Creative 0404 Manual De Usuario
5 - Effects
Core Effects Descriptions
Core Effects Descriptions
56
Creative Professional
Mono Delays - 100, 250, 500, 750, 1500, 3000
A delay line makes a copy of the incoming audio, holds it in memory, then plays it back
after a predetermined time. The delay number refers to the maximum delay time that
can be produced by the delay line. The six lengths, from 100 ms to 3 seconds, allow you
to make the most efficient use of the effect memory resource.
after a predetermined time. The delay number refers to the maximum delay time that
can be produced by the delay line. The six lengths, from 100 ms to 3 seconds, allow you
to make the most efficient use of the effect memory resource.
Long delays produce echoes, short delays can be used for doubling or slapback effects.
Very short delays can be used to produce resonant flanging and comb filter effects or
create monotone robotic-sounding effects (Hint: use feedback). Stereo signals are
summed together before entering the Mono Delay.
Very short delays can be used to produce resonant flanging and comb filter effects or
create monotone robotic-sounding effects (Hint: use feedback). Stereo signals are
summed together before entering the Mono Delay.
There is also a feedback path to send the delayed audio back through the delay line.
When creating echo effects, the feedback controls how many echoes will be produced.
With short delays, the feedback control acts as a resonance control, increasing the
amount of comb filtering produced by the delay line.
When creating echo effects, the feedback controls how many echoes will be produced.
With short delays, the feedback control acts as a resonance control, increasing the
amount of comb filtering produced by the delay line.
Comb filtering: See page 52.
A High Frequency Rolloff filter in the feedback path cuts some of the high frequency
energy each time the audio goes through the delay line. This simulates the natural
absorption of high frequencies in a room and can also be used to simulate tape-based
echo units.
energy each time the audio goes through the delay line. This simulates the natural
absorption of high frequencies in a room and can also be used to simulate tape-based
echo units.
The Wet/Dry mix controls how loud the echoes are in relation to the original signal.
Parameter
Description
Delay Time
Mono Delay 100
Mono Delay 250
Mono Delay 500
Mono Delay 750
Mono Delay 1500
Mono Delay 3000
Mono Delay 250
Mono Delay 500
Mono Delay 750
Mono Delay 1500
Mono Delay 3000
Sets the length of the delay in milliseconds.
(.01ms. minimum increment between settings)
Range: 1 millisecond to 100 milliseconds
Range: 1 millisecond to 250 milliseconds
Range: 1 millisecond to 500 milliseconds
Range: 1 millisecond to 750 milliseconds
Range: 1 millisecond to 1.5 seconds
Range: 1 millisecond to 3 seconds
(.01ms. minimum increment between settings)
Range: 1 millisecond to 100 milliseconds
Range: 1 millisecond to 250 milliseconds
Range: 1 millisecond to 500 milliseconds
Range: 1 millisecond to 750 milliseconds
Range: 1 millisecond to 1.5 seconds
Range: 1 millisecond to 3 seconds
Feedback
Sets the amount of delayed signal that will be recirculated through
the delay line. Range: 0% to 100%
the delay line. Range: 0% to 100%
High Freq. Rolloff
Damps high frequencies in the feedback path.
Range: 0% to 100%
Range: 0% to 100%
Delay
L In
Feedback
Delay Time
R In
L Out
R Out
HF
Rolloff