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Backing Module BK-7m MFX types and parameters r 36. Chorus‰ DLY This effect connects a chorus and a delay in series. ● Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the incoming direct signal and the moment when the chorus starts working. ● Chorus Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed. ● Chorus Depth (0~127)—Modulation intensity. ● Chorus Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct sound (D) and the chorus sound (W). ● Delay Time (0.0~500.0ms)—Adjusts the time until the delay is heard. ● Delay Feedback (–98%~0~98%)—Adjusts the amount of the delay sound that’s fed back into the effect. Negative (–) settings invert the phase. ● Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS. ● Delay Balance (D100:0W, D50:50W, D0:100W)—Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). ● Level (0~127)—Output level. 37. Flanger‰ DLY This effect connects a flanger and a delay in series. ● Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from when the direct sound begins until the flanger sound is heard. ● Flanger Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed. ● Flanger Depth (0~127)—Modulation intensity. ● Flanger Feedback (–98%~0~98%)—Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (–) settings will invert the phase. ● Flanger Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct sound (D) and the flanger sound (W). ● Delay Time (0.0~500.0ms)—Adjusts the time until the delay is heard. ● Delay Feedback (–98%~0~98%)—Adjusts the amount of the delay sound that’s fed back into the effect. Negative (–) settings invert the phase. ● Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS. ● Delay Balance (D100:0W, D50:50W, D0:100W)—Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). ● Level (0~127)—Output level. 38. CHO‰ Flanger This effect connects a chorus and a flanger in series. ● Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the incoming direct signal and the moment when the chorus starts working. ● Chorus Rate (0.05~10.0Hz)—Modulation frequency of the chorus effect. ● Chorus Depth (0~127)—Modulation intensity of the chorus effect. ● Chorus Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct sound (D) and the chorus sound (W). ● Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from when the direct sound begins until the flanger sound is heard. ● Flanger Rate (0.05~10.0Hz)—Modulation frequency of the flanger effect. ● Flanger Depth (0~127)—Modulation intensity of the flanger effect. ● Flanger Feedback (–98%~0~98%)—Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (–) settings will invert the phase. ● Flanger Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct sound (D) and the flanger sound (W). ● Level (0~127)—Output level. 112 39. CHO/DLY This effect connects a chorus and a delay in parallel. (“Parallel” means that the input signal is processed by two effects that do not interact.) ● Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the incoming direct signal and the moment when the chorus starts working. ● Chorus Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed. ● Chorus Depth (0~127)—Modulation intensity. ● Chorus Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct sound (D) and the chorus sound (W). ● Delay Time (0.0~500.0ms)—Adjusts the time until the delay is heard. ● Delay Feedback (–98%~0~98%)—Adjusts the amount of the delay sound that’s fed back into the effect. Negative (–) settings invert the phase. ● Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS. ● Delay Balance (D100:0W, D50:50W, D0:100W)—Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). ● Level (0~127)—Output level. 40. Flanger/DLY This effect connects a flanger and a delay in parallel. ● Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from when the direct sound begins until the flanger sound is heard. ● Flanger Rate (0.05~10.0Hz)—Frequency, i.e. modulation speed. ● Flanger Depth (0~127)—Modulation intensity. ● Flanger Feedback (–98%~0~98%)—Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (–) settings will invert the phase. ● Flanger Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct sound (D) and the flanger sound (W). ● Delay Time (0.0~500.0ms)—Adjusts the time until the delay is heard. ● Delay Feedback (–98%~0~98%)—Adjusts the amount of the delay sound that’s fed back into the effect. Negative (–) settings invert the phase. ● Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS. ● Delay Balance (D100:0W, D50:50W, D0:100W)—Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). ● Level (0~127)—Output level. 41. CHO/Flanger This effect connects a chorus and a flanger in parallel. ● Chorus Pre Delay (0.0~100.0ms)—Adjusts the delay between the incoming direct signal and the moment when the chorus starts working. ● Chorus Rate (0.05~10.0Hz)—Modulation frequency of the chorus effect. ● Chorus Depth (0~127)—Modulation intensity of the chorus effect. ● Chorus Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct sound (D) and the chorus sound (W). ● Flanger Pre Delay (0.0~100.0ms)—Adjusts the delay time from when the direct sound begins until the flanger sound is heard. ● Flanger Rate (0.05~10.0Hz)—Modulation frequency of the flanger effect. ● Flanger Depth (0~127)—Modulation intensity of the flanger effect. ● Flanger Feedback (–98%~0~98%)—Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (–) settings will invert the phase. ● Flanger Balance (D100:0W, D50:50W, D0:100W)—Volume balance between the direct sound (D) and the flanger sound (W). ● Level (0~127)—Output level.
