At any time you can bypass the effects, thereby allowing the direct signal to pass through the MidiVerb 4 unchanged. This can be done in two ways: by simultaneously pressing both the [PROG] and [UTIL] buttons on the front panel; or, by connecting a footswitch to the [FOOTSWITCH] jack and pressing the footswitch. This requires that the [FOOTSWITCH] jack be set to trigger the Bypass function, which is located among the UTILity functions.
Each time the [PROG] and [UTIL] buttons are pressed, or the footswitch connected to the [FOOTSWITCH] jack is pressed, Bypass mode is toggled on and off again. When Bypass mode is turned on, the [BYPASS] LED will be lit. To set the [FOOTSWITCH] jack to the Bypass function:
Press [EDIT/PAGE] until page 1 is selected.
Footswitch Dry Defeat Press [B] to select the Footswitch parameter. Turn the [VALUE] knob to set the Footswitch parameter to Bypass mode (bYP).

Connections Chapter 2

CHAPTER 2

CONNECTIONS

AC Power Hookup
The MidiVerb 4 comes with a power adapter suitable for the voltage of the country it is shipped to (either 110 or 220V, 50 or 60 Hz). With the MidiVerb 4 off, plug the small end of the power adapter cord into MidiVerb 4s [POWER] socket and the male (plug) end into a source of AC power. Its good practice to not turn the MidiVerb 4 on until all other cables are hooked up.
Alesis cannot be responsible for problems caused by using the MidiVerb 4 or any associated equipment with improper AC wiring.
Line Conditioners and Protectors
Although the MidiVerb 4 is designed to tolerate typical voltage variations, in todays world the voltage coming from the AC line may contain spikes or transients that can possibly stress your gear and, over time, cause a failure. There are three main ways to protect against this, listed in ascending order of cost and complexity: Line spike/surge protectors. Relatively inexpensive, these are designed to protect against strong surges and spikes, acting somewhat like fuses in that they need to be replaced if theyve been hit by an extremely strong spike. Line filters. These generally combine spike/surge protection with filters that remove some line noise (dimmer hash, transients from other appliances, etc.). Uninterruptible power supply (UPS). This is the most sophisticated option. A UPS provides power even if the AC power line fails completely. Intended for computer applications, a UPS allows you to complete an orderly shutdown of a computer system in the event of a power outage, and the isolation it provides from the power line minimizes all forms of interferencespikes, noise, etc.

Interfacing Directly with Instruments
18 MidiVerb 4 Reference Manual
When connecting audio cables and/or turning power on and off, make sure that all devices in your system are turned off and the volume controls are turned down. The MidiVerb 4 has two 1/4 unbalanced inputs and two 1/4 unbalanced outputs. These provide three different (analog) audio hookup options: Mono. Connect a mono cord to the [LEFT/CH.1] INPUT of the MidiVerb 4 from a mono source, and another mono cord from the [LEFT/CH.1] output of the MidiVerb 4 to an amplification system or mixer input.
Mono In, Stereo Out. While still using a mono input, you could connect two mono cords to the [LEFT/CH.1] and [RIGHT/CH.2] outputs of the MidiVerb 4 to a stereo amplification system or two mixer inputs.
Dual Mono. Connect two mono cords to the [LEFT/CH.1] and [RIGHT/CH.2] inputs of the MidiVerb 4 from two mono sources , and two other mono cords from the [LEFT/CH.1] and [RIGHT/CH.2] outputs of the MidiVerb 4 to a stereo amplification system or two mixer inputs. This hookup allows discrete processing of the two channels, since blocks can be dedicated to a single channel. Stereo. Connect two mono cords to the [LEFT/CH.1] and [RIGHT/CH.2] INPUTS of the MidiVerb 4 from a stereo source , and two other mono cords from the [LEFT/CH.1] and [RIGHT/CH.2] OUTPUTS of the MidiVerb 4 to a stereo amplification system or two mixer inputs.
Chapter 2 Connections Interfacing to a Mixing Console
The MidiVerb 4 handles mono or stereo sends at all system levels. The input circuitry of the MidiVerb 4 can easily handle +4 dBu levels (+20 dBu peaks), while having enough input and output gain to interface with the low -10 dBV signal levels of budget recording systems. The MidiVerb 4 may be connected to a mixing console in several different ways. It can be used to effect several instruments at once by using the auxiliary send and return controls of the mixer. Another method of interfacing is to connect the unit directly to the insert send and return patch points of the channel that is to be effected. Still another way of interfacing the MidiVerb 4 to a mixer or recording console would be in-line across the output of your mixing console. This last setup would be used only if you needed to effect the entire mix.

