Hall simulates the reverberation that occurs when sound is recorded in medium to large-sized concert halls. Ambience creates a customizable virtual acoustic space to add warmth and depth without coloring the direct sound. DECAY controls the amount of time it takes for the reverb to dissipate. SIZE controls the perceived size of the space being created by the reverb.

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Hall simulates the reverberation that occurs when sound is recorded in medium to large-sized concert halls. Ambience creates a customizable virtual acoustic space to add warmth and depth without coloring the direct sound.

DECAY controls the amount of time it takes for the reverb to dissipate. SIZE controls the perceived size of the space being created by the reverb. The DAMP slider adjusts the decay of the high frequencies within the reverb tail.

SHAPE adjusts the contour of the reverberation envelope. Plate Reverb A plate reverb was originally created by sending a signal through a transducer to create vibrations on a plate of sheet metal which were then picked up as an audio signal.

Our algorithm simulates that sound with high initial diffusion and a bright colored sound. The Plate Reverb will give your tracks the sound heard on countless hit records since the late s. SIZE adjusts the size of the virtual room created by the reverb effect.

The DAMP knob adjusts the decay of high frequencies within the reverb tail. XOVER controls the crossover point for bass. Use Vintage Reverb to sweeten vocals and snare drums without sacrificing clarity. When layer 1 is selected, the first slider on the left sets the reverb time from 4 milliseconds to 4. Slider 2 controls the low frequency multiplier decay time. Slider 3 controls the high frequency multiplier decay time.

Slider 4 controls the amount of modulation in the reverb tail. When layer two is selected, slider 1 adjusts the pre delay. Slider 2 selects the low cut frequency. Slider 3 selects the Hi Cut frequency. Slider 4 adjusts the output level of the reverb. When Layer 1 is selected, the far left encoder push button allows you to select between virtual front and rear outputs.

Rear is suitable for drums due to it being less reflective. Front is well-suited for vocals and other dynamic instruments. The Vintage button enables the simulation of the input transformers. Vintage Room Vintage Room simulates the reverberation that occurs when sound is recorded in a small room. When you want to add a bit of warmth and just a touch of reverb, the Vintage Room breathes life into close-miced guitar and drum tracks. TIME shows the duration of the reverb effect. This slightly changes the reverb decay time.

Gated Reverb This effect was originally achieved by combining a reverb with a noise gate. Our gated reverb creates the same impression by a special shaping of the reverb tail. Gated Reverb is especially effective for creating a s-style snare sound or to enlarge the presence of a kick drum.

The higher the density, the greater the number of sound reflections. Reverse Reverb Reverse Reverb takes the trail of a reverb, turns it around, and places it in front of the sound source. Use the swelling crescendo of the Reverse Reverb to add an ethereal quality to vocal and snare tracks. RISE controls how quickly the effect builds up.

The LO CUT knob sets a low frequency beneath which the source signal will not pass through the reverb.

Stereo Delay Stereo Delay provides independent control of left and right delay echo times and features high and low pass filters for enhanced tone shaping of the delayed signals. Use the Stereo Delay to give your mono signals a wide presence in the stereo field. The MIX control lets you blend the source signal and the delayed signal. TIME adjusts the master delay time up to three seconds. LO CUT adjusts the low frequency cut, allowing lower frequencies to remain unaffected by the delay. HI CUT adjusts the high frequency cut, allowing higher frequencies to remain unaffected by the delay.

M creates a mono mix within the feedback chain. Create time-based echo effects with the Triple Delay to increase the sense of stereo separation. LO CUT sets the frequency at which the source signal can begin passing through the delay.

HI CUT sets the frequency at which the source signal no longer passes through the delay. X-FEED indicates that stereo cross-feedback of the delays is active. MONO activates a mono mix of both channels for the delay input. FEED adjusts the amount of feedback.

GAIN A controls the gain level of the second delay stage. PAN A sets the position of the second delay stage in the stereo field. GAIN B controls the gain level of the third delay stage. PAN B sets the position of the third gain stage in the stereo field. Rhythm Delay The Rhythm Delay provides 4 stages of delay with independently adjustable gain and rate, allowing unique syncopation to be created in the layered repeats.

