, turn
the INPUT control to lower the input level, or turn down the output
level of the equipment connected to the DPS-D7.
Fundamental Connections for Recording
DPS-D7
Microphone :Signal flow
Notes:
•If only one channel is used, connect it to the INPUT CHI and set
the input mode in the System block to "mono”.
See page 25.
This allows you to obtain the same result as you do when the
mode is set to “stereo” and the same signal is input both to the
INPUT CHI and INPUT CH2.
.Be sure to input the signal with the reference level of +4 dB to the
XLR-3-31 connector.
.Since the reference level of phone jack is set at —10dB, any input
signal exceeding the maximum input level of +10 dB causes
clipping to the amplifier located before the input volume and sound
may be distorted.
•An optional remote commander RM-DPS7 can be connected to
the REMOTE IN connector to remotely control this unit.
6GETTING STARTED

Connections with PA facilities
When PA facilities are used in awide hall, sounds coming
from the main speakers and the sub speakers do not reach
any one point at the same time. The sound image generated
may sound unfocused and unnatural. Adelay unit delays the
sound from aset of the speakers closer to the listener to
correct the time lag between the two sets of the speakers.
m
3
CD
This makes the sound image exist where players are
standing. In particular the unit allows you to select the
“meter” as aunit to express the delay time. Therefore you
can simply input the distance between the two sets of
speakers (main and sub) for calculation of the correction
time.
GETTING STARTED 7
Hooking
Up
a
System

Identifying the Parts
Front panel
mPOWER switch
Turns the unit on and off. When the power is on. the
back light of the display window illuminates and the last
indication appears. For afew seconds after switching
on, the sound being input will be directly output since
the bypass function works.
mINPUT control
Adjusts the input levels of two channels independently.
The outside knob controls channel 1and the inside
knob controls channel 2. Since they are linked with
each other, hold whichever you do not use to adjust for
one channel only.
["3"] DRY (original sound) control
Adjusts the output level of the source signal which is
clear of any effect. Using this control in conjunction with
the EFFECT control can adjust the balance between the
source signal and the effect signal when mixing them.
To output only the effect signal, set the control to “0”.
[T1 EFFECT control
Adjust the output level of the effect signal. Using this
control in conjunction with the DRY control can adjust
the balance between the source signal and the effect
signal when mixing them.
[~5~1 Input level meter
Indicates input level for both channels independently.
Adjusts the INPUT control so that 0dB is lit when the
signal of the reference level is input. 0dB means ahead
room of 20 dB. When the signal exceeds this head
room, “OVER” illuminates.
This meter does not work when the BYPASS button is
pressed.
[~6~| MIDI indicator
Illuminates when the unit receives the MIDI program
change signal or control change signal.
[~7l REMOTE indicator
Illuminates when the unit receives the signal from an
optional remote commander.
[in Display window
Adisplay of 40 characters by 2lines on which names of
called memory, parameter values and/or messages are
indicated. Displayed indication is easy to read in adark
hall or astudio due to the back lighting.
mLOAD button
Press the button to call up the memory.
[Tol HELP button
Press the button to display information or messages
necessary to proceed with operation.
flTI EDIT button
Press the button to change parameter values in the
memory.
IT2ISAVE button
Press the button to save the effects individually created
in the user memory.
Pt3| BYPASS button
Press the button to output the input signal directly.
fl4l ENTER button
Press the button every time you have finished selecting
or setting parameters.
fl5l Operating dial
Selects preset numbers and/or sets parameters.
8GETTING STARTED

