Mono In - Stereo Out. If you only want to feed the MidiVerb 4 a mono input, but wish to connect both of its outputs back to the mixer, you will need three 1/4" audio cables. Connect a mono cord from an effect send to the [LEFT/CH.1] input of the MidiVerb 4, another mono cord from the [LEFT/CH.1] output of the MidiVerb 4 to an effect return or other mixer input, and another mono cord from the [RIGHT/CH.2] output of the MidiVerb 4 to an adjacent effect return or mixer input.
Stereo In - Stereo Out. This connection is similar to the one described above. However, by utilizing two sends from the mixer, we add one more cord and can now send a stereo signal to the MidiVerb 4s inputs. Example, if you connected sends 3 and 4 to the [LEFT/CH.1] and [RIGHT/CH.2] inputs, and had a stereo instrument (such as a keyboard) connected to two channel inputs of the mixer (either one panned hard left and hard right), you would send the left channel to send 3 and the right channel to send 4.
Dual Mono. Alternatively, you could have two discrete effect sends between the Left and Right channel, and process them separately within the MidiVerb 4 by using one of the Dual Mono Configurations (see chapter 3). Again, using 2 aux sends from the mixer, connect two mono cords to the [LEFT/CH.1] and [RIGHT/CH.2] inputs of the MidiVerb 4, and connect two other mono cords from the [LEFT/CH.1] and [RIGHT/CH.2] outputs of the MidiVerb 4 to two mixer inputs. This hookup allows discrete processing of the two channels, since separate effects are dedicated to each channel.
Chapter 2 Connections Using Inserts
By using individual channel inserts, you can dedicate the MidiVerb 4 to a specific channel (or pair of channels) on the mixer. The Insert connections on the back of the mixer provide a way of inserting external processing equipment into the signal path. The insert occurs after the input amplifier, and before the main fader; essentially it is the same as connecting the source (instrument or microphone) into the MidiVerb 4 before the mixers channel input. However, some mixing consoles inserts come after the EQ section, and may therefore be different from the original signal. If nothing is connected to the channels Insert jack, the signal is not routed there. Usually, insert connections require a special, stereo-splitting Y-cord to be connected (one stereo plug provides both send and return while two mono plugs connect separately to an input and output). These are known as TRS connectors (tip-ringsleeve). The tip of the stereo plug carries the send or output of the insert jack, while the ring carries back the return. The sleeve represents a common ground for both signals. Mono. This involves connecting a 1/4" TRS (tip-ring-sleeve) Y-cable to the Insert jack of a single channel on a mixing console. The other end of the cable (which splits into two, 1/4" mono connectors) are connected to the [LEFT/CH.1] input and [LEFT/CH.1] output, respectively. If you do not hear any audio after making these connections, swap the input and output cables at the MidiVerb 4, as these may be wired backwards. If the cable is color-coded, usually the red jack represents the send (which connects to the MidiVerb 4s input) and black is the return (which connects to the output).

Dual Mono. Alternatively, you could have two channels inserts connected to the Left and Right Inputs, and process them separately within the MidiVerb 4 by using one of the Dual Configurations (see chapter 3). Connect a 1/4" TRS Y-cable to the Insert jack of a single channel on a mixing console. Connect the other end of the cable (which splits into two, 1/4" mono connectors) to the [LEFT/CH.1] input and [LEFT/CH.1] output. Connect another 1/4" TRS Y-cable to the Insert jack of another single channel on a mixing console. Connect the other end of this cable to the [RIGHT/CH.2] input and [RIGHT/CH.2] output. This hookup allows discrete processing of the two channels, since separate effects are dedicated to each channel.
Stereo. In the case where a stereo instrument (such as a keyboard or sampler) is connected to two separate channels of a mixing console, you will need two 1/4" TRS cables, one for each channel. The connection is made in a similar fashion as described above.

