When you dial up a Program, its Configuration is shown in the display to the right of the Programs name. For example:
The Configuration will either be a single reverb type effect (as in the example above), or a combination of two or three effects (like Reverb+Delay, or Chorus>Delay> Reverb). Once you have identified what effects are used in the Programs Configuration, you can then find the effect parameters more easily. To edit a Programs effect settings, you must first enter Edit mode. This is done by pressing either the [EDIT/PAGE] button or any one of the [A], [B], [C] or [D] buttons, as long as the [PROG] button is lit (Note: Pressing these buttons in other modes performs different functions). Once in Edit mode, the display will look something like this:
Page Numbers Selected Page Parameter Name Strip Parameter Values and Bar Graphs A, B, C, D and EDITED Indicators
For more about using the Wedge Display in Edit mode, see Chapter 3.
Chapter 1 Your First Session with the Wedge To edit effect parameters:
Press the [PAGE] button to enter Edit mode.
This selects the first page of effect parameters, if you are editing the Program for the first time. There are usually two or more pages available in Edit mode, depending on the Programs Configuration. The exact number of pages available will be indicated by the numbers illuminated in the bottom-left corner of the display. Repeatedly pressing [PAGE] cycles through the available pages. The currently selected page will have a box around its number. Each page contains up to four parameters, which are labeled with abbreviated names directly above each.
Move one of the [A-D] sliders.
The parameter will flash indicating it is selected for editing. Once you have modified a parameters value, the word EDITED will appear directly beneath it. If you change the value back to its original setting, the word EDITED will disappear.
Any changes you make are temporary, until you store those changes into memory. If the Program you are editing is in the Preset bank, you must save the changes youve made to a location in the User bank. If you recall another Program before storing, your changes will be lost. For more information , see Storing Edited Programs, later in this chapter. For more about editing effects parameters, see Chapter 4.

Using Online Help

The Wedge has built-in online help to assist you in identifying parameter functions from the display, without having to look things up in this manual. Once you have accessed Edit mode (see previous section), you can select any of the parameters shown in the display by pressing the corresponding button ([A], [B], [C] or [D]). However, by holding one of these buttons for more than one second, the upper display will provide a more detailed description of the selected parameter. For example, if we were still editing Preset 18 (see previous page), holding the [D] button for more then one second would reveal the name of the D parameter:

Chapter 2 Connections Mono In, Stereo Out: While still using a mono input, you could connect two mono cords to the [LEFT] and [RIGHT] outputs of the Wedge to a stereo amplification system or two mixer inputs.
Stereo: Connect two cables to the [LEFT] and [RIGHT] INPUTS of the Wedge from a stereo source , and two other mono cords from the [LEFT] and [RIGHT] OUTPUTS of the Wedge to a stereo amplification system or two mixer inputs.
Interfacing to a Mixing Console
The Wedge handles mono or stereo sends at all system levels. The input circuitry of the Wedge can easily handle professional +4 dBu levels (+20 dBu peaks), while having enough input and output gain to interface with the lower -10 dBV signal levels of home and project recording studios. The Wedge 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 Wedge to a mixer or recording console would be inline across the output of your mixing console. This last setup would be used only if you needed to affect the entire mix.

Using 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 Wedge. If you are using a mixer with more than two sends, connect the Wedge 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 Wedge 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 Wedges 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 Wedge. If your mixer does not have these, or you have already used them all, consider connecting the Wedge to channel inputs (if there are any remaining). This option also allows you to pan and EQ the effects, or to send them to the headphone or monitor mix. No matter where you connect the output of the Wedge 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 Wedge. The effect returns generally should only contain effected 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 Wedges outputs. This can be done in two ways: Set each effects Mix parameters to 100% (wet signal only) Turn on the Dry Defeat function.

A/B/C/D (NAME/ESC/</>) Buttons
The [A], [B], [C] and [D] buttons can be used in Program mode to select parameters for editing with the [VALUE] wheel on the current page. When in Program mode, pressing any of the [A], [B], [C] and [D] buttons will select the corresponding parameter (A, B, C, or D) in the display, and the selected parameter will flash. On parameters with only two possible values (On/Off, Fast/Slow), pressing the [A], [B], [C] and [D] buttons will toggle the parameter value. When selecting a parameter, if the corresponding [A], [B], [C] or [D] button is held for longer than one second, a brief description of that parameter will appear in the display. This is the Wedges built-in online help system. If there is no corresponding parameter for one or more of the [A], [B], [C] and [D] buttons in a particular page, it will be indicated in the display when the button is pushed. For example, if you were editing an effect in page one which did not have an A parameter displayed and the [A] button was pressed, the message NO "A" PARAM ON PAGE 1 would briefly appear. The [A], [B], [C] and [D] buttons also allow you to name Programs. When in Store mode ([STORE] button flashing), the [A], [B], [C] and [D] buttons can be used to enter the Programs name. Pressing [A/NAME] moves the cursor in the display to the first character of the Programs name. The [C/<] and [D/>] buttons move the cursor left and right, respectively, through the eight character fields of the Programs name. To move the cursor back to the Program location number, press [B/ESC].