Using the Aux Sends

Generally, mixing consoles provide two types of auxiliary sends: pre-fader sends for creating a cue (headphone) mix, and individual, post-fader effect sends. Typically, if a mixer has more than two sends per channel (4, 6 or 8, perhaps), the first two sends are reserved for the cue sends, while the remaining sends are used to feed effects, such as the MidiVerb 4. If you are using a mixer with more than two sends, connect the MidiVerb 4 using post-fader sends. Using a mixers aux sends poses a distinct advantage: each channel has its own level control feeding the aux output (and eventually the MidiVerb 4 input). This allows you to make a mix of any channels you want to go to the effects by using the individual channels aux send levels on the mixer. Most consoles also have aux master controls, which set the overall level of each aux output. Coming back from the MidiVerb 4s outputs into the mixer, you have two options: connecting to dedicated return inputs, or connecting to channel inputs.

The former is good if your mixer provides dedicated inputs (called returns) for effect devices like the MidiVerb 4. If your mixer does not have these, or you have already used them all, consider connecting the MidiVerb 4 to channel inputs (if there are any remaining). No matter where you connect the output of the MidiVerb 4 into the mixer, you are in control of the balance between the mixers channel inputs (the uneffected signal being routed to the aux sends and the Mix), and the effect returns coming from the MidiVerb 4. The effect returns generally should only contain affected signal, and not have any uneffected signal mixed with it (since these two signals are blended together at the mixer). Therefore, it may be necessary to modify the mix of each channel in the Program you are using so that only effected signal is present at the MidiVerb 4s outputs. This can be done in two ways: Set each effects Mix parameters to 100% (wet signal only) Turn on the Dry Defeat function.
For more information about Dry Defeat, see Chapter 1 or Chapter 5.
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).

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.

Footswitch

On the rear panel you will find a footswitch jack labeled [FOOTSWITCH]. This footswitch has three functions, which can be selected using the [UTIL] button: An program advance function (Advance) An effects bypass function (Bypass) A tap tempo control for Delay effects (Control)
To set the [FOOTSWITCH] jacks mode:
Press [UTIL]. Press the [EDIT/PAGE] button until page 1 is selected.
The upper display will look like this:
Foostwitch Dry Defeat Press [B] to select the Footswitch parameter and turn the [VALUE] knob to select
either Advance mode (Adv), Bypass mode (bYP) or Control mode (ctL).
Any momentary single-pole/single-throw footswitch, normally open or normally closed, will work for the three footswitch functions. This should be plugged in prior to power-up so that the MidiVerb 4 can configure itself for the type of footswitch being used. Advance. When the footswitch mode is set to the Advance function, each time the footswitch is pressed the MidiVerb 4 will advance to the next Program number. Bypass. When set to the Bypass function, pressing the footswitch will toggle Bypass mode on and off (when Bypass mode is activated, the [BYPASS] LED will be lit). Control. When using a Delay effect, the footswitch can serve as a way of programming the delay time using a feature called tap tempo. If the footswitch function is set to the Control function, you can program the delay time in two ways: Press down on the footswitch repeatedly at the desired tempo you wish the delay time to follow; or, Hold down the footswitch and the MidiVerb 4 will listen to the audio being fed to its input(s); now you can play your guitar, bang your drum, or sing some doot doots into your microphone (depending on what is plugged into the inputs), and the delay time will be set to a value that equals the tempo you are using.
When the Footswitch parameter is set to the Control function and the Lezlie->Room Configuration is being used, pressing down on the footswitch will toggle the Speed parameter in the Lezlie effect between its slow and fast settings. For more information about tap tempo, see Chapter 3.

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.

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

This reverb effects direction can be set either forwards or backwards. Selecting the forward direction provides a classic Gated digital reverb sound. Selecting the reverse direction gives you a backwards reverb sound. A popular trick in the 80s was to record the reverb with the tape flipped over, so it would play backwards in the mix. The reverse reverb is a useful effect for drums and other percussive sounds adding space without washing out the instrument.

Reverb Parameters

Most of the reverb effects in the MidiVerb 4 operate under the same set of control parameters, which are listed and described in this section. However, reverbs which use more processing power (i.e. the Single Configuration reverbs) provide more parameters which take advantage of their extra processing power; parameters which are not found in the other, smaller reverb algorithms. For example, Reverberation Swirl is a parameter found only in the Single Configuration reverb types. Here are the reverb parameters:
The Reverb Decay determines how long the Reverb will sound before it dies away. When using the Reverse Reverb effect type, the Reverb Decay parameter controls the Reverse Time.

