X32- What Are The Effects On My X32 And X Air Mixer?

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 reflection density. SHAPE adjust the contour of the reverberation envelope. 

 

LO CUT and HI CUT function as Low- and High-Cut filters. 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 reflection density.


LO CUT and HI CUT function as Low- and High-Cut filters. 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 reflection 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 reflection 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 reflection 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 reflection 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 sacrificing 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 X32’s 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 reflection times for the left and right channel with ER DELAY L and ER DELAY R. ER LEVEL sets the loudness of the early reflection 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 indefinitely.
 

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 reflection 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 reflection density builds up.
DENSITY shapes the reverb decay tail. The higher the density, the greater the number of sound reflections. SPREAD controls how the reflection 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 reflection 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 reflection density. SPREAD controls how the reflection 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 filters for enhanced tone-shaping of the delayed signals. Use the Stereo Delay to give your mono signals a wide presence in the stereo field.


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 filters 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 field. 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 field. 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 field.

 

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-filtering) originally created by applying pressure against the flange 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 filters 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 filters. 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 filter), 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 filter. 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 filters) 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 encoder increases the amount of the affected signal that is present
in the output mix. The third encoder switches the range of the signal between LO, MID and HI. The fourth and fifth encoders adjust the level for each of the individual lower octaves. To navigate between the two layers, use the up and
down navigational controls.

 

Delay + Chamber

 

Delay + Chamber.png

 

Here we have combined Delay and Chamber reverb, so that a single device can supply a variety of delay settings, plus adjust the right amount of reverb to the selected signal. This device only uses one effects slot. Inspired by the Lexicon
PCM 70.


Use the BALANCE push encoder to adjust the ratio between delay and reverb. Low frequencies can be excluded with the LO CUT push encoder, and MIX adjust how much of the effect is added to the output signal. The TIME push
encoder adjusts the delay time for the left channel delay, and PATTERN sets the delay ratio for the right channel delay. Adjust the FEEDBACK and trim some high frequencies with the FEED HC (high-cut) push encoder. The XFEED push
encoder allows you to send the delay sound to the reverb effect, so instead of running completely parallel, the reverb affects the echoes to a selected degree. The PREDELAY push encoder determines the delay before the reverb affects
the signal. The DECAY push encoder adjusts how quickly the reverb fades. SIZE controls how large or small the simulated space (room, cathedral, etc.). The DAMPING push encoder determines the decay ofhigh frequencies within
the reverb tail.
 

Chorus + Chamber

 

Chorus + Chamber.png

 

Taking up only one FX slot, the Chorus + Chamber effect combines the shimmer and doubling characteristics of a studio-grade chorus with the sweet sound of a traditional chamber reverb. Inspired by the Lexicon PCM 70.

 

The BALANCE push encoder adjusts the balance between chorus and reverb. Low frequencies can be excluded with the LO CUT push encoder, and the MIX push encoder adjusts how much of the effect is added to the signal. SPEED,
DELAY and DEPTH adjust the rate, delay and modulation depth of the chorus. The LFO PHASE between the left and right channels can be offset by up to 180°, and WAVE adjusts the LFO waveform from a sine wave to a triangular
wave. The PREDELAY push encoder determines the delay before the reverb affects the signal. The DECAY push encoder adjusts how quickly the reverb fades. SIZE controls the size of the simulated space (room, cathedral, etc.).
The DAMPING push encoder determines the decay of high frequencies within the reverb tail.

 

Flanger + Chamber

 

Flanger+ Chamber.png

 

Add the mind-bending, filter-sweeping effect of a state-of-the-art flanger to the elegant sweetening of a traditional chamber reverb - all in one FX slot. Inspired by Lexicon PCM 70.

The BALANCE push encoder adjusts the balance between flanger and reverb. Low frequencies can be excluded with the LO CUT push encoder, and the MIX push encoder adjusts how much of the effect is added to the signal. SPEED,
DELAY and DEPTH adjust the rate, delay and modulation depth of the flanger. FEEDback can be adjusted by positive and negative amounts. The LFO PHASE between the left and right channels can be offset by up to 180°. The PREDELAY push encoder determines the delay before the reverb affects the signal. The DECAY push encoder adjusts how quickly the reverb fades. SIZE controls the size of the simulated space (room, cathedral, etc.) The DAMPING push encoder determines the decay of high frequencies within the reverb tail.