Using Main Outputs

When you want to effect everything on the mixer, you can connect the MidiVerb 4 between the mixers outputs and the amplifiers or tape machines inputs. This is done by using two 1/4" mono cables to connect the Left and Right Main Outputs of the mixing console to the [LEFT/CH.1] and [RIGHT/CH.2] inputs of the MidiVerb 4. The [LEFT/CH.1] and [RIGHT/CH.2] outputs of the MidiVerb 4 are then connected to a stereo amplifier, or two input channels of another mixing console (for sub-mixing applications).

Avoiding Ground Loops

In todays studio, where it seems every piece of equipment has its own computer chip inside, there are many opportunities for ground loop problems to occur. These show up as hums, buzzes or sometimes radio reception and can occur if a piece of equipment sees two or more different paths to ground. While there are methods to virtually eliminate ground loops and stray radio frequency interference, most of the professional methods are expensive and involve installing a separate power source just for the sound system. Here are some easy helpful hints that a professional studio installer might use to keep those stray hums and buzzes to a minimum.
KEEP ALL ELECTRONICS OF THE SOUND SYSTEM ON THE SAME AC
ELECTRICAL CIRCUIT. Most stray hums and buzzes happen as a result of different parts of the sound system being plugged into outlets of different AC circuits. If any noise generating devices such as air conditioners, refrigerators, neon lights, etc., are already plugged into one of these circuits, you then have a perfect condition for stray buzzes. Since most electronic devices of a sound system dont require a lot of current (except for power amplifiers), its usually safe to run a multi-outlet box or two from a SINGLE wall outlet and plug in all of the components of your system there.

KEEP AUDIO WIRING AS FAR AWAY FROM AC WIRING AS POSSIBLE.
Many hums come from audio cabling being too near AC wiring. If a hum occurs, try moving the audio wiring around to see if the hum ceases or diminishes. If its not possible to separate the audio and AC wiring in some instances, make sure that the audio wires dont run parallel to any AC wire (they should only cross at right angles, if possible).
TO ELIMINATE HUM IF THE ABOVE HAS FAILED:
A) Disconnect the power from all outboard devices and tape machines except for the mixer and control room monitor power amp. B) Plug in each tape machine and outboard effects device one at a time. If possible, flip the polarity of the plug of each device (turn it around in the socket) until the quietest position is found. C) Make sure that all of the audio cables are in good working order. Cables with a detached ground wire will cause a very loud hum!! D) Keep all cables as short as possible, especially in unbalanced circuits. If the basic experiments dont uncover the source of the problem, consult your dealer or technician trained in proper studio grounding techniques. In some cases, a star grounding scheme must be used, with the mixer at the center of the star providing the shield ground on telescoping shields, which do NOT connect to the chassis ground of other equipment in the system.
MIDI (Musical Instrument Digital Interface) is an internationally-accepted protocol that allows musical-related data to be conveyed from one device to another. The MIDI connections on the MidiVerb 4 provide four different functions: To recall Programs using MIDI program change messages To control (modulate) parameters inside the MidiVerb 4 in realtime via MIDI controllers (example: A keyboards mod wheel, or pedals, etc.) To send and receive Sysex (System Exclusive) dumps of individual programs or the entire bank of programs for storage and retrieval purposes To pass-on MIDI information thru the MidiVerb 4 to another MIDI device.
To connect the MidiVerb 4s MIDI ports to another MIDI device:
Connect a MIDI cable from the MidiVerb 4s MIDI [IN] connector to the other
MIDI devices MIDI OUT connector.
Connect another MIDI cable from the MidiVerb 4s MIDI [OUT/THRU] connector
to the MIDI IN connector of the other MIDI device. Note: It is not necessary to follow step 2 if you intend to only send information to the MidiVerb 4, and do not need to receive information back from it. Example: If you only want to be able to recall Programs using MIDI program change messages, there is no need to connect a cable to the MidiVerb 4s [OUT/THRU] connector. For more information about MIDI and Modulation, refer to chapter 6.

Overview of Effects Chapter 3

CHAPTER 3

OVERVIEW OF EFFECTS
The Architecture of the MidiVerb 4

What is a Configuration?

A Configuration is an arrangement of one or more effects. Each of the 256 internal Programs in the MidiVerb 4 use one Configuration. There are 32 different Configurations available, each of which fall into one of four categories. The four types of Configurations are: Single, Double, Dual Mono and Multi Chain.