Low Pass Filter

The lowpass filter that can be set between 059 Hz and 36.2 kHz, and attenuates all frequencies above this value by 6dB per octave. The lower the setting, the less high frequencies of the input are allowed to pass thru to the reverb effect.

Pre-delay

All the reverb effects have pre-delay parameters. Pre-delay slightly delays the reverb itself up to 175 ms, so that the dry signal more easily stands out from the reverb. A bit of pre-delay can make certain instruments (such as snare drums) sound bigger.

Pre-delay Mix

This allows you to balance the amount of Pre-delay to Direct Signal as a percentage of each. This gives you the ability to hear a bit of the Reverb before the loudest part of the Reverb (the Pre-Delayed Reverb) sounds, and makes for a bigger, smoother sounding Reverb.

MIDI: Chan Thru PChg

Page 4: Modulators. This is where you select the two MIDI modulation sources which will be used for all Programs to control their parameters. The parameters these control depend on the selected Programs Configuration. For example, in all Reverb Configurations, Modulator X controls the Reverb Decay Time, while Modulator Y controls the Wet/Dry Mix. Either Modulator can be assigned to: Pitch Bend, Aftertouch, Note Number, Velocity or a Controller from 000119. Each Modulators amplitude can be set between -99 and +99. The default settings are: Mod#X = 001 (modulation wheel), Mod#Y = 007 (volume), Amp X and Y = 000. For more information and a list of the modulated parameters in each Configuration, see Chapter 6.

Mod#X AmpX Mod#Y AmpY

Page 5: Program Table. The Program Table allows you to intercept incoming program change messages and have them recall specific Programs (in either the Preset or User bank) which may not be the same number as the program change message received. There are 128 different possible MIDI program change messages (000 127). However, the MidiVerb 4 has 256 Programs to choose from. Therefore, the Program Table allows us to choose which of the 256 Programs will be recalled when certain program change numbers are received. The first value in the display indicates the MIDI program change you wish to remap (000127). The second value indicates the Program you wish to be recalled (00127 Preset (Pset) and 00127 User). You can remap each of the 128 program change numbers, if so desired.

Program Tbl: MIDI User

If the D parameter is lowered below User 000, the display will change from User to Pset to indicate that you are now assigning an incoming program change number to a Program in the Preset bank.

Program Tbl: MIDI Pset

Page 6: Sends Sysex. This page lets you dump out all 128 User Programs or the current Program being used/edited, or the Program Change Table (see above). The data is sent as Sysex information. This can be sent to a MIDI storage device, or to another MidiVerb 4. Select either All or Buffer (the currently selected Program which is in the edit buffer), or Table. When this page is selected, the [UTIL] button will flash to indicate that pressing the [UTIL] button starts the MIDI dump. The display will read Transmitting Sysex. and the [UTIL] button will flash quickly, indicating that all 128 User Programs are being sent out the [MIDI OUT] connector. See Chapter 6 for more information regarding MIDI applications.

Send MIDI Sysex: All

STORE Button
The [STORE] button is used to permanently keep changes you make to a Program, or to copy a Program to a different location. When pressed for the first time, the [STORE] button will flash, to indicate that it is prepared to store the current Program. At this point, you can choose to alter the Programs name, and/or choose a different location to store the Program into. When youre ready to store, press the [STORE] button a second time.
To store an edited Program:
whereas XXX is a Program location number from 00127 in the User bank, and nnnnnnnn is the Programs name. Use the [VALUE] knob to select which location (00127) you wish to store the selected Program into. You can only store Programs into the User bank. If you select a Program from the Preset bank and store it, you will automatically be taken into the User bank.
If desired, change the Programs name.
See the section on the A/B/C/D Buttons, earlier in this chapter.

INPUT and OUTPUT Buttons

The [INPUT] Button is used to view and adjust the input levels. The [OUTPUT] Button is used to view and adjust the output levels. When either button is pressed by itself, the display will show either the current input or output settings, depending on which button was pressed. The [VALUE] knob can then be used to adjust the level setting. If the currently selected Program uses a Stereo Configuration, you will be able to adjust both channels simultaneously , as indicated by the fact that only one parameter ( STEREO) appears in the display. If the currently selected Program uses a Dual Configuration, the Ch. 1 and Ch. 2 levels can be adjusted separately, as indicated by the fact that two parameters (Ch 1 and Ch 2) appear in the display. The currently selected channels value will flash in the display. To select Ch. 1, press the [C] button. To select Ch. 2, press the [D] button.

