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new logo JPEG.jpgX32 family.jpg   The X32 family and X Air family of mixers all contain a Virtual FX rack with over 60 effects that can be applied to each of the input channels. The X32 range features 8 true-stereo FX slots including high-end simulations of popular FX units. The following is a guide to the features and functionality fo these effects. Hall Reverb    Hall Reverb.png   Classic Hall Reverb simulates the reverberation that occurs when sound is recorded in medium to large~sized concert halls. Use the Hall Reverb to give your mix a lush , three~dimensional quality that will make your performance sound larger than life. Inspired by the Lexicon Hall. The PRE DELAY slider controls the amount of time before the reverberation is heard following the source signal. 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 effect. The DAMP slider adjust the decay of high frequencies within the reverb tail. DlFF(usion) controls the initial reection density. SHAPE adjust the contour of the reverberation envelope.    LO CUT and HI CUT function as Low- and High-Cut lters. BASSMULT multiplies the bass frequencies and MOD SPEED adjusts the speed of the effect's modulation. SHAPE adjusts the contour of the reverberation envelope.   Ambience   Ambience.png
  Ambience creates a customisable virtual acoustic space in which to place the elements of a mix. Use Ambience to add warmth and depth without colouring the direct sound. Inspired by the Lexicon Ambience Algorithm. PRE DELAY sets the time before the reverb follows the source signal. DECAY adjusts the time it takes for the reverb to completely dissipate. SIZE controls the room size emulation. DAMPING controls the high-frequency decay within the reverb tail, DIFFUSE controls the initial echo density. The LEVEL sets the volume output of the affected signal. LO CUT affects the low frequency cut, allowing lower frequencies to remain unaffected by the reverb. HI CUT affects the high frequency cut, allowing higher frequencies to remain unaffected by the reverb. MOD adjusts the level of reverb decay modulation. TAIL GAIN adjusts the volume of the reverb tail.   Rich Plate Reverb   Rich Plate Reverb.png   Rich 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-coloured sound. Inspired by the lexicon Plate Reverb.   The PRE DELAY slider controls the amount of time before the reverberation is heard following the source signal. 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 effect. The DAMP slider adjust the decay of high frequencies within the reverb tail. DlFF(usion) controls the initial reection density. LO CUT and HI CUT function as Low- and High-Cut lters. BASSMULT multiplies the bass frequencies and MOD SPEED adjusts the speed of the effect's modulation. SHAPE adjust the contour of the reverberation envelope.   The SPIN parameter sets the amount of random modulation for the reverb tail. The parameters Echo / Echofeed set the parameters of a feedback delay at the input of the reverb (independent for both input channels). Echo sets the delay time and EchoFeed the amount of feedback (positive or negative). This allows to further increase the reection density of the reverb.   Room Reverb   Room Reverb.png   Room Reverb 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 X32's Vintage Room breathes life into close-miked guitar and drum tracks. inspired by the Lexicon Room Reverb.   The PRE DELAY slider controls the amount of time before the reverberation is heard following the source signal. 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 effect. The DAMP slider adjust the decay of high frequencies within the reverb tail. DlFF(usion) controls the initial reection density. SHAPE adjust the contour of the reverberation envelope.   Chamber Reverb   Chamber Reverb.png   Chamber Reverb simulates the reverberation found in medium sized spaces, somewhere between the intimacy of a small room, and the grandeur of a large hall. Inspired by the Lexicon Chamber Reverb. The PRE DELAY slider controls the amount of time before the reverberation is heard following the source signal. 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 effect. The DAMP slider adjust the decay of high frequencies within the reverb tail. DlFF(usion) controls the initial reection density. SHAPE adjust the contour of the reverberation envelope.   