 

Delay + Chorus

 

Delay + Chorus.png

 

This combination effect merges a user-definable delay (echo) with a studio-quality chorus, sure to fatten up even the skinniest track. Uses only one FX slot. Inspired by the TC Electronic D-Two.


The TIME push encoder adjusts the delay time, and the PATTERN push encoder sets the delay ratio for the right channel and negative values activate a cross feedback between the two channels. The FEEDHC push encoder adjusts the delay high-cut frequency, while FEEDBACK adjusts the number of repeats. The X-FEED control allows you to send the delay sound to the chorus effect. The BALANCE push encoder adjusts the ratio between delay and chorus. SPEED, DELAY and DEPTH adjust the rate, delay and modulation depth of the chorus. The right channel LFO PHASE can be offset by up to 180°, and WAVE adjusts the chorus character by shaping the LFO waveform from sine wave to triangular wave. Use the MIX push encoder to blend the affected signal with the dry sound.

 

Delay + Flanger

 

Delay + Flanger.png

 

This handy dynamic duo blends the ‘whoosh' of soaring jet planes with classic delay, and can be adjusted from mild to wild. This combination effect only takes up one FX slot. Inspired by the TC Electronic D-Two.


The TIME push encoder adjusts the delay time, and the PATTERN push encoder sets the delay ratio for the right channel and negative values activate a cross feedback between the two channels. The FEEDHC push encoder adjusts the delay high-cut frequency, while FEEDBACK adjusts the number of repeats. The X-FEED control allows you to send the delay sound to the chorus effect. The BALANCE push encoder adjusts the ratio between delay and chorus. SPEED, DELAY and DEPTH adjust the rate, delay and modulation depth of the chorus. The right channel LFO PHASE can be offset by up to 180“, and FEED (positive and negative amounts) adjusts the feedback effect, Use the MIX push encoder to blend the affected signal with the dry sound.

 

Dual Graphic EQ/ Dual Tru EQ/ Stereo Graphic EQ/ Stereo TruEQ

 

Dual Graphic EQ1.png

 

Dual Tru EQ.png

 

Stereo Graphic EQ.png

 

Stereo Tru EQ.png

There are four standard graphic EQs that provide 31 bands of adjustment between Z0 Hz and 20 kHz. A master volume slider compensates for changes in volume caused by the EQ. A maximum boost or cut of 15 dB is available for
each band.


The TruEQ incorporates a special algorithm that compensates for the gain adjustment overlapping effect that adjacent frequency bands have on one another. On a standard E0, when neighbouring bands are boosted together,
the resulting effect is magnified beyond what is visible from the positioning of the sliders.


This compensated EQ will produce an adjustment that is identical to the actual positioning of the sliders,

 

Graphic EQ without frequency response correction:

 

Graphic EQ without frequency response correction.png

 

Graphic EQ with frequency response correction:

 

Graphic EQ with frequency response correction.png

 

Dual DeEsser/ Stereo DeEsser

 

Dual DeEsser.png

 

Stereo DeEsser.png

 

De-essing is an audio effect designed to reduce the amount of excessive sibilance in an audio signal, usually when dealing with the human voice. The Dual DeEsser accurately and seamlessly removes sibilance from audio tracks.


The Lo-Band and Hi-Band controls select which portion of the audio spectrum is affected by the DeEsser on each channel. By increasing the amount of reduction, the level to which the de-essing affects the input signal can be
controlled. By pressing the first and third push encoders, the effect can be targeted specifically at male or female voices.


With the Stereo DeEsser, toggle between Stereo and M/S modes by pressing the fifth push encoder.

 

Stereo Xtec EQ1/ Dual Extec EQ1

 

Stereo Extec EQ1.png

Dual Extec EQ1.png

Virtually indescribable, recording engineers claim the Pultec EQP-1a to be the "secret sauce” of sound enhancement. We analysed this classic to the core and created an exact physical model that reproduces the multi-faceted sound in
painstaking detail. Even the transformers and tube output stage have been faithfully modelled. Inspired by Pultec EQP- 1a.


LO FREQ determines the curve on which the left hand LO BOOST and LO ATT controls are effective, These controls can be used to either boost or attenuate the signal as required. HI FREQ, HI BOOST and HI ATT perform the same function,
but for the higher frequencies. HI BANDWIDTH adjusts the width of the high- frequency boost curves.