Single

A Single Configuration consists of one effect. These Configurations utilize complex, processor-intensive effect algorithms providing the best quality possible for each effect type supported. There are different kinds of Single Configurations, including: Mono-in/mono-out. These effects have a single input (both inputs summed together) and a single output (routed to both outputs).
Mono-in/stereo-out. These effects have a single mono input and two outputs.
Stereo-in/stereo-out. These effects have two inputs and two outputs.
In each case, the dry, uneffected signal of both inputs are also routed to the outputs.
Chapter 3 Overview of Effects

Double

Double Configurations consist of two side-by-side mono-in/stereo-out effects. These Configurations are identified by the presence of a + in their name. In each case, the Left/Ch. 1 input is routed to one effect, while the Right/Ch. 2 input is routed to the other. The stereo outputs of both effects are then summed together to the outputs. The dry, uneffected signal of both inputs are also routed to the outputs.

Dual Mono

Dual Mono Configurations provide two mono-in/mono-out effects, one for each channel. These Configurations are identified by the presence of a : in their name (Delay:Delay). The Left/Ch. 1 input is routed to the first effect, whose output is routed to the Left/Ch. 1 output. Likewise, the Right/Ch. 2 input is routed to the second effect, whose output is routed to the Right/Ch. 2 output.
These effects can be chained using a special feature called Cascade mode. Cascade mode only affects Dual Mono Configurations, and routes the output of the channel 1 effect into the input of the channel 2 effect. The Cascade function can be turned on and off from page 2 in Utility mode (see Chapter 5). In this case, the Left/Ch. 1 output provides only the channel 1 effects output, while the Right/Ch. 2 output provides the output of channel 1s effect routed through channel 2s effect.
Note: If Cascade mode is turned on, the [RIGHT/CH. 2] input will be disabled for all Dual Mono Configurations. This is because the channel 2 effect is being fed the output of the channel 1 effect.

Multi Chain

The Multi Chain Configurations provide two or three stereo effects, which are connected in series; i.e. one feeding the next in the chain. These Configurations are identified by the presence of one or two -> symbols in their name (Example: Chorus->Real Room). These individual effect types provide excellent sound quality but are less processor-intensive than their Single Configuration equivalents, since the Digital Signal Processor is accommodating more than one effect at a time. In other words, the reverb effect in the Delay->Realroom Configuration is not as dense as the Single Configuration called Realroom.

In the case of Multi Chain Configurations, the Mix parameter of each effect determines what the following effect receives at its input(s). Example: It is possible to use the Delay->Room Configuration (where effect 1 is a mono delay and effect 2 is a reverb), and have only the dry, uneffected signal going to the second effect; this is done by setting the first effects Mix parameter to 000% (this means none of its output can be heard nor is sent to the second effect in the chain).

Reverb Effects

Reverb is made up of a large number of distinct echoes, called reflections. In a natural acoustic space, each reflections amplitude and brightness decays over time. This decaying action is influenced by the room size, the location of the sound source in the room, the hardness of the walls, and other factors. The MidiVerb 4 offers the following types of reverberation:

Concert Hall

This is a simulation of a large concert hall. Halls tend to be large rooms with lots of reflective surfaces, where sounds can swim around, changing timbre over time. This is a classic reverb which sounds good on just about anything. Try it on vocals, drums, acoustic, electric, or orchestral instruments.

Real Room

This algorithm gives you the sound of a medium size studio room. This algorithm uses a lot of processing power for a rich sound and smooth decay. It compares favorably to high end studio reverbs for its rich sound. The attack is also more reflective. It sounds good on drums, keyboards and guitars.

Realroom & Room

These are less processor intensive versions of the Real Room effect, used in Multi Chain and Dual Mono Configurations.

Ambience

This algorithm simulates a very small room. It can be used when just a slight amount of ambient character is needed to augment a sound. For example, if playing a solid body guitar, use the Ambience effect to simulate the sound of an acoustic guitars hollow body.