Plate Reverb   Plate Reverb.png   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-coloured sound. The X32's Plate Reverb will give your tracks the sound heard on countless hit records since the late 1950s. Inspired by the Lexicon PCM-70. PRE DELAY controls the amount of time before the reverberation is heard following the source signal. DECAY controls the amount of time it takes for the reverb to dissipate. SIZE adjusts the size of the virtual room created by the reverb effect. The DAMP push encoder adjusts the decay of high frequencies within the reverb tail. DlFF(usion) controls the initial reection density. LEVEL controls the volume of the reverb. The LO CUT push encoder sets the frequency beneath which the source signal will not pass through the reverb. The HI CUT push encoder sets the frequency above which the source signal will not pass through the reverb. BASS MULT(iplier) push encoder adjusts the decay time of the bass frequencies. XOVER controls the crossover point for bass. MOD DEPTH controls the intensity of the reverb tail modulation. MOD SPEED controls the speed of the reverb tail modulation.   Vintage Reverb   Vintage Reverb.png   Based on the legendary EMT250, the X32's Vintage Reverb delivers shimmering, bright reverb that won't drown out or overpower your live or recorded tracks. Use Vintage Reverb to sweeten vocals and snare drums without sacricing clarity. Inspired by the Universal Audio EMT250.   When Layer 1 is selected, the first slider on the left sets the reverb time from 4 milliseconds to 4.5 seconds. 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 2 is selected, slider 1 adjusts the pre-delay. Slider 2 selects the low-cut frequency. Slider 3 selects the hi-cut frequency. Slider 4 selects and adjusts the output level of the reverb. Pressing the first push encoder on Layer 1 will switch the reverb algorithm to emulate the perceived position of the reverb in the virtual space. The same control on Layer 2 will change the reverb algorithm to give a warmer, more vintage sound.   Vintage Room   Vintage Room.png   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 X32s Vintage Room breathes life into close-miked guitar and drum tracks. Inspired by the Quantec ORS. The VU meter displays the input and output levels. Set the early reection times for the left and right channel with ER DELAY L and ER DELAY R. ER LEVEL sets the loudness of the early reection level. REV DELAY controls the amount of time before the reverberation is heard following the source signal. LEVEL controls the volume of the reverb. Pressing the second push encoder will engage the FREEZE function which takes the incoming audio and loops it indenitely.   HI/LO MULTIPLY adjusts the decay time of the high and bass frequencies. DECAY shows the duration of the reverb effect. ROOM SIZE adjusts the size of the room effect being created incrementally from small to large. HIGH CUT sets the frequency above which the source signal does not pass through the reverb. DENSITY manipulates the reection density in the simulated room. (This slightly changes the reverb decay time.) LOW CUT sets the frequency below which the source signal does not pass through the reverb.   Gated Reverb   Gated Reverb.png   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 1980's-style snare sound, or to enlarge the presence of a kick drum. Inspired by the Lexicon 300/480L.   PRE DELAY controls the amount of time before the reverberation is heard following the source signal. DECAY controls the amount of time it takes for the reverb to dissipate. ATTACK controls how fast the reection density builds up. DENSITY shapes the reverb decay tail. The higher the density, the greater the number of sound reflections. SPREAD controls how the reection is distributed through the reverb envelope. LEVEL controls the volume of the reverb. The LO CUT push encoder sets the frequency beneath which the source signal will not pass through the reverb. HiSvFr/HiSvGn push encoders adjust a high-shelving filter and the input of the reverb effect. DIFF(usion) controls the initial reection density.   Reverse Reverb   Reverse Reverb.png   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 drum tracks. Inspired by the Lexicon 300/480L. Adjusting the PRE DELAY push encoder adds up to 200 milliseconds before the reverb follows the source signal. The DECAY push encoder adjusts the time it takes for the reverb to completely dissipate. RISE controls how quickly the effect builds up. DlFF(usion) controls the initial reection density. SPREAD controls how the reection is distributed through the reverb envelope. The LO CUT push encoder sets the frequency beneath which the source signal will not pass through the reverb. HiSvFr/HiSvGn push encoders adjust a high-shelving filter and the input of the reverb effect.   