Rear panel
[T6l INPUT CH1/CH2 terminal (XLR-3-31 connector)
Balanced-type terminals for input of chi and ch2.
rm INPUT CH1/CH2 terminal (Phone jack)
Phone jacks for input of chi and ch2.
fT8l OUTPUT CH1/CH2 terminal (XLR-3-32 connector)
Balanced-type terminals for output of chi and ch2
[T9l OUTPUT CH1/CH2 terminal (Phone jack)
Phone jacks for output of chi and ch2.
When both XLR connectors and phone jacks are used,
the equipment connected to the phone jacks will be
given apriority.
|20
1
MIDI IN terminal (DIN 5-pin)
Input terminal for the MIDI signal. Acommercially
available MIDI cable can be connected between this
terminal and aMIDI OUT (or THRU) terminal of another
MIDI equipment.
[211 MIDI OUT terminal (DIN 5-pin)
Outputs the MIDI signal generated in this unit.
[22] MIDI THRU terminal (DIN 5-pin)
This terminal directly outputs the MIDI signal received
from the MIDI IN terminal. Acommercially available
MIDI cable can be connected between this terminal and
aMIDI IN terminal of another MIDI equipment.
23] REMOTE IN terminal (D-Sub 9-pin)
The terminal to which an optional remote commander is
connected. The remote commander enables you to
remotely control the unit.
[24] REMOTE THRU terminal (D-Sub 9pin)
This terminal directly outputs the signal received from
an optional commander through the REMOTE IN
terminal. This terminal should be connected to a
REMOTE IN terminal of any effector of the DPS series.
[25] AC IN jack
Use the supplied power cord to plug in apower outlet.
[26] AC voltage selector
(for UK and European model)
Set the selector to the correct position before
connecting the AC power cord to awall outlet.
m
3
<D
c/5'
3"
GETTING STARTED 9
Identifying
the
Parts

Let’s Try to Operate Your DPS-D7
The DPS-D7 has a hundred effects stored in the preset
memory. Now first, listen to these effects one by one,
referring to “Hooking Up aSystem" (page 6) and “Preset
Memory List" (separate volume).
Selecting aPreset Effect
*For the contents of the preset memory, refer to the
“Preset Memory List” (separate volume).
** User memory numbers (U1 to U256) become
available only after presetting for the numbers are
completed.
4.Turn the INPUT control to adjust the input level.
5.Turn the DRY and EFFECT controls to adjust the
balance between source signals and effect signals to
obtain adesired sound.
Before turning on the power of connected equipment
Turn down the volume of each equipment to prevent
unexpectedly high sound from occurring.
To output the input signals directly
Press the BYPASS button. The input signals will be directly
output. To release the bypass function, press the button
again.
DRV EFFECT
O/WS
•O: -O:
45
1.Turn on the power.
POWER I
1—n—
I
2.Press the LOAD button.
bH
2 3
O##:&•
3.Turn the dial to select adesired preset number (PI to
P100*, U1 to U256**)
LOAD mode indication
(P =Preset memory, U=User memory)
46 :TPD rBu 1
lBu Bu J
Algorithm name Memory name
10 OPERATION AT AGLANCE

Overview of the Signal Processing Blocks To be continued
The digital signal converted by the A/D converter is then processed through Input, Equalizer, Delay, Auto panner and Output
blocks sequentially.
Then it enters into the D/A converter
General Block Diagram
m
D
(Q
55'
zr
chi
ch2
Note:
When using the bypass function, signals input to chi /ch2 bypasses the electric circuit and are directly output to the output terminals. When
switching off the unit, the system automatically actuates the bypass function.
PARAMETERS OF EACH BLOCK 11
Let’s
Try
to
Operate
Your
DPS-D7/0verview
of
the
Signal
Processing
Blocks

Overview of the Signal Processing Blocks
Since the digital signal processing has a12 dB margin
against the full-bit output signal from the A/D converter, the
signal level raised within 12 dB by EQ (equalizer) parameters
in the digital signal processing blocks can be regulated by
simply changing the output level to prevent clipping.
If the signal is to be raised more than 12dB in the digital
processing blocks, lower the input level.
The analog signal processing has again of 10 dB for each
input and output. Turn the INPUT, DRY and EFFECT
controls to make the I/O level suitabale for the equipment
connected to the DPS-D7.
What can be done with each block?
Input block -the first block to receive digital signals.
See page 1
3
Equalizer block -digital equalization takes place in this
block. See page 14.
Delay block -the most important block in creating
effects. See pages 15to 20.
Auto panner block -Auto panner processing is given to
signals from the delay block. See page
21 .
Output block -the final block to send signals to the
D/A converter. See page 22.
Signal flow diagram
Analog level-digital level diagram
12 PARAMETERS OF EACH BLOCK