Plate Reverb

This is a simulation of a classic echo plate, a 4' by 8' suspended sheet of metal with transducers at either end used to produce reverb. Popular in the 1970s, it still prized for its transparent sound, particularly on vocals and guitars. This algorithm uses the most processing available for a truly realistic reverb plate simulation. It works well for a lush lead vocal, piano, or guitar, especially when looking for a classic rock and roll sound.

Nonlinear

It is possible to control the delay time of the BPM Mono Delay effect from an external MIDI clock source, such as a MIDI sequencer or drum machine. Any device which can output MIDI clock can be used to control this Configurations delay time. If the Tempo parameter is turned all the way down, below 000, the value in the display will read EcL, which means external clock. The delay time will now be controlled by the MIDI clock signal received at the [MIDI IN] port coming from an external source. If the MIDI clocks tempo changes, the MidiVerb 4 will chase it. If the MIDI clock signal is discontinued, the delay time will remain set to the last tempo which the MIDI clock had been running at. The Note parameter determines what note value the MidiVerb 4 should synchronize to. For example, if you set the Note value to 4, then you can synchronize to the quarter-note beats of the incoming MIDI clock. If instead you set the Note value to 8t, you can synchronize to eighth-note triplets relative to the incoming MIDI clock signal. You can also set the Not value to a dotted-note variation, such as *, which lets you synchronize to the dotted-eighth-note beats relative to the incoming MIDI clock signal. For more information about using MIDI with the MidiVerb 4, see Chapter 6.

Delay & DLY

These effects are mono, less processor-intensive versions of the Stereo Delay effect, used in the Multi Chain Configurations Delay->Realroom, Chorus->Dly->Room and Flange->Dly->Room; the Double Configuration Realroom+Delay; and the Dual Mono Configurations Delay:Delay, Chorus:Delay and Flange:Delay. They provide only high frequency cutting ability with no control over the low frequencies.
Setting Delay Time Using Tap Tempo
You can adjust the delay time using a technique called tap tempo. By tapping the button which corresponds to the Tap parameter, you can have the MidiVerb 4 follow your tapping and adjust its delay time to match the tempo you are using. If the Footswitch parameter (UTILity mode) is set to Control, you can tap your delay time by repeatedly pressing down on the footswitch. You can also adjust the delay time using tap tempo from the audio source being routed to the MidiVerb 4s input(s). This can be done in two ways: Hold the button which corresponds to the Tap parameter; or Hold down the footswitch (if the Footswitch parameter is set to the Control function).
While using either of these methods, feed signal to the MidiVerb 4. This could be done by hitting a drum, plucking notes on a guitar or keyboard, or by singing some doot doots into a microphone (depending on what is connected). Note: When the Footswitch parameter is set to the Control function, you can control tap tempo as described above while in either Program mode ([PROG] button lit) or Edit mode ([EDIT/PAGE] button lit), unlike when using the front panel for tap tempo which requires that you be in Edit mode. For more information on connecting a footswitch and selecting the Footswitch parameters function, see Chapter 2.

Pitch Effects

The Pitch effects alter the pitch of a signal in various ways to produce layered timbres that are more complex than the original signal. Although some of these effects can sound similar to one another depending on the parameter settings, each is achieved differently and can be quite dramatic under the right circumstances. Pitch effects are achieved by splitting the signal into at least two parts, effecting the pitch of one of the parts, then mixing them back together. This eventual mixing is essential since the overall sound of the effect is achieved by the actual difference between the dry, uneffected signal and the effects signal. The various types of Pitch change are:

Stereo Chorus

The Chorus effect is achieved by splitting the signal into three parts with a dry signal and a separate Detuning section for both left and right channels. When the left channel is detuned sharp, the right is detuned flat, and vice versa. The detuning is further effected by being modulated by an LFO (low frequency oscillator) which causes the detuning to vary. Many variables are available in this scheme: the Predelay can be varied, the LFO depth can be varied, the LFO speed can be varied, and a portion of the detuned signal can be fed back to the input to increase the effect. Finally, the waveform shape of the LFO can be changed from a smooth sinewave, to a more abrupt squarewave to make the pitch detuning more pronounced.