Each stage also has its own GAIN adjustment. Stereo Chorus Chorus samples the input, slightly detunes it and mixes it with the original signal to produce a somewhat thicker, shimmering sound. Use it to thicken up background vocals, or to double the sound of brass and woodwind instruments.

SPEED sets the modulation speed. MIX adjusts the balance of the dry and wet signals. Stereo Flanger The Flanger emulates the phase-shifting sound comb-filtering originally created by applying pressure against the flange of the reel on a tape recorder.

The controls of this effect are nearly identical to the Chorus effect block. The BASE knob adjusts the frequency range of the modulated filters. The resonance is adjusted with the RESO knob. The modulation source can also be the signal envelope, which produces vowel-like opening and closing tones. The 4 MODE buttons can be engaged individually or simultaneously for light chorus or very thick, exaggerated modulation. Mood Filter The Mood Filter uses an LFO generator and an auto-envelope generator to control a VCF voltage-controlled filter , as well as a side chain function where the channel B signal controls the envelope of channel A.

When applied to electronic instruments, the Mood Filter can be used to emulate the natural sound of acoustic instruments. The WAVE knob selects between 7 different wave forms — triangular, sine, saw plus, saw minus, ramp, square, and random. Adjust the resonance of the filter until self-oscillation with the RESO nance knob.

Use the MIX knob to blend the effected signal with the dry sound. The DRIVE knob adjusts the level and can also introduce an overdrive effect as with real analogue filters if pushed hard.

In Sidechain mode, only the left input signal is processed and fed to both outputs. The envelope of the right input signal can be used as a modulation source.

Rotary Speaker Rotary Speaker emulates the sound of a Leslie rotating speaker. The Rotary Speaker provides more flexibility than its electro-mechanical counterpart, and can be used with a variety of instruments, and even vocals, to create a whirling, psychedelic effect. The rotation effect can also be disengaged with the STOP button, which will stop the movement of the speakers.

Stereo Tremolo Stereo Tremolo creates an up and down volume change at a constant and even tempo just like the guitar amps of yesteryear. Sub Octaver The Sub Octaver provides two channels of sub harmonics generation, one or even two octaves below the input signal. This device only uses one FX slot.

The XFEED knob allows you to send the delay sound to the reverb effect, so instead of running completely parallel, the reverb affects the echos to a selected degree.

The SIZE controls how large or small the simulated space is room, cathedral, etc. FEEDback can be adjusted with positive and negative amounts. Uses only one FX slot. This combination effect only takes up one FX slot. Modulation Delay Modulation Delay combines three of the most used time modulation effects into one easy-to-operate unit, featuring true-stereo delay with a lush chorus, topped off with three reverb models to choose from.

The processor chain can operate as serial where one effect flows into the next, or parallel where each effect is applied to the source signal independently.

A master volume slider compensates for changes in volume caused by the equalization. A maximum boost or cut of 15 dB is available for each band. The TruEQ incorporates a special algorithm that compensates for the gain adjustment overlapping effect that adjacent frequency bands have on one another.

On a standard EQ, when neighboring bands are boosted together, the resulting effect is magnified beyond what is visible from the positioning of the sliders. This compensated EQ will produce an adjustment that is identical to the actual positioning of the sliders.

DeEsser The DeEsser effect allows the sibilance to be controlled for singers that have a pronounced "S" sound. Separate knobs allow the low and high bands to be adjusted, and the effect can be optimized for male and female voices. GAIN allows compensation for level changes resulting from frequency adjustments.

Toggle the IN switch to engage or disengage the effect. The same adjustments are available for the high frequencies. Xtec EQ5 This Pultec emulation is a classic analog passive equalizer that offers very warm and musical frequency sculpting. Simply select the center frequency for the 3 bands, then adjust how much low and high you want to boost and how much midrange you want to cut.


Behringer Edison EX1, Stereo 3D Processor,

I use the model made in Germany in The device must be used to discriminate certain sounds in a mix. Preferably short sounds or perceived, that we will "feel" to listen as "far away", while all other sounds are around us. The phase-meter is useful. The sound is set OK. Please note, if abused, you lose everything.


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