Effect box

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Here is a presentation of the different effects available in the Effect Box (available since v3.33).

A lot of those informations are directly inspired from the help of the FX Bass Library : http://un4seen.com

Changes the sound pitch or key, without affecting the sound tempo or speed.

Changes the sound to play at faster or slower speed than original, without affecting the sound pitch.

Changes both the sound tempo and pitch, as if an LP disc was played at wrong RPM rate.

This is an echo effect that replays what you have played one or more times after a period of time. It's something like the echoes you might hear shouting against a canyon wall.

The fDryMix is the volume of input signal & the fWetMix is the volume of delayed signal. The fDelay is the delay time in sec. The fFeedback sets how much delay is feed back to the input (for repeating delays).

Compressors are commonly used in recording to control the level, by making loud passages quieter, and quiet passages louder. This is useful in allowing a vocalist to sing quiet and loud for different emphasis, and always be heard clearly in the mix. Compression is generally applied to guitar to give clean sustain, where the start of a note is “squashed” with the gain automatically increased as the not fades away. Compressors take a short time to react to a picked note, and it can be difficult to find settings that react quickly enough to the volume change without killing the natural attack sound of your guitar.

Phasers use an internal low frequency oscillator to automatically move notches in the frequency response up and down the frequency spectrum. An important difference between phasing and flanging is that phasers space these notches evenly across the frequency spectrum, while the notches in flanging and chorus are harmonically (musically) related. You don't hear the notches as such (because they are the frequencies that are removed). What you hear is the resulting frequency peaks between these notches. Phasing works by mixing the original signal with one that is phase shifted over the frequency spectrum. For example, a four stage phaser signal (such as this) could be from 0 degrees at 100Hz, shifted to 720 degrees at 5Khz (these extremes are not quite possible practically, but are near enough to explain the effect). This is how the term phase shifter comes about. A 4 stage phaser has 2 notches with bass response, a central peak, and treble response. By using resonance to enhance the central peak, you can get a sound similar to an automatic wah. Using a phaser with lots of stages and setting the resonance high can give a sound similar to flanging, although they are really quite different.

The fDryMix is the volume of input signal & the fWetMix is the volume of delayed signal. The fFeedback sets feedback of phaser. The fRate and fRange control how fast and far the frequency notches move. The fRate is the rate of sweep in cycles per second, fRange is the width of sweep in octaves. And the the fFreq is the base frequency of sweep.

True vintage chorus works the same way as flanging. It mixes a varying delayed signal with the original to produce a large number of harmonically related notches in the frequency response. Chorus uses a longer delay than flanging, so there is a perception of “spaciousness”, although the delay is too short to hear as a distinct slap-back echo. There is also little or no feedback, so the effect is more subtle.

The fDryMix is the volume of input signal & the fWetMix is the volume of delayed signal. The fFeedback sets feedback of chorus. The fRate, fMinSweep and fMaxSweep control how fast and far the frequency notches move. The fRate is the rate of delay change in millisecs per sec, fMaxSweep-fMinSweep is the range or width of sweep in ms.

Similar to Pre/Post Gain & Drive controls on amps. They were first introduced as a trick to added color to a guitar's tone. Usually produced back then by turning the amp all the way up, or slightly pulling out a tube from its socket. These tones are now today referred to as Overdrives. Today, there are an almost infinite variety of these effects, and they range in 3 classes: Distortions, Fuzz, and Overdrive. One common feature to mostly all of these types of pedals is a volume and drive (also noted as distortion, fuzz, gain, …etc.). Overdrives are usually a sustain and volume boosting pedal. Used by more traditional rock and country bands. Next are the Distortions, which range from punk style to death metal screams. They are similar to Overdrives, but have more buzzing quality to them. Finally, there are the Fuzzes which are more distorted than distortions, but are more mellow and compressed sounding. Many pedals can be confused within these names, and some may be named other than what they are. Towards the end of this era, the back-to-back diode pair became popular as a technique to provide soft clipping (with germanium diodes) and hard clipping (with silicon diodes). Today, overdrive effects usually means soft clipping, where gain is reduced beyond the clipping point, while distortion usually means hard clipping, where the level is fixed beyond the clipping point. Distortion is a little harder sound, good for rock, while overdrive gives a more natural sound.

The fDrive controls the amount of overdrive. The fVolume to balance the effect volume with the bypassed level. It can also be used to boost the signal for solos. The fDryMix is the volume of input signal & the fWetMix is the volume of distorted signal. The fFeedback sets feedback of distortion.

The effect implements the auto-wah by using 4-stage phaser effect which moves a peak in the frequency response up and down the frequency spectrum by amplitude of input signal.

The fDryMix is the volume of input signal & the fWetMix is the volume of delayed signal. The fFeedback sets feedback of auto wah (phaser). The fRate and fRange control how fast and far the frequency notches move. The fRate is the rate of sweep in cycles per second, fRange is the width of sweep in octaves. And the the fFreq is the base frequency of sweep.