Quad Chorus

Quad Chorus modulates four delayed signals, each with its phase offset by 90. Each of the four signals has a separate Predelay variable, allowing you to change the rhythm of the phasing.

Chorus

This is a mono, less processor-intensive version of the Stereo Chorus effect, used in the Multi Chain Configurations Chorus->Realroom and Chorus->Dly->Room, the Double Configuration Realroom+Chorus, and the Dual Mono Configurations Chorus:Chorus and Chorus:Delay.

Stereo Flange

First used in the 1960s, flanging was achieved by the use of two tape recorders that would record and play back the same program in synchronization. By slowing down one tape machine, and then letting it catch up with the other, different phase cancellations would occur at different frequencies. Since the slowing down of the tape machines was done by hand pressure against the flanges of the tape supply reels, the term flanging came into being. Flanging is similar to chorusing , but modulates the delayed signal over a much shorter delay range (typically 0-12 ms). This produces a jet airplane-like sound. The flange modulation sweep can be triggered by the audio input (either the left or right input, or both), in order to sync up with the rhythm of your playing. You can adjust the attack and release threshold of this audio triggering function. In the case of the Stereo Flange, the signal is split into three parts with a dry signal and a separate Delay section for both left and right channels with one channel flanging up while the other channel flanges down. Once again, this causes the effect to become more pronounced and dramatic.

When flanging was done using two tape machines, it was possible for one to be behind the other, catch up and then go past the other. This is called passing through zero. The zero point is when both signals were in perfect synchronization. Since the MidiVerb 4 is digitally simulating the flanging effect, it normally cannot provide the through zero effect. Instead, it delays the effected signal to a point, then brings it back to the zero point, and repeats this over and over. The Thru0 parameter found in the MidiVerb 4s flanging effects lets you create the appearance of the effected signal passing through the zero point. It does this by actually delaying the uneffected signal by as mush as 12 milliseconds (an amount virtually undetectable to the human ear). This allows the wet signal to move behind the dry signal as it cycles.

Flange

This is a mono, less processor intensive version of the Stereo Flange, used in the Multi Chain Configurations Flange->Realroom, Realroom->Flange and Flange->Dly>Room; the Double Configuration Realroom+Flange; and the Dual Mono Configurations Flange:Flange and Flange:Delay. The effect of mono flanging is achieved by splitting and slightly delaying one part of the signal, then varying the time delay, with an LFO. The delayed signal is then mixed back with the original sound to produce the swishing or tunneling sound.

Lezlie

With the Lezlie effect (found in the Lezlie->Room Configuration), the pitch change block becomes a rotating speaker simulator. This effect was extremely popular during the 1960s and was achieved by mechanically rotating the speakers to produce complex timbral changes. The Lezlie speaker system is most often used with rock organs, but is occasionally used for guitar amplification as well. Parameters include: Motor on/off, Speed, which can be slow or fast; and High Rotor Level, which lets you attenuate the volume of the high frequencies. When switching the Lezlie effect on and off, or when changing the speed between fast and slow, the effect will ramp rather than change abruptly, just as a true Lezlie speaker system would do. By raising the High Rotor Level, you can really make this effect scream. Tip: Try modulating the Motor or Speed with aftertouch.

Thru0 OFF, On Mix 000-100 Wave Sin, tri Mix 000-100 Wave Sin, tri Mix 000-100 Mix 000-100 Diff 000-100 RMix 000-100 FineR -50-50 FdbkR 00-99 PanR -50-50 Mix 000-100 Fdbk 00-99 Mix 000-100 Fdbk 00-99 Mix 000-100 HiCut 059-3^2, OFF Mix 000-100