Backing Module BK-7m r MFX types and parameters 42. Isolator This is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges. ● Boost/Cut Low/Mid/High Level (–60~0~4 [dB])—These boost and cut each of the High, Middle and Low frequency ranges. At –60dB, the sound becomes inaudible. 0dB is equivalent to the input level of the sound. ● Anti Phase Low Sw (Off, On)—Turns the Anti-Phase function on and off for the Low frequency ranges. When turned on, the counter-channel of stereo sound is inverted and added to the signal. ● Anti Phase Low Level (0~127)—Adjusts the level settings for the Low frequency ranges. Adjusting this level for certain frequencies allows you to lend emphasis to specific parts. (This is effective only for stereo source.) ● Anti Phase Mid Sw (Off, On)—Turns the Anti-Phase function on and off for the Middle frequency ranges. When turned on, the counter-channel of stereo sound is inverted and added to the signal. ● Anti Phase Mid Level (0~127)—Adjusts the level settings for the Middle frequency ranges. Adjusting this level for certain frequencies allows you to lend emphasis to specific parts. (This is effective only for stereo source.) ● Low Boost Sw (Off, On)—Turns Low Booster on/off. This emphasizes the bottom to create a heavy bass sound. ● Low Boost Level (0~127)—Increasing this value gives you a heavier low end. Depending on the Isolator and filter settings this effect may be hard to distinguish. ● Level (0~127)—Output level. 43. Low Boost Boosts the volume of the lower range, creating powerful lows. ● Boost Frequency (50~125 [Hz])—Center frequency at which the lower range will be boosted. ● Boost Gain (0~12 [dB])—Amount by which the lower range will be boosted. ● Boost Width (Wide, Mid, Narrow)—Width of the lower range that will be boosted. ● EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency range. ● EQ High Gain (–15dB~0~15dB)—Gain of the high frequency range. ● Level (0~127)—Output level. 44. Super Filter This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically. ● Filter Type (LPF, BPF, HPF, NOTCH)—Filter type. Frequency range that will pass through each filter. LPF: frequencies below the cutoff. BPF: frequencies in the region of the cutoff. HPF: frequencies above the cutoff. NOTCH: frequencies other than the region of the cutoff. ● Filter Slope (–12, –24, –36 [dB])—Amount of attenuation per octave: –36dB: extremely steep, –24dB: steep, –12dB: gentle. ● Filter Cutoff (0~127)—Cutoff frequency of the filter. Increasing this value will raise the cutoff frequency. ● Filter Resonance (0~127)—Filter resonance level. Increasing this value will emphasize the region near the cutoff frequency. ● Filter Gain (0~12 [dB])—Amount of boost for the filter output. ● Modulation Sw (Off, On)—On/off switch for cyclic change. ● Modulation Wave (TRI, SQR, SIN, SAW1, SAW2)—How the cutoff frequency will be modulated: TRI: triangle wave, SQR: square wave, SIN: sine wave, SAW1: sawtooth wave (upward), SWA2: sawtooth wave (downward) ● Rate [sync] (Hz, Note)—Use this parameter to specify whether (“Note”) or not (“Hz”) the modulation rate should be synchronized to the Arranger or Recorder tempo. Depending on your choice, the setting range of the following parameter refers to a speed (Hz) or a note value. ● Rate [Hz] (0.05~10.00Hz)—Rate of modulation. ● Rate [note] (musical notes)—Rate parameters can be set as a note-value of a tempo if you set the “Sync” parameter above to “Note”. Specify the value of the desired note. ● Depth (0~127)—Depth of modulation. ● Attack (0~127)—Speed at which the cutoff frequency will change. This is effective if Modulation Wave is SQR, SAW1 or SAW2. ● Level (0~127)—Output level. 45. Step Filter This is a filter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change. ● Step 1~16 (0~127)—Cutoff frequency at each step ● Rate [sync] (Hz, Note)—Use this parameter to specify whether (“Note”) or not (“Hz”) the rate should be synchronized to the Arranger or Recorder tempo. Depending on your choice, the setting range of the following parameter refers to a speed (Hz) or a note value. ● Rate [Hz] (0.05~10.00Hz)—Rate of modulation. ● Rate [note] (musical notes)—Rate parameters can be set as a note-value of a tempo if you set the “Sync” parameter above to “Note”. Specify the value of the desired note. ● Attack (0~127)—Speed at which the cutoff frequency changes between steps. ● Filter Type (LPF, BPF, HPF, NOTCH)—Filter type. Frequency range that will pass through each filter. LPF: frequencies below the cutoff. BPF: frequencies in the region of the cutoff. HPF: frequencies above the cutoff. NOTCH: frequencies other than the region of the cutoff. ● Filter Slope (–12, –24, –36 [dB])—Amount of attenuation per octave: –36dB: extremely steep, –24dB: steep, –12dB: gentle. ● Filter Resonance (0~127)—Filter resonance level. Increasing this value will emphasize the region near the cutoff frequency. ● Filter Gain (0~12 [dB])—Amount of boost for the filter output. ● Level (0~127)—Output level. 46. Humanizer Adds a vowel character to the sound, making it similar to a human voice. ● Drive Sw (OFF,ON)—Turns Drive on/off. ● Drive (0~127)—Degree of distortion. Also changes the volume. ● Vowel 1 (a, e, i, o, u) ● Vowel 2 (a, e, i, o, u)—Selects the vowel. ● Rate [sync] (Hz, Note)—Use this parameter to specify whether (“Note”) or not (“Hz”) the rate should be synchronized to the Arranger or Recorder tempo. Depending on your choice, the setting range of the following parameter refers to a speed (Hz) or a note value. ● Rate [Hz] (0.05~10.00Hz)—Frequency at which the two vowels switch. ● Rate [note] (musical notes)—Rate parameters can be set as a note-value of a tempo if you set the “Sync” parameter above to “Note”. Specify the value of the desired note. ● Depth (0~127)—Effect depth. ● Input Sync Sw (Off, On)—Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF). ● Input Sync Threshold (0~127)—Volume level at which reset is applied. ● Manual (0~100)—Point at which Vowel 1/2 switch. 49 or less: Vowel 1 will have a longer duration. 50: Vowel 1 and 2 will be of equal duration. 50 or more: Vowel 2 will have a longer duration. ● EQ EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency range. ● EQ EQ High Gain (–15dB~0~15dB)—Gain of the high frequency range. ● Panpot (L64~0~63R)—Stereo location of the output sound. This is a mono effect that combines incoming signals. You can, however, place the processed signal anywhere between the left and right channels. ● Level (0~127)—Output level. 113
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Owner’s Manual r
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Backing Module BK-7m r Performance
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