Auto Level

When both [INPUT] and [OUTPUT] buttons are pressed simultaneously, the Auto Level function is activated. This function listens to the signal present at the input jacks and sets the input level to an appropriate value. The Auto Level function listens for a period of five seconds. During this time, you should feed signal to the MidiVerb 4s inputs (i.e. play your guitar or keyboard, or playback tape). To cancel the Auto Level function once it has been engaged, press any button on the front panel. To extend the Auto Levels listening time beyond the normal five second period, hold down the footswitch pedal (connected to the [FOOTSWITCH] jack) during the listening process. The Auto Level function will continue listening until the footswitch pedal is released.

Input (Left/Ch.1 & Right/Ch.2)
MidiVerb 4 Reference Manual 49
These are 1/4" phone jacks which connect to sources such as the effects sends of mixing consoles. They may be used with nominal input levels from -10dBV (guitar level) to +4dBu. For mono applications, use the [LEFT/CH.1] input. The [LEFT/CH.1] input jack is normalled to the [RIGHT/CH.2] jack. This means that when nothing is plugged into the [RIGHT/CH.2] input jack, the signal present at the [LEFT/CH.1] input is routed to the [RIGHT/CH.2] as well.
Output (Left/Ch.1 & Right/Ch.2)
These are 1/4" phone jacks which connect to devices such as the effects returns on a mixing console. For mono applications, use the [LEFT/CH.1] output.
When Cascade mode is on (routing the output of Ch. 1 to the input of Ch. 2 of Dual Configurations only), the [LEFT/CH.1] output will only supply the signal coming from the effect on channel 1. However, the [RIGHT/CH.2] output will provide the cascaded output signal of the effect on channel 1 passing through the effect on channel 2. This means when you are using a mono connection ([LEFT/CH.1] input and output only), you must connect to the [RIGHT/CH.2] output to hear both effects of channels 1 and 2. in Cascade mode.

Effect Parameters

The following chart lists the parameters found on each page of each Configuration. Use this as a road map to locate a specific parameter you want to edit. Configuration CONCERT HALL Pg A 1 Decay !97-Dens 000-4 REAL ROOM AMBIENCE Decay 650-2!2 Dens 000-100 Decay !00-7%8 Dens 000-100 B LPF 059-3^2, OFF Diff 000-100 Gate OFF, 001-100 Swirl 00-99 LPF 059-3^2, OFF Diff 000-100 Gate OFF, 001-100 Swirl 00-99 LPF 059-3^2, OFF Diff 000-100 Gate OFF, 001-100 Swirl 00-99 C PDly 000-175 LDamp OFF, 059-3^2 Hold 000-500 D PMix 000-100 HDamp 059-3^2, OFF Rel 000-500 Mix 000-100 PMix 000-100 HDamp 059-3^2, OFF Rel 000-500 Mix 000-100 PMx 000-100 HDamp 059-3^2, OFF Rel 000-500 Mix 000-100
PDly 000-250 LDamp OFF, 059-3^2 Hold 000-500
PLATE REVERB NONLINEAR MONO DELAY STEREO DELAY PING PONG DELAY Tap --Fdbk 00-99 Time 100-600 Dir For, rEv Tap --Fdbk 00-99 L: Tap --R: Tap --Decay !59-6!2 Dens 000-100 LPF 059-3^2, OFF Diff 000-100 Gate OFF, 001-100 Swirl 00-99 LPF 059-3^2, OFF Dens 000-100 100ms 0-12 LoCut OFF, 059-3^2 100ms 0-5 100ms 0-5 LFdbk 00-99 LoCut OFF, 059-3^2 100ms 0-5 LoCut OFF, 059-3^2 PDly 000-75 LDamp OFF, 059-3^2 Hold 000-500 PMx 000-100 HDamp 059-3^2, OFF Rel 000-500 Mix 000-100 PDly PMx 000-250 000-100 Diff Mix 000-100 000-100 10ms 1ms 0-9 0-9 HiCut Mix 059-3^2, OFF 000-100 10ms 1ms 0-9 0-9 10ms 1ms 0-9 0-9 RFdbk 00-99 HiCut Mix 059-3^2, OFF 000-100 10ms 1ms 0-9 0-9 HiCut Mix 059-3^2, OFF 000-100

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

Press [UTIL], then press the [EDIT/PAGE] button until page 5 is selected.