PITCH:PITCH

Semi -12-12

AUTO PAN

Rate )0-2%5 Trig 0fffffffFF, L, r, Lr

DELAY} REALROOM

Tap ---

CHORUS} REALROOM

Decay !0-7%8 Gate OFF, 001-100 Rate )0-(9

FLANGE} REALROOM

REALROOM} FLANGE 3 4
Decay !0-7%8 Dens 000-100 Rate )0-(9 Trig 0fffffffFF, L, r, Lr Decay !0-7%8 Dens 000-100 Decay !0-7%8 Dens 000-100 Rate )0-(9 Trig 0fffffffFF, L, r, Lr
100ms 0-7 Fdbk 00-99 LPF 059-3^2, OFF Hold 000-500 Depth 000-255 Wave Sin, tri LPF 059-3^2, OFF Diff 000-100 Depth 000-250 Attck 000-255 LPF 059-3^2, OFF Diff 000-100 LPF 059-3^2, OFF Diff 000-100 Depth 000-250 Attck 000-255
10ms 0-9 HiCut 059-3^2, OFF Dens 000-100 Rel 000-500 Fdbk 00-99
PDly 000-250 Gate OFF, 010-500 Fdbk -99-99 Rel 000-255 PDly 000-250 Gate OFF, 010-500 PDly 000-250 Gate OFF, 010-500 Fdbk -99-99 Rel 000-255
1ms 0-9 DMix 000-100 Diff 000-100 RMix 000-100 CDly 000-255 CMix 000-100 PMix 000-100 RMix 000-100 Wave Sin, tri FMix 000-100 PMix 000-100 RMix 000-100 PMix 000-100 RMix 000-100 Wave Sin, tri FMix 000-100

CHORUS}DLY} ROOM

FLANGE}DLY} ROOM

REALROOM+ DELAY

REALROOM+ CHORUS
Rate )0-(9 Time 000-500 Decay !0-7%8 Gate OFF, 001-100 Rate )0-(9 Tap 000-500 Decay !0-7%8 Gate OFF, 001-100 Decay !0-7%8 Gate OFF, 001-100 Tap --Fdbk 00-99 Decay !0-7%8 Dens 000-100 Rate )0-(9
Depth 000-255 Fdbk 00-99 LPF 059-3^2, OFF Hold 000-500 Depth 000-250 Fdbk 00-99 LPF 059-3^2, OFF Hold 000-500 LPF 059-3^2, OFF Hold 000-500 100ms 0-7 HiCut 059-3^2, OFF LPF 059-3^2, OFF Diff 000-100 Depth 000-255 Wave Sin, tri
Fdbk 00-99 HiCut 059-3^2, OFF Dens 000-100 Rel 000-500 Fdbk -99-99 HiCut 059-3^2, OFF Dens 000-100 Rel 000-500 Dens 000-100 Rel 000-500 10ms 0-9
PDly 000-250 Gate OFF, 000-500 Fdbk 00-99
CMix 000-100 DMix 000-100 Diff 000-100 RMix 000-100 FMix 000-100 DMix 000-100 Diff 000-100 RMix 000-100 Diff 000-100 RMix 000-100 1ms 0-9 DMix 000-100 PMix 000-100 RMix 000-100 CMix 000-100 CMix 000-100

REALROOM+ FLANGE

CHORUS: DELAY
Decay !0-7%8 Dens 000-100 Rate )0-(9 Trig 0fffffffFF, L, r, Lr Rate )0-(9
LPF 059-3^2, OFF Diff 000-100 Depth 000-250 Attck 000-255 Depth 000-255 Wave Sin, tri 100ms 0-5 LoCut OFF, 059-3^2 Rate )0-(9 Wave Sin, tri 100ms 0-5 LoCut OFF, 059-3^2 Fine -50-50 LoCut OFF, 059-3^2 100ms 0-5 LoCut OFF, 059-3^2
PDly 000-250 Gate OFF, 000-500 Fdbk -99-99 Rel 000-255 Fdbk 00-99

PMix 000-100 RMix 000-100 Wave Sin, tri FMix 000-100 PDly 000-250 Mix 000-100 1ms 0-9 Mix 000-100 Fdbk -99-99 Mix 000-100 1ms 0-9 Mix 000-100 Fdbk 00-99 Mix 000-100 1ms 0-9 Mix 000-100

Tap --Fdbk 00-99

FLANGE: DELAY
Tap --Fdbk 00-99 Semi -12-12
10ms 0-9 HiCut 059-3^2, OFF Depth 000-250