Stereo Delay   Stereo Delay.png   Stereo Delay provides independent control of left and right delay (echo) times, and features high- and low-pass lters for enhanced tone-shaping of the delayed signals. Use the Stereo Delay to give your mono signals a wide presence in the stereo eld. 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. FACTOR L sets the delay time on the left channel to rhythmic fractions of the master delay time. FACTOR R sets the delay time on theright channel to rhythmic fractions of the master delay time. OFFSET LR adds a delay difference between the left and right delayed signals. The FEED L0 CUT/HI CUT adjusts lters in the feedback paths. FEED L and FEED R control the amount of feedback for the left and right channels. MODE selects the feedback mode: - ST sets normal feedback for both channels - X crosses feedback between left and right channels - M creates a mono mix within the feedback chain.   Triple Delay   Triple Delay.png   Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with independent frequency, gain and pan controls. Create time-based echo effects with the triple delay to increase the sense of stereo separation. TIME sets the master delay time, which is also the delay time for the first stage. GAIN BASE sets the gain level of the first stage of the delay. PAN BASE sets the position of the first delay stage in the stereo eld. 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 can no longer pass through the delay. X-FEED indicates that stereo cross-feedback of the delayed signals is active. MONO activates a mono mix of both channels for the delay input. FEEDBACK adjusts the amount of feedback.   FACTOR A controls the amount of delay time in the second stage of the delay. GAIN A controls the gain in the second stage of the delay. PAN A sets the position of the second stage of the delay in the stereo eld. FACTOR B controls the amount of delay time in the third stage of the delay. GAIN B controls the gain in the third stage of the delay. PAN B sets the position of the third stage of the delay in the stereo eld.   Rhythm Delay   Rhythm Delay.png   The Rhythm Delay, or 4-Tap Delay, provides four delay stages with independent frequency, gain and pan controls. Create time-based echo effects with the triple delay to increase the sense of stereo separation. TIME sets the master delay time, which is also the delay time for the first stage. GAIN BASE sets the gain level of the first stage of the delay. 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 can no longer pass through the delay. X-FEED indicates that stereo cross-feedback of the delayed signals is active. MONO activates a mono mix of both channels for the delay input. FEEDBACK adjusts the amount of feedback. SPREAD adjusts the perceived stereo placing of the echoes. FACTOR A controls the amount of delay time in the second stage of the delay. GAIN A controls the gain in the second stage of the delay. FACTOR B controls the amount of delay time in the third stage of the delay. GAIN B controls the gain in the third stage of the delay. FACTOR C controls the amount of delay time in the fourth stage of the delay. GAIN C controls the gain in the fourth stage of the delay.     Stereo Chorus   Stereo Chorus.png   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.   Whereas DELAY L/ R set the total amount of delay for the left and tight channels, WIDTH L/ R determines the amount of modulated delay taken from either the left or right channels. SPEED sets the modulation speed, MIX adjusts the balance of dry and wet signals. You can further sculpt the sound by trimming some of the low- and high-end of the affected signal with the LO CUT and HI CUT push encoders. Additionally the PHASE push encoder can tweak the phase offset of the LFO between left and right channels, and the SPREAD push encoder adjusts how much of the left channel is mixed into the right, and vice versa. Finally the WAVE push encoder blends between the Danish style digital triangular chorus sound and the classic analogue sine wave.   Stereo Flanger   Stereo Flanger.png   The Flanger emulates the phase-shifting sound (comb-ltering) originally created by applying pressure against the ange of the reel on a tape recorder. This effect creates a unique wobbly' sound that is quite dramatic when used on vocals and instruments. The controls of this effect are nearly identical to the controls on the Chorus effect block. Additionally, the FEEDBACK can be adjusted with positive and negative amounts, and also band-limited with the FEED HC (high-cut) and FEED LC (low-cut) push encoders.   Stereo Phaser   Stereo Phaser.png   A Stereo Phaser, or phase shaper, applies multiple STAGES of modulated lters to the input signal to create a notch in the frequency response, and then applies a MIX with the original for a swirling effect. Use the M32's Stereo Phaser to add a spaced-out sound to vocal or instrumental tracks.   