Access virus indigo ii Manuale Utente
ACCESS VIRUS OS5
87
Delay / Reverb (Menu)Filter Envelope
DELAY FEEDBACK (DELAY MODE)
Controls the amount of feedback of the Delay.
01111111111111111112
1 DELAY
Feedback 22≤
Feedback 22≤
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REVERB DECAY TIME (REVERB
MODE)
MODE)
This parameter determines the decay time for
the given room.
the given room.
In a real room, the sound bounces off several
walls and covers a considerable distance be-
fore it reaches your ear. The longer the sound
travels and the more often it is reflected, the
softer it will become. You could say that this ef-
fect is comparable to a pool or billiards ball that
travels a greater distance, bouncing of several
cushioned edges along the way. This friction
depletes energy and causes the pool ball to
slow down. The sound’s loss of energy is con-
trolled via DECAY TIME. When you dial in the
minimum value, the decay time is extremely
short so you’ll hear just the early reflections. At
the peak value, no energy is lost so the decay
time is infinite, which is of course physically im-
possible in the real world.
walls and covers a considerable distance be-
fore it reaches your ear. The longer the sound
travels and the more often it is reflected, the
softer it will become. You could say that this ef-
fect is comparable to a pool or billiards ball that
travels a greater distance, bouncing of several
cushioned edges along the way. This friction
depletes energy and causes the pool ball to
slow down. The sound’s loss of energy is con-
trolled via DECAY TIME. When you dial in the
minimum value, the decay time is extremely
short so you’ll hear just the early reflections. At
the peak value, no energy is lost so the decay
time is infinite, which is of course physically im-
possible in the real world.
01111111111111111112
1 REVERB
DecayTime 16≤
DecayTime 16≤
61111111111111111154
REVERB DAMPING (REVERB MODE)
This parameter controls high-frequency attenu-
ation of the room’s fading reflections.
ation of the room’s fading reflections.
In a real room, walls don’t reflect high frequen-
cies as well as they do lower frequencies, an ef-
fect that can be likened to natural low-pass
filtering of the sound. The longer the sound
travels, the more often it bounces off walls and
the more intense this filtering effect. For this
reason, the amount of high-end damping de-
pends on the amount of time that the signal
carries - the signal thrown back by the room be-
comes muddier as time goes by. This effect is
stronger with walls that have soft surfaces
(wood, wallpaper) than it is with walls that have
hard surfaces (glass, tiles). Consequently, high-
end damping has a significant influence the
vibe and warmth of the room sound.
cies as well as they do lower frequencies, an ef-
fect that can be likened to natural low-pass
filtering of the sound. The longer the sound
travels, the more often it bounces off walls and
the more intense this filtering effect. For this
reason, the amount of high-end damping de-
pends on the amount of time that the signal
carries - the signal thrown back by the room be-
comes muddier as time goes by. This effect is
stronger with walls that have soft surfaces
(wood, wallpaper) than it is with walls that have
hard surfaces (glass, tiles). Consequently, high-
end damping has a significant influence the
vibe and warmth of the room sound.
01111111111111111112
1 REVERB
Damping 12≤
Damping 12≤
61111111111111111154
DELAY / REVERB (MENU)
MODE
Here’s where you select the algorithm for the
DELAY/REVERB section.
DELAY/REVERB section.
Let’s take a tour of the different algorithms:
- OFF Not surprisingly, this setting deactivates
the DELAY/REVERB section.
- DELAY Mono echo. Same delay time on the
left and right sides.
- REVERB Room simulation.