Pr o g r a m T b l :

MI DI 000

Us e r 000

Press the [C] button to select the MIDI Program Number field.
The MIDI Program Number field will flash to indicate it is selected for editing.
Advanced Applications Chapter 6 Turn the [VALUE] knob to select a MIDI program change number from 000127

to be remapped.

Press the [D] button to select the Program field.
The Program field will flash to indicate it is selected for editing.
Turn the [VALUE] knob to select a MidiVerb 4 Program for the selected MIDI
program change message to be re-mapped to (User 000127 or Preset 000127). If the [VALUE] knob is turned counterclockwise so that the value goes below User 000, the upper display will change to Pset indicating you are selecting a Program in the Preset bank.

Sysex Storage

In order to send and receive Program information via Sysex (System Exclusive) dumps using a computer, or some other Sysex storage device, or another MidiVerb 4:
Connect the other devices MIDI OUT to the MidiVerb 4s [MIDI IN]. Connect the
MidiVerb 4s [MIDI OUT] to the other devices MIDI IN. This provides two-way communication between the devices.
Press [UTIL], then press [EDIT/PAGE] button until page 6 is selected.
The [UTIL] button will now be flashing, and the display will read:
Send MIDI Sysex: All Use the [VALUE] knob to select All User Programs (All), or the currently selected
Program (Buffer), or the Program Change Table (Table).
Set the receiving MIDI device to receive or record the MIDI information about to
be sent from the MidiVerb 4.
Press the flashing [UTIL] button to transmit.
The [UTIL] button will briefly flash rapidly and the display will read:
Transmitting Sysex. When you send a Sysex dump back to the MidiVerb 4, it will automatically go
into receive mode (you do not have to do anything special). When this occurs, the display will momentarily read:

Press the [B] button to select the Amplitude X field, and turn the [VALUE] knob
to set the amount of control Modulator X will have over the parameters it controls. This can be set anywhere from -99 to +99.
Repeat steps and , substituting buttons [A] and [B] with buttons [C] and [D]
to select the type of MIDI message for Modulator Y and adjust its amplitude.
Modulation Parameters Index
60 MidiVerb 4 Reference Manual
The following is a chart describing which parameters of each Configuration are controlled by Modulators X and Y. Use this chart to determine what control possibilities exist for each Program. Configuration CONCERT HALL REAL ROOM AMBIENCE PLATE REVERB NONLINEAR MONO DELAY STEREO DELAY PING PONG DELAY MULTI TAP DELAY BPM MONO DELAY DELAY:DELAY STEREO CHORUS QUAD CHORUS CHORUS:CHORUS STEREO FLANGE FLANGE:FLANGE LEZLIE->ROOM STEREOPITCHSHFT PITCH:PITCH AUTO PAN DELAY->REALROOM CHORUS->REALROOM FLANGE->REALROOM REALROOM->FLANGE CHORUS->DLY->ROOM FLANGE->DLY->ROOM REALROOM+DELAY REALROOM+CHORUS REALROOM+FLANGE CHORUS:DELAY FLANGE:DELAY PITCH:DELAY Mod X Decay Decay Decay Decay Decay Feedback Feedback Feedback Master Feedback Feedback Delay 1 Feedback Wet/Dry Mix Wet/Dry Mix Chorus 1 Wet/Dry Mix Wet/Dry Mix Flange 1 Wet/Dry Mix Speed (slow/fast) (none) (none) (none) Delay Feedback Chorus Wet/Dry Mix Flange Wet/Dry Mix Reverb Decay Chorus Wet/Dry Mix Flange Wet/Dry Mix Reverb Decay Reverb Decay Reverb Decay Chorus Wet/Dry Mix Flange Wet/Dry Mix (none) Mod Y Wet/Dry Mix Wet/Dry Mix Wet/Dry Mix Wet/Dry Mix Wet/Dry Mix Wet/Dry Mix Wet/Dry Mix Wet/Dry Mix Wet/Dry Mix Wet/Dry Mix Delay 2 Feedback Depth* Depth* Chorus 2 Wet/Dry Mix Depth* Flange 2 Wet/Dry Mix Motor (on/off) (none) (none) (none) Reverb Decay Reverb Decay Reverb Decay Flange Wet/Dry Mix Reverb Decay Reverb Decay Delay Feedback Chorus Depth Flange Depth Delay Feedback Delay Feedback Delay Feedback
* Note: If audio is going through a chorus effect and the depth parameter is changed, you will notice audible clicks. This is due to the fact that the processor is making significant changes in the effects algorithm. We recommend that you change the setting of this parameter only while no audio is running through the effect.
Setting Modulation Amplitude