Input Block
This block receives the signals from the A/D converter for
level, phase andpanpotprocessing.
Abbreviations of parameter names
The parameter name shown in this manual may be
abbreviated from time to time as shown below
auto panner -* autopan
equalizer -*• EQ
Parameters MIN and MAX
input level 0-100%
input phase normal/inverse
input panpot 0-100%
input panpot limit min 0-100%
input panpot limit max 0-100%
Note:
If the panpot is set to 0%, signals pass through the block and if it is
set to 100%, input signals for chi is output to ch2 and vice versa.
Available values for panpot lie between limit min and max.
PARAMETERS OF EACH BLOCK 13
Overview
of
the
Signal
Processing
Blocks/Input
Block

Equalizer Block
This block receives the signals from the Input block for
digital equalization processing.
It consists ofa3band equalizer (bass, treble andpeaking)
independently operated for ch 1and ch2.
Parameters MIN and MAX
EQ on/off off, on
bass level -12- +12 dB
bass freq 16 Hz -6.3 kHz
treble level -12- +12dB
treble freq 400 Hz -20.0 kHz
PEQ level -12- +12dB
PEQ freq 63 Hz -20.0 kHz
PEQ q0.267, 0.667, 1.414, 2.145,
4.319, 8.651, 17.31,34.62
14 PARAMETERS OF EACH BLOCK

Delay Block To be continued
This block processes the incoming signals from the
Equalizer block and then sends them to the Auto panner
block. Signalprocessing in this block uses 7types of specific
algorithms for the preset memories.
When editing apreset memory, check which algorithm is
used in the preset memory. Parameters also vary as the
algorithm changes.
Algorithm 2Feedback Delay FBP
Asimple dual channel delay with feedback, suitable for use
as ageneral echo. When the gain of feedback parameters
exceeds 100%, (including afeedback EQ), the DC
component can continue to be added to prevent sound
generation. It is recommended to be used below 100%.
m
D
(Q
w
3-
Algorithm 1Stereo Delay STD
Adual channel delay only used for time shift.
Only one parameter, delay time, is used for time adjustment
of sound and image, or time alignment of the speakers.
Parameters MIN and MAX
^delay time 0—1 365.31 msec.
Parameters MIN and MAX
delay time 0.021 -1365.21 msec.
feedback level 0-100%
feedback phase normal/inverse
feedback bass level -12- +12 dB
feedback bass freq 25 Hz -6.3 kHz
feedback treble level -12- +12dB
feedback treble freq 400 Hz -20.0 kHz
chi in
Omain delay line
delay time
chi out
(one channel)
chi in main delay line
5delay time
&) bass ,'freq \
\level 1
chi out
feedback level
feedback phase
(one channel)
PARAMETERS OF EACH BLOCK 15
Equalizer
Block/Delay
Block

Delay Block
Algorithm 3Double Delay
Two delays equipped with bass and treble tone controls are
connected in series.
For example, when the delay 1is set to 20 msec and the
delay 2is set to 200 msec, the effect shown below will be
obtained.
delay 2time
=200 msec
When the delay 1is set to 200 msec and the delay 2is set to
20 msec, the effect shown below will be obtained.
200 msec .
DBD
Parameters MIN and MAX
delay 1time 0.021 -682.63 msec.
delay 2time 0.021 -682.44 msec.
feedback 1level
feedback 2level 0-100%
feedback 1phase
feedback 2phase normal/inverse
feedback 1bass level
feedback 2bass level —12- +12dB
feedback 1bass freq
feedback 2bass freq 25 -6.3 kHz
feedback 1treble level
feedback 2treble level -12- +12 dB
feedback 1treble freq
feedback 2treble freq 400 Hz -20.0 kHz
(one channel)
16 PARAMETERS OF EACH BLOCK

