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EXPLANATION OF PARAMETERS
The preset programs in the REV7 fall into the following types: REV (Reverb), E/R (Early Reflection), Delay, Echo, and MOD
(Modulation Type, including Phase, Chorus, and Flange type effects). Each of these program types has a specific selection of pro-
grammable parameters.
"Parameters"
indicates the separate, individual functions that make up each effect. There are two types of parameters in the
REV7: "invisible" parameters (non-programmable, fixed value parameters) and programmable parameters (the ones that you can
edit, or modify). You can set.the parameters of two different presets to the same values, and the resulting effect may not be the
same, due to the non-programmable parameters.
Each preset has up to 7 programmable parameters. They are listed, with their preset values, in the MEMORY (ROM) CONTENTS
CHART at the end of this manual. In this section well explain these parameters and list their individual value ranges. The front
panel key which calls up each parameter will also be noted. These include R/T (Reverb Time—may be used for other parameters),
INITIAL DELAY, 1ST REF (First Reflection: a double-action key for setting level and delay of first reflection), and Function
Keys F1, F2, F3 (for a variety of functions, depending on preset selected).
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All presets include the 1st Reflection feature, explained below. The level of the 1st Reflection is usually preset at zero, so that
you can program in just the amount of 1st Reflection that you need.
. REV TYPE.
Reverberation effects. Presets 1 through 4, 16 through 18,
matic Double Tracking) effects, or for "thickening" the
22, and 29.
sound of an instrument. The 1st Reflection is always a
mono
signal,
and
appears
in the center
of the stereo
DIRECT SIGNAL
e-
.
100%
image, With all presets, the 15T REF parameters are pre-
1ST REF.
1ST REFLECTION
set at the minimum
{0% level, 0.1 тес
delay time) so
LEVEL
that you can program in exactly the amount of 1st
Reflection you need.
The 1ST
REF
key is a double
action
key. Each
time
you
press
this
key,
it alternates
between
"1ST
DLY"
and
"1ST
LEVEL"
(as displayed on
the LCD), allowing you to set the values of the
delay and level of the first reflection.
5. HI REVERB TIME. Range: 0.1 — 1.0 x MID R/T. Key:
F1.
6. LOW
REVERB
TIME. Range: 0.1 — 2.4 x MID
R/T.
Key: F2.
Natural
reverberation
varies according to the frequency
of the sound—the
higher the frequency, the more
the
sound
tends to be absorbed
by walls, furnishings,
and
even
by air. These two parameters permit you to alter
the reverberation
times of the high frequency and low
frequency portions of the signal, as a proportion of the
mid freguency reverb time.
7. DIFFUSION. Range: 0 ~ 10. Key: ЕЗ.
Reverberation
is caused
by
multiple
reflections
that
increase rapidly in complexity, according to the shape of
the hall and any furniture or fittings therein. This rate of
increase is known as DIFFUSION on the REV7. Setting
the Diffusion parameter at O gives a less complex, clearer
NOTE:
REVERB SIGNAL
60dB
1ST REF.
(TIME)
DELAY
REVERB TIME
1. REVERBERATION
TIME (R/T). Range: 0. 3 ~ 10.0 sec.
Key: REV TIME.
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The length of the time it takes for the level of reverbera-
tion at 1 kHz to decrease by 60 dB--virtually to silence. In
a live setting, this depends on several factors: room size,
room shape, type of reflective surfaces, among others.
2. INITIAL DELAY. Range: 0.1 — 100 msec. Key: INITIAL
DELAY.
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For a listener in a concert hall, there is a time delay be-
tween the direct sound of the instrument, and the first of
the many
reflected sounds
that together are known as
reverberation.
On the REV7, this is known as the INI-
TIAL DELAY time.
3. 1ST REFLECTION Delay. Range: 0.1 ~ 100 msec.
. 1ST REFLECTION
Level. Range:
0 ~
100% of direct
signal level. Key: 1ST REF.
A common
phenomenon
іп a concert
hall is a single.
reflection
immediately after the direct sound. The 1ST
REFLECTION
feature enables you to accurately simul-
ate this effect. Both the delay and the level of the reflec-
tion are adjustable. This is also useful for A.D.T.' (Auto-
reverb effect, as in a regularly shaped room with simple,
flat reflective surfaces.
As you increase the setting, the
sound becomes fuller, richer, and more expansive, giving
the impression of a room that is not necessarily bigger,
but has an irregular shape and contains
many
corners
and fittings to multiply reflections, as in a theater with
proscenium, seats, orchestra pit, balconies, etc.
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