PITCH: DELAY

10ms 0-9 HiCut 059-3^2, OFF PDly 000-250 HiCut 059-3^2, OFF 10ms 0-9 HiCut 059-3^2, OFF
Advanced Applications Chapter 6

CHAPTER 6

MIDI APPLICATIONS

MIDI Functions

The MidiVerb 4 provides many MIDI functions, including being able to respond to program changes, sending and receiving Program information via Sysex (System Exclusive) dumps, and realtime control over effect parameters via MIDI controllers. For more information about basic MIDI connections, see Chapter 2.

MIDI Channel

The MIDI Channel is used to receive program change messages, as well as other MIDI events for use with the realtime modulation capabilities in the MidiVerb 4. To set the MidiVerb 4s MIDI channel:
Press the [EDIT/PAGE] button until page 3 is selected.
The display will look like this:
MIDI: Chan Thru PChg PRESET 01 0FF

PAGE 5 6

Press [B] to select the MIDI Channel parameter.
The current MIDI Channel value will be flashing to indicate it is now selected for editing. In the example above, the MIDI channel is set to 01.
Turn the [VALUE] knob to set the MIDI Channel to either 01 through 16, or 00 for
Omni mode (receives on all 16 channels simultaneously).

MIDI Thru

In order to pass on MIDI information from a control device thru the MidiVerb 4 to another MIDI device:
Connect the control devices MIDI OUT to the MidiVerb 4s [MIDI IN]. Then
connect the MidiVerb 4s [MIDI OUT] to the MIDI IN of the other device you wish to control.
Press [UTIL], then press the [EDIT/PAGE] button until page 3 is selected. Press the [D] button to turn MIDI Thru On.
Chapter 6 Advanced Applications
Receiving Program Changes
In order to recall programs on the MidiVerb 4 from a MIDI control device (keyboard, drum pad, guitar or bass controller, sequencer, etc.):
Connect the control devices MIDI OUT to the MidiVerb 4s [MIDI IN]. Press [UTIL], then press the [EDIT/PAGE] button until page 3 is selected. Press the [D] button to select the MIDI Program Change field. Use the [VALUE] knob to select either OFF, On or tbL.

Setting Modulation Amplitude
Once you have selected which MIDI messages are to be designated as Modulators X and Y, you may then indicate their strength (or how much control they will have over the effect parameters) and in which direction (positive or negative). The amplitude range for both Modulators is -99 to +99. If you chose an amplitude of +99, the Modulator will have full positive control over the parameter it is modulating. But what does this mean to you? Lets take a look at some examples.
Lets say you want your keyboards modulation wheel (controller #1) to control how much reverb is heard. Since Mod Y is wired to the Wet/Dry Mix, you would first assign Mod Y to be 001. Next, you set the amplitude for how much of the Mix parameters range you wish to be able to control from the mod wheel. For full control, set the AmpX to 99. At this point you may not hear any effect. This is probably because the effects Mix parameter is set to 100%; the mod wheel is adding to the parameters value, but it has nowhere to go. If you bring the Mix parameter all the way down to 0%, the mod wheel will have total control (move the mod wheel all the way up and down to move the Mix parameter from dry only to wet only). If you are using an effect whose modulated parameters are of the either/or kind (like the Lezlies Speed parameter; it is either slow or fast), the Modulator will have no effect if the parameter is set to its second setting and the Modulators amplitude is set to a positive value. Once again, this parameter is already at its maximum setting and cannot go any further. Likewise, you will not hear any effect if the parameter is at its first or minimum setting, and the Modulators amplitude is set to a negative value. Heres another example. Lets say an effect parameter (which is controlled by Modulator X) is set to 75% of its maximum setting. If Modulator X has an amplitude of 100% and the controller designated as Modulator X is at 100%, the effect parameter will be at its maximum setting. If Modulator Xs amplitude is 50%, the parameter will be halfway between its programmed setting of 75% and its maximum setting of 100%. If, on the other hand, Modulator Xs amplitude is -99, the parameter will be at its minimum or 0% setting.
Controlling Delay Time via MIDI Clock
When using the BPM Mono Delay Configuration, it is possible to control the delay time from an external MIDI clock source, such as a MIDI sequencer or drum machine. Any device which can output MIDI clock can be used to control this Configurations delay time. First, select a Program on the MidiVerb 4 which uses the BPM Mono Delay Configuration. Then turn the Tempo parameter all the way down until the value in the display reads EcL, which means external clock. The delay time will now be controlled by the MIDI clock signal received at the [MIDI IN] port coming from an external source. If the MIDI clocks tempo changes, the MidiVerb 4 will chase it. If the MIDI clock signal is discontinued, the delay time will remain set to the last tempo which the MIDI clock had been running at. An additional parameter, called Note, is used to determine what note value the MidiVerb 4 should synchronize to. Example: If you set the Note value to 4, then you can synchronize to the quarter-note beats of the incoming MIDI clock. If instead you set the Note value to 8t, you can synchronize to eighth-note triplets relative to the incoming MIDI clock signal. You can also set the Note value to a dotted-note variation, such as *, which lets you synchronize to the dotted-eighth-note beats relative to the incoming MIDI clock signal.