 

Stereo Xtec EQ5/ Dual Xtec EQ5

 

Stereo Extec EQ5.png

 

Dual Extec EQ5.png

 

Pultec simply wrote the book on passive equalisation. By digitally "rebuilding" every aspect of the original Pultec classic, we captured the very essence in our parametric equaliser XTEC EQ5. Our digital re~incarnation is based on the original
model and authentically emulates the smooth character of the its rather unique components. Inspired by Pultec MEQ5.

 

LO FREQ, MID FREQ and HI FREQ all dictate at which frequencies the LO BOOSTMID CUT and HI BOOST push encoders work.

 

For all of the Xtec EQs, the TRANSFORMER function can he engaged to switch the Transformer emulation on or off, giving a warmer sound. GAIN determines how much of the source signal passes through the effect, and ACTIVE toggles the EQ in or out of the signal path.

 

Wave Designer

 

Wave Designer.png

 

Wave Designer is a powerful tool for adjusting signal transients and dynamics such as attack and sustain. Use it to make a snare drum really crack in the mix, or level out volume inconsistencies of slap bass tracks. Inspired by the SPL
Transient Designer.


Adjusting the ATTACK push encoder can add punch or tame overly-dynamic signals. Increasing SUSTAIN acts in a similar way to a compressor, allowing the peaks to carry longer before decaying. The effect can also be used to reduce the sustain for a more staccato sound. The GAIN push encoder compensates for level changes caused by the effect.

 

Precision Limited

 

Precision Limiter.png

 

This Stereo Precision Limiter allows you to set a precise volume limit, ensuring distortion-free. optimal signal integrity. Use the X32's Stereo Precision Limiter to boost quiet signals or prevent clipping While preserving the level of‘hot' signals.

 

AUTOGAIN activates an additional long-term gain correction, allowing automatic gain scaling of varying input level ranges. STEREO LINK applies limiting to both channels equally when activated. INPUT GAIN provides up to 18 dB of gain to the input signal prior to limiting. OUTPUT GAIN set the final gain level of the processed signal. SQUEEZE adds compression to the signal to add punch and a slight distortion depending on the amount you dial in. ATTACK sets
the attack time, ranging from 0.05 ms to 1 ms. RELEASE adjusts the release time from 0.05 ms to 1.04 seconds. KNEE adjusts the soft limiting threshold point from hard limiting (0 dB) to maximum soft limiting (10 dB).

 

Stereo Combinator/ Dual Combinator

 

Stereo Combinator.png

 

Dual Combinator.png

 

The Combinator is an amazing five-band compressor that emulates famous broadcasting and mastering compressors. A highly complex processor, the Combinator utilises automatic parameter control that produces stunning and “inaudible” results.


Makeup-gain for each frequency band will automatically be adjusted by the Spectral Balance Control (SBC) function, to maintain a balanced audio spectrum.

 

On the first layer, MIX adjusts the overall effect on the input signal (100% equals full compression) and ACTIVE enables or bypasses the effect. ATTack/RELease adjusts the envelope times for the compressors of all five bands. AUTO sets
program dependent release times (Release time value is ignored). SBC ON activates ‘Spectral Balance Control’ which dynamically keeps the gain of all bands in balance (auto Make-up gain adjustment). SBC SPEED sets the speed of
the correction.


X-OVER adjusts the boundary frequencies of the five frequency bands. Negative values result in more ‘resolution’ in the lower frequencies and positive values increase resolution in the upper frequencies. The slope or steepness of the band
separation filters can be adjusted between 12 dB and 48 dB. RATIO sets the compression Ratio for all five bands (1.1 -10, Limiter). SBC METER switches between SBC gain correction and compressor gain reduction displays.

 

On layer two, THRESHOLD adds a relative offset threshold to all individual band thresholds. This allows adjusting compression amount for all bands simultaneously. GAIN adjusts overall output gain. PEAK METER toggles between
compressor peak reduction and band peak-meter displays. BAND SEL selects one out of the five frequency bands, and BAND SOLO allows listening to the selected band (with the other four bands mute). BAND THR and BAND GAIN
adjust the threshold and makeup-gain of the selected band. BAND LOCK disables compression for the selected band. Pressing the BAND RESET encoder will disable BAND LOCK and reset BAND THR and BAND GAIN to zero for the selected band. Note that this is not dependant on BAND SOLO and neither is Solo mode affected by BAND RESET.