To be continued
Algorithm 4Tap Delay
This algorithm has two channels of the delay with 38 taps for
each of which predelay time is variable.
Since you can define the delay time and level for each tap,
this algorithm is available as areflection simulator.
TPD
Parameters MIN and MAX
pre delay time 0.021 -99.98 msec.
tap 1-38 time 0- 1265.31 msec.
tap 1-38 level 0-100%
tap 1-38 phase normal/inverse
'Every tap is provided with time, level and phase parameters. (one channel)
PARAMETERS OF EACH BLOCK 17
English

Delay Block
Algorithm 5Long Tap Delay
This algorithm has asingle delay line enabling along delay.
It has a3band equalizer in the feedback circuit and allows
the output of 29 taps for each channel.
LGD
Parameters MIN and MAX
mix level 0-100%
mix phase normal/inverse
tap 1-29 time 0.021 -2730.44 msec.
tap 1-29 level 0-100%
tap 1-29 phase normal/inverse
feedback time 0.021 -2730.44 msec.
feedback level 0-100%
feedback phase normal/inverse
feedback bass level -12- +12dB
feedback bass freq 25 Hz -6.3 kHz
feedback treble level -12- +12dB
feedback treble freq 400 Hz -20.0 kHz
feedback PEQ level —12- +12dB
feedback PEQ freq 63 Hz -20.0 kHz
feedback PEQ q0.267, 0.667, 1.414, 2.145
4.319, 8.651, 17.31,34.62
18 PARAMETERS OF EACH BLOCK

To be continued
This algorithm creates adelay which gives apanpot to each
tap output.
By using panpots, the sound image seems to be moving.
Parameters MIN and MAX
pre delay time
pre delay level
pre delay phase
0-682.60 msec.
0-100%
normal/inverse
pre delay feedback time
pre delay feedback level
pre delay feedback phase
0.021 -682.60 msec.
0-100%
normal/inverse
tap 1-5time
tap 1-5level
tap 1-5panpot
tap 1-5phase
0-682.65 msec.
0-100%
0-100%
normal/inverse
main delay feedback line
main delay feedback level
main delay feedback phase
0.021 -682.65 msec.
0-100%
normal/inverse
PARAMETERS OF EACH BLOCK 19
English

Delay Block
Algorithm 7Multi-Delay
This creates adelay which allows complicated intercoursing
between the channels. It has predelay and main delay lines
from which several taps are output.
Parameters MIN and MAX Parameters MIN and MAX
early rfl 1—3time
early rfl 1-3level
early rfl 1-3phase
0-682.44 msec.
0-100%
normal/inverse
feedback time
feedback level
feedback phase
0.021 -682.65 msec.
0-100%
normal/inverse
pre delay 1, 2time
pre delay 1,2level
pre delay 1,2phase
0-682.44 msec.
0-100%
normal/inverse
feedback bass level
feedback bass freq
—12- +12 dB
25 Hz -6.3 kHz
feedback treble level
feedback treble freq
—12- +12dB
400 Hz -20.0 kHz
cross pre delay time
cross pre delay level
cross pre delay phase
0.021 -682.44 msec.
0-100%
normal/inverse feedback PEQ level
feedback PEQ freq
feedback PEQ q
-12- +12 dB
63 Hz -20.0 kHz
0.267, 0.667, 1.414, 2.145
4.319, 8.657, 17.31, 34.62
tap 1-3time
tap 1-3level
tap 1-3phase
0-682.65 msec.
0-100%
normal/inverse
cross tap 1-3time 0.021 -682.65 msec. cross feedback time 0.021 -682.65 msec.
cross tap 1-3level 0-100% cross feedback level 0-100%
cross tap 1-3phase normal/inverse cross feedback phase normal/inverse
chi in
chi out
ch2 out
'Every tap is provided with time, level and phase parameters.
20 PARAMETERS OF EACH BLOCK