Regenerated Digital Delay Short and Long: these are placed in parallel with a reverb algorithm if used although they are not available with Reverb 3 and can be used to add a small amount of depth to the sound. Parameters are simply delay, regeneration and level.
You can add a hard edge to a reverb effect by using a long delay and a smattering of regeneration. Stereo Digital Delay Short and Long: parameters include left and right delay times Oms per side for Short, Oms for Long , regeneration, high frequency damping and level. As you can set different delay times for the two channels you can produce some pretty spiffy effects.
Throw in the Panner or Chorus or Flanger for increased spatial awareness. So what can the boys at ART do with these algorithms? Well, the presets are excellent. I won't be rash enough to suggest that there's one to suit your every need, but you can probably find one which is close and edit it.
Up to eight parameters can be adjusted simultaneously for each preset. Each controlled parameter requires two items of information - the controller to be used and the Scaling value. These last two are particularly interesting.
Control by note velocity is fairly self-explanatory but here's a couple of ideas for applications. Linking it to delay time in a reverb effect could give quiet notes a long decay making them sound further away and loud notes a shorter decay making them sound more upfront.
Or vice versa. Link it to regeneration in the Flanger for velocity-controlled flanging, or to delay time in a Delay. Note Key numbers relate to the MIDI note numbers playing higher or lower has a similar control effect to moving a pitchbend wheel, for example.
Link this to Panning to make low notes move slowly and high ones tear around the stereo image. Or to Reverb to give high or low notes shorter or longer decay times - as is your wont.
The Scaling value controls the degree by which the parameter is changed: the higher the Scaling value, the more sensitive the parameter becomes. For example, low values mean that large changes in the controller are required in order to change the parameter's value. High numbers make the parameter more responsive. Scale values can be negative, too, which lets you invert a controller's effect on effects. As the same controller can be used to control more than one parameter this also allows you to create crossover effects.
For example, link Chorus and Delay to note velocity and you could produce chorus by playing softly and echoes by playing louder. You could even link loud and soft to left and right delay times, although if you mess around with the numbers too much you can get serious glitching.
Performance MIDI setups look a little tricky to program at first but one example in the manual steps you through the creation of a 4-PM preset while another shows how to add it to an existing preset. A little experimentation soon breeds familiarity. Ten of the factory presets include PM and if a preset uses PM a number in the bottom right of the display shows how many parameters are under MIDI control.
This allows you to configure the Multiverb to your equipment rather than being forced to work the other way around. If memories aren't enough, you can save them with a MIDI dump command. If the Multiverb is commanded to send a MIDI message of its own this could only really be a dump command it will merge them.
A socket at the back allows a footpedal to be used to increment the presets or activate Bypass mode. The manual is quite well written with several programming examples, some tutorial sections, and illustrations where necessary.
It hasn't been proof-read and it was printed on a dot-matrix printer and although it is legible, why on earth didn't they use double-strike mode?
No big deal perhaps but here's a message to software and hardware producers everywhere - listen up, you guys, manuals are important. Perhaps the EQ section could be more comprehensive but then I personally prefer to do my EQing at the mixing desk. Psychoacousticians may yearn for more control over their reverb creations - density, first reflection time - and I suppose a delay longer than ms could have its uses. Pitch Transpose may not prove usable for all the applications you'd like brave of ART to include it at all and programming does, of necessity, require a certain amount of button pushing.
But this is basically a budget unit, remember, and at the price it would be churlish indeed to moan. I like this unit. It sounds good, it's relatively easy to use, it has a number of novel features and it can produce a wide range of excellent effects. Its dynamic response to signals is excellent without peaking or troughing and the sound quality is on the warm side of digital without being obtrusive or obvious. Now I'm looking for a friendly welder to fix the review model into my rack.
What's more - I'm beginning to love the colour. Top Issue contents. You can send us a note about this article, or let us know of a problem - select the type from the menu above. Please include your email address if you want to be contacted regarding your note. Wiki Citation Code for this article:. Short: Show Copy to clipboard. Long: Show Copy to clipboard. If you value this resource, you can support this project - it really helps! New issues that have been donated or scanned for us this month.
All donations and support are gratefully appreciated - thank you. If so, and you can donate, lend or scan them to help complete our archive, please get in touch via the Contribute page - thanks! You have just purchased what many industry professionals consider the most technically advanced signal processor ever built!
Multkverb twenty bit multiple effects processor will provide you with a virtually endless range of singular effects, plus the best of all MULTIPLE digital effects. Packed in a single high rack unit are numerous digital algorithms providing a full range of natural and simulated stereo reverberation ef- fects.