 

Stereo Fair Comp/ M/S Fair Comp/ Dual Fair Comp

 

Stereo Fair Comp.png

 

MS Fair Comp.png

 

Dual Fair Comp.png

 

The Fairchild 670 tube compressor not only achieves record bids in high-end vintage gear auctions, it also delivers some of the finest colourations in compressor history. Two small trim VRs preset the control side chain action, a six-step switch determines the timing, and the two large input and Threshold knobs adjust the levels. Our FAIR COMPRESSOR model is true to the original signal path, and conveniently provides models for dual, stereo-linked or M/S operation.
Inspired by Fairchild 670.


INPUT GAIN determines how much of the input signal passes through the effect. ACTIVE toggles the effect in or out of the signal path. THRESHOLD determines how loud the signal has to be before compression is applied. TIME switches the compressions release time. BIAS changes the simulated tube bias algorithm. OUT GAIN affects the gain ofthe output signal.

 

Stereo Leisure Comp/ Dual Leisure Comp

 

Stereo Leisure Comp.png

 

Dual Leisure Comp.png

 

The immaculate tube signal path in Teletronix’s LA-2A Levelling Amplifier has left it's exceptional clarity, it's rich and warm compression on countless albums of the past decades. The ultra-smooth optical attenuator is closely modelled in our LA COMPRESSOR. It provides breezing, natural and effortlessly musical compression. Inspired by Teletronix LA-2A.


GAIN determines how much of the input signal passes through the effect. ACTIVE toggles the effect in or out ofthe signal path. COMP/LIMIT determines whether the effect acts as a compressor or a limiter. OUTPUT GAIN affects the gain of the output signal. Increasing PEAK REDUCTION means that only the signal peaks are reduced in level.

 

Stereo Ultimo Comp/ Dual Ultimo Comp

 

Stereo Ultimo Comp.png

 

Dual Ultimo Comp.png

 

When Urei released the 1176LN Limiting Amplifier in the late 60s, it broke new ground. Field Effect Transistors employed were just invented and the 1176 was one of the first audio processors to benefit from this new technology. Our digital reincarnation, ULTIMO COMPRESSOR, is based on the early Rev. E model and authentically captures the smooth character of the original class-A output stage and its FET's legendary Fast Attack. Inspired by Urei 1176LN.

 

INPUT GAIN, OUT GAIN, ATTACK, RELEASE and RATIO all work as per standard compressor functions. With the Dual Compressor, functions for each of the channels are split between Layers 1 and 2.

 

Stereo Enhancer/ Dual Enhancer

 

Stereo Enhancer.png

 

Dual Enhancer.png

 

The X32’s Enhancers are so called ‘Psycho EQs'. They can enhance the signal spectrum in bass, midrange and high frequencies, but they differ from traditional EQs. When you need to generate maximum punch, clarity and detail, without turning up the overall volume, our enhancers are the solution. Inspired by the SPL vitalizer.


Adjust the BASS, MID and HI GAIN push encoders to add or reduce content in those spectrums. The BASS and HI FREQ(uencies) can be specifically selected, while the MID Q (bandwidth) can be adjusted instead. The OUT GAIN push encoder compensates for changes in level resulting from the effect, and SPREAD (stereo version only) emphasises the stereo content for a wider mix. Engage the SOLO MODE to isolate only the audio resulting from the effect so you can hear exactly what you're adding to the mix.

 

Stereo Exciter/ Dual Exciter

 

Stereo Exciter.png

 

Dual Exciter.png

 

Exciters increase presence and intelligibility in live sound applications, and are indispensable for adding clarity, air and harmonic overtones in the recording studio. This effect is particularly useful for filling out the sound in difficult rooms,
and for producing a more natural live or recorded sound. Inspired by the famous Aphex Aural Exciter.


Set the frequency of the side-chain filter with the TUNE push encoder, and further shape the filter slope with the PEAK and ZERO FILL controls. Turning the TIMBRE push encoder left of centre adds more odd harmonics, while turning it
right of centre adds more even harmonics. Adjust the harmonic content added to the signal with the HARMONICS push encoder, and blend in the affected signal with the MIX push encoder. Engage the SOLO MODE to isolate only the audio
resulting from the effect so you can hear exactly what you're adding to the mix.

 

Stereo Imager

 

Stereo Imager.png

 

A Stereo lmager is typically used to control the placement of a signal within the stereo field during mixdown or mastering. The X32's Stereo lmager will lend a professional quality to your live and recorded performances.

 

The BALANCE push encoder allows you to emphasise the mono and stereo components ofthe input signal. The mono and stereo signals can be panned independently with the MONO PAN and STEREO PAN controls. OUT GAIN is used to compensate for level changes resulting from the effect. The phase can also be shifted using the shelving push encoders. Select the frequency and bandwidth (Q) using the corresponding push encoders, then adjust the gain with
SHV GAIN.