Remarks

********
After Touch Pitch Bender Control Change Prog Change True #

X X X X X X X

O X X X O X X X X X
System Exclusive System Song Pos Common Song Sel Tune System Clock Realtime Commands Aux Local On/Off Messages All Notes Off Active Sense Reset Notes
Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO
Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO

O : Yes X : No

Specifications

SPECIFICATIONS

Electrical
Frequency Response: Dynamic Range: Distortion: Crosstalk: 1dB from 20Hz to 20 kHz >90dB "A" wtg., 20 Hz-22kHz <0.009% @ 1kHz, nominal level (-12 dBfs) <0.005% @ peak level <90dB below full scale
Number of Channels: Format: Nominal Level: Maximum Level: Impedence: 2 1/4" unbalanced -10 dBV +10 dBV 1M/channel stereo, 500k/channel mono

A/D - D/A Conversions

Processor Speed: Processor Memory: A/D converter: D/A converter: Sampling Frequency: 3 MIPs (million instructions per second) 64K x 16 bits 18 bit Sigma-Delta, 128 times oversampling 18 bit Sigma-Delta, 8 times oversampling 48 kHz

Output

Number of Channels: Format: Maximum Level: Nominal Level Output Impedance: 2 1/4" unbalanced +17.5dBu -20 dBV or +4dBu, front- panel adjustable 500 ohms
Controls Buttons Value PROG UTIL STORE INPUT OUTPUT Power Custom LCD display EDIT/PAGE A/NAME B/ESC C/< D/>

Switches Indicator

Input (Left/CH 1, Right/CH 2) Output (Left/CH 1, Right/CH 2) FOOTSWITCH MIDI (In, Out/Thru) Power 1/4" 2-conductor 1/4" 2-conductor 1/4" (accepts normally open or normally closed momentary footswitch, such as the Alesis PD) 5 pin DIN 9 Volt Power Transformer

Processing and Memory

User Programs (RAM): Factory Preset Programs (ROM): Internal processing resolution: Delay memory: Reverb effects: Delay effects: Pitch effects: 24 bit accumulator 1299 milliseconds Concert Hall, Real Room, Ambience, Plate Reverb, Nonlinear Mono Delay, Stereo Delay, Ping Pong Delay, Multi Tap Delay, BPM Mono Delay Stereo Chorus, Quad Chorus, Stereo Flange, Stereo Pitch Shifter Auto Pan
Special effects: Multiple effect configurations: Double: Real Room+Delay, Real Room+Chorus, Real Room+Flange Dual Mono: Delay:Delay, Chorus:Chorus, Flange:Flange, Pitch:Pitch, Chorus:Delay, Flange:Delay, Pitch:Delay Multi Chain: Delay->Real Room, Chorus->Real Room, Flange->Real Room, Lezlie->Room, Real Room->Flange, Chorus->Delay->Room, Flange->Delay->Room