SPEED sets the LFO rate and DEPTH sets the LFO modulation depth. The BASE push encoder adjusts the frequency range of the modulation lters. The resonance is adjusted with the RESO push encoder. STAGES determines the number of times the audio signal is processed by the effect. MIX determines how much of the affected signal is present in the output audio.   The WAVE push encoder shapes the symmetry of the LFO waveform, and PHASE dials in an LFO phase difference between the left and right channels. The modulation source can also be the signal envelope, which produces vowel-like opening and closing tones. The ENV MOD push encoder adjusts how much of this effect takes place (positive and negative modulation is possible), and the ATTACK, HOLD and RELEASE push encoders all tailor the response of this feature.   Dimension-C   Dimension C.png   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. Inspired by the Roland Dimension D. Turning the first push encoder to toggle the output signal between Mono and Stereo. Pressing the first encoder turns the effect on or off. Pressing the second encoder turns dry mode on or off. Pressing the third, fourth or fitfh push encoders engages the chorus effect with increasing intensity.   Mood Filter   Mood Filter.png   The Mood Filter uses an LFO generator and an auto-envelope generator to control a VCF (voltage-control lter), 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. Inspired by the MiniMoog. This filter can be modulated with the signal's envelope using the ENV MOD (with positive and negative amounts), ATTACK and RELEASE push encoders, or the LFO can modulate the lter. The WAVE push encoder selects between seven different waveforms - triangular, sine, saw plus, saw minus, ramp,square and random.   The PHASE can be offset by up to 180°. The SPEED push encoder adjusts the rate of the LFO, and DEPTH adjusts the amount of LFO modulation. Adjust the resonance of the filter until self-oscillation with the RESO(nance) push encoder. BASE adjusts the range of the filter from 20 Hz to 15 kHz. The MODE switch selects between low-pass (LP), high-pass (HP),band-pass (BF) and Notch.   Use the MIX push encoder to blend the affected signal with the dry sound. With the 4 POLE switch engaged there will be a steeper slope than the 2 POLE setting. The DRIVE push encoder adjusts the level, and can also introduce an overdrive effect (as with real analogue lters) if pushed hard. In Side-chain 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. Applying the SIDE CHAIN function ensures that the parameters of the effect are changed based on an external stimulus signal.   Rotary Speaker   Rotary Speaker.png   Rotary Speaker emulates the sound of a Leslie rotating speaker. The X32's 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 LO SPEED and HI SPEED push encoders adjust the rotation speed of the Slow and Fast speed selection, and can be toggled with the FAST button. The ACCEL(eration) push encoder adjust how quickly the speed increases and decreases from the Slow mode to the Fast mode. The rotation effect can also be disengaged with the STOP button, which will stop the movement of the speakers. DISTANCE adjust the perceived distance between the speakers and the virtual microphone. BALANCE sweeps between low and high frequencies in the output signal. MIX determines how much of the affected signal is present in the output audio.   Tremolo/ Panner   Tremolo Panner.png   Stereo Tremolo creates an up and down volume change at a constant and even tempo just like the guitar amps of yesteryear. Use the X32's Stereo Tremolo to add a unique surf-music texture to a vocal or instrumental track. SPEED adjusts the LFO rate, and DEPTH sets the amount of modulation. PHASE can be used to set an LFO phase difference between the left and right channels, which can be used for panning effects. The WAVE push encoder blends the LFO waveform between triangular and square shapes. The signal envelope, shaped by ATTACK, HOLD and RELEASE, can be used to modulate the LFO speed (ENV SPD) and the LFO modulation depth (ENV DPTH).   Suboctaver   Suboctaver.png   The Octave Effect combines the input signal with a digitally synthesised sound one or two octaves below the original signal. This can be used to thicken up guitar sounds, or to add extra punch to kick drums. The controls for the Suboctaver are split between two discreet layers. Pressing the first push encoder toggles the effect for each layer on or off. The second en