 

Edison EX1

 

Edison EX1.png

 

The Edison EX1 is an unbelievably powerful psycho-acoustic processor, which allows you to completely manipulate all spatial parameters ofthe stereo image — such as width and depth — in a way never before possible. You can widen or
narrow the stereo spread, bring instruments to the front or move them to the background, and make corrections to the stereo image — even on a finished master. Inspired by the Behringer Edison EXI.


ST SPREAD increases the perceived width of the audio field over which the signal is present. BALANCE simply adjusts the levels between the left and right channels, and CENTRE DIST moves the audio source back and forth in the
perceived audio field. LMF SPREAD further adjusts the stereo depth by increasing or decreasing the perceived spaciousness of the output signal.

 

Sound Maxer

 

Sound Maxer.png

 

The Sound Maxer restores natural brilliance and clarity to any audio signal byadjusting the phase and amplitude integrity to reveal more of the natural texture of the sound, which is often hidden when using some effects and equalisers. Inspired by Sonic Maximizer 482i.


Use LO CONTOUR to determine the curve on which the PROCESS control is effective. GAIN determines how much of the input signal passes through the effect. Selecting either of the ACTIVE functions activates the effect for either of
the two stages.

 

Stereo Guitar Amp/ Stereo Guitar Amp

 

Stereo Guitar Amp1.png

 

Dual Guitar Amp.png

 

Modelled after the Tech 21 SansAmp, the Stereo / Dual Guitar Amp simulates the sound of plugging into a real guitar amp. From shimmering cleans to saturated crunch, the X32's Stereo / Dual GuitarAmp allows an electric guitar player to sound great without using an amp on stage.

 

The PREAMP push encoder adjusts the amount of input gain prior to the band-specific distortion adjustment. BUZZ adjusts the |ow~end breakup, PUNCH adjusts the midrange distortion, and CRUNCH tailors the high-frequency content and distortion for smooth or cutting notes. The DRIVE push encoder simulates the amount ofpower amp distortion from a tube amp. The LOW and HIGH push encoders allow Ell adjustment Independent of distortion content, and the overall output is controlled by the LEVEL push encoder. The CABINET simulation can be bypassed if the guitarist is already using a real cabinet, which allows the effect to function like a boostor distortion pedal. The Dual Guitar Amp
allows the left and right channels to be adjusted independently.

 

Stereo Tube Stage/ Dual Tube Stage

 

Stereo Tube Stage.png

 

Dual Tube Stage.png

 

Tube Stage / Overdrive is a versatile effect capable of emulating a variety of modern and classic tube amps. Available in stereo and dual-mono versions, use Tube Stage / Overdrive to dial in warm and fuzzy sounds from subtle to
fully-saturated.


DRIVE adjusts the amount of harmonics being driven by the effect. EVEN and ODD adjusts the amount of even and odd harmonics. GAIN adjusts the output gain of the effect. LO CUT sets the input frequency below which the source signal will not pass through the effect. HI CUT sets the input frequency above which the signal will not pass through the effect. BASS GAIN/FREQ adjusts a low-sheIving filter at the output of the effect. TREBLE GAIN/FREQ adjusts a high-shelving filter at the effect's output.

 

Dual Pitch Shifter/ Stereo Pitch

 

Dual Pitch Shifter.png

 

Stereo Pitch.png

 

Pitch sifting is often used in two different ways; one is to set the MIX control Iower and only use the CENT control to make a small offset in pitch between the wet and dry tones. This results in a ‘voice doubling’ effect that thickens the
overall sound in a more subtle way. The extreme use of this effect is to turn the MIX control fully-clockwise so that the full sound is affected. This way, the signal can be shifted into other keys up to an octave above or below the original key. When used on a voice, it results in a ‘chipmunk’ sound or a low, ‘Darth Vader’ effect.

 

When the SEMI and CENT push encoders are set to 12:00, the pitch is not altered. Making adjustments by semitone will have a very pronounced effect, whereas changes to the CENT control will be very minor. The DELAY control creates a
time difference between the wet and dry sounds. The LO CUT and HI CUT push encoders allows the affected signal to be band-limited. The Dual-Pitch effect allows the left and right channels to be adjusted independently, and allows gain
compensation and panning ofthe two channels.

 


Share this page