The ability to majual effects together enables you to design studio effects easily, or a new generation of sound effects all your own. The initial manuak presets were not only multiferb for instant use, but also as a starting point for your own innovative sound patterns.
There is no substitute for hands on experience. Let your imagination run wild and mjltiverb. ART is a strong proponent of user friendliness, this manual is written to sup- port the concept of a user-friendly product along with a dedicated USERS manual. This will allow maximum efficient use of a sophisticated digital signal processor.
For touring rack ap- plications, care should be taken to support the units rear if the rack might be subjected to mechanical shock.
The rat panel may bend if no. Mounting location is not critical, but for greater reliability we recommend that you not place the unit on top of power amps, tube equipment, or other sources of heat. This is because we have found that in the majority of applications a rack of units has its power sup- plied via a power strip that is controlled by a main power switch. If only one input is used, the signal is automatically routed to both channels. When a-stereo signal is ap- plied to the inputs, the resulting output is stereo.
If both outputs are used with a mono input signal, a stereo image is produced. Using one output with a mono or stereo source provides a mono signal combining the processed information from both outputs. One in one out mono, either jack may be usedone in two out stereo imagerwo in one out summed mono outputand two in two out stereo may be achieved. The processed sig- nal will be a mbc of the inputs with its own individual stereo image dictated by the algorithm used. This slide control adjusts the input signal to accommodate a wide range of devices.
Source inputs may range from musical instruments such as guitars and keyboards, mixing consoles and effects loops in amplifiers. For low level output devices the slider will be positioned more to the right side. With line level devices mixers center the slider and control the input level from the effects send.
For a starting point set all the shders to the cen- ter position and if possible adjust the output level of the device sending the signal to the MULTIVERB so that -6dB is lit on soft peaks. Use the Input Level control to compensate for minor level adjustments. When using a guitar mulriverb other instruments which produce sharp transients, the input level should be set so only the and dB LEDs are lit.
These indicators are reference levels only. Multivreb proper adjustment of level, review the Input Level Control section. When the knob is fully to the left, only the dry signal is apparent at the output s. As the slider is moved towards the right, more processed signal is heard at the output s. When the slider is fully towards the right, only processed signal is heard at the output.
Majual the slider fully to the left, there is no output signal present at the output jacks. As you move the slider to the right the output signal level of the unit increases. There are 19 categories of effect algorithm each with a varying number of parameters. Equaliser this is a low pass filter and is always placed at the front of the processing chain. Mnual roll-off points are available ranging from Hz to 15kHz.
Its width, speed and regeneration can be varied to produce a wide range of flanges. The subtle ones work best. Crank up any of the parameters and the result becomes a bit grainy.
Two of the factory presets use flanging to produce Leslie speaker effects. You have control over width and speed and the base delay time can at varied Oms which helps give the effect more depth. Chorus and Flanging are mutually exclusive. It can shift pitch plus or minus an octave in semitone and six-cent steps.
Its most obvious use is to produce vocal and instrument harmonies but it can also transform and augment sounds. It can be used particularly effectively with strings and pads and it does a good job of turning a reasonably tuneful piano into a honky tonk. Stacking Pitch Transpose with a Mono Delay Stereo Delay is not allowed and adding regeneration will transpose each repeat by the transpose amount.
Be subtle and use a tone — or be obvious and use an octave. Another interesting feature is the Base Key parameter. This is used to set the transpose amount from an external MIDI keyboard. E selects a four-semitone shift and so on. One of the Appendices explains a little about harmonics and their relationship to major and minor scales but I would like to have seen even more hints and suggestions here. Harmonising functions make great demands on the processor and the only effects you can have with this are EQ and mono delay.
The only other thing to be aware of is a slight harmonic ring which become apparent with certain sounds and some settings particularly when regeneration is engaged. Modulation determines the stereo depth, and speed determines the, er, speed.
Both are placed second in the chain. Use Short for slapback effects or for adding pre-delay to reverb settings. Reverb 1, 2 and 3: While Reverb 1 can only access Hall 1, Reverb 2 can access Hall 1 and 2, and Reverb 3 can access Hall 1, 2 and 3 and so on. Parameters include decay up to 25 seconds — a real wash high frequency damping to simulate the absorption properties of different environments, position front or rear and level. Reverb 3 also has a diffusion control this fills in the sound between echoes which help smooth out the reverb.
This is the most complex and dense effect.
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