A/B/C/D Sliders

Wedge Reference Manual 29
Chapter 3 Description of Controls The [A], [B], [C] and [D] Sliders are used to edit parameters in Edit mode. The quickest way to edit a program on the Wedge is to press Edit and start moving the sliders. You dont have to select a parameter before moving the slider, just grab it and the parameter will jump to the new value. The Sliders can also be used in the Utility and Input/Output pages.

PROGram Button

The [PROG] button is used to select Program mode. When Program mode is selected, the [PROG] button will be lit. The [VALUE] knob may then be used to scroll through programs. The [PROG] button is also used to toggle between the Preset and User banks. The display will show either "PRESET" or "USER" indicating the currently selected bank. Tip: To select programs that are far apart more quickly, it may be faster to press [PROG] to switch between the Preset and User banks. For example, to go from PRESET 00 to USER 127:

Output (Left & Right)
These are balanced 1/4" phone jacks which connect to devices such as the effect returns on a mixing console. For mono applications, use the [LEFT] output.
Editing Programs Chapter 4

EDITING PROGRAMS

Selecting A Configuration
A Configuration is made up of one or more effects. Each of the internal Programs of the Wedge use one Configuration. When you want to create your own Program, the first thing you must decide is which Configuration you wish to use. Then you need to locate a Program that already uses this Configuration. For example, if you want to create a new Program using the Hall Reverb Configuration, first locate an existing Program that already uses the Hall Reverb Configuration. Then store this Program into a location in the User bank. Once this is done, you can freely edit the new Program, storing changes as you like, without affecting the original Program you selected. Note: The last 28 Programs in the Preset bank (100-127) each use one of the 28 Configurations. This makes it easy for you to locate the Configuration you are looking for. Also, the last 28 Programs in the User bank (100-127) have been left blank so you have some place to store your new Programs into. To select a Configuration:

CHAPTER 4

Press [PROG]. Use the [VALUE] knob to select a Program which uses the
Configuration you want to use. The display shows each Programs name on the left and Configuration type on the right:

Medium Hall HALL REVERB

The [STORE]button will flash.
Turn the [VALUE] knob to select a Program location in the User bank to store
(copy) this Program into. This will overwrite whatever Program was previously stored in that Program location.
The [STORE] buttons LED will briefly flash, while the display reads:
whereby nnnnnnnnnnnn is the Programs name. The [STORE] button will turn off and the display will revert to Program mode ([PROG] button lit).
If the Program you select is in the Preset bank, the above would result in storing the Program in the User bank, using the same number location. Example: If you selected Preset 24 and stored it, the Program would be stored into User 24. This is because the Preset Programs cannot be permanently changed.
Chapter 4 Editing Programs Now you can start editing the Programs parameters, and having some real fun!
Editing Effect Parameters
Editing Programs is only possible while in Program mode. This means that the [PROG] button must be lit. If the [PROG] button is not lit, press it now. From Program mode, you can edit the currently selected Program by pressing either [EDIT/PAGE] or any of the [A], [B], [C] or [D] buttons. Upon entering Edit mode, the display will change to show you up to four parameters associated with the selected Program.

PRESET

B EDITED

650msec 2.8KHz

150msec 000%

PAGE 5

Parameter Name Strip. Each page in Edit mode contains up to four parameters
shown with both a numerical value and a bargraph. When a parameter is selected for editing, its value will flash in the display. As you adjust a parameter, both its numerical value and bargraph will change in relation to the sliders position. For finer control, you can also adjust the parameter using the [VALUE] wheel when a parameter is selected. The type of units a parameter uses will be shown as well (dB, kHz, etc.).
designated by a letter (A, B, C or D). Once a parameter has been edited, the word EDITED will appear below it. If you decide you want to select a different Program, you can always get back to Program mode by pressing [PROG] again. However, if you select another Program after making changes and without storing the Program back into memory, the changes you have made will be lost. To make your changes to the Program permanent, you must store the Program somewhere in the User bank. If the Program is already in the Preset bank and you store it, you will automatically be taken into the User bank.
Chapter 4 Editing Programs

Moving Through Pages

Once in Edit mode, there will be multiple pages available. The total number of pages depends on which Configuration the Program uses, and will be indicated by the numbers appearing in the lower left corner of the display. The [EDIT/PAGE] button is used to advance through the available pages of effect parameters. The currently selected page will have a box around it in the display.
Using the A/B/C/D Buttons
The [A], [B], [C] and [D] buttons are used to select parameters in the display for editing. There are never more than four parameters in the display at any time. Each parameter corresponds to one of the [A], [B], [C] or [D] buttons. To select a parameter, press the button associated with its position in the display or move its fader. Once pressed, the selected parameter will flash in the display. There are three ways to edit parameters on the Wedge: Move one of the [A], [B], [C] or [D] sliders Press one of the [A], [B], [C] or [D] buttons, then turn the [VALUE] wheel On parameters where you are switching between two possible values (i.e. Lezlie Speed Slow/Fast) simply pressing one of the [A], [B], [C] or [D] buttons will switch the value.

whereby nnnnnnnnnnnn is the Programs name. The [STORE] button will turn off and the display will revert to wherever it was before [STORE] was pressed for the first time. Here is a chart of available characters:
! 5 I ] q " 6 J # 7 K $ 8 L % 9 M a u & : N b v

; O c w

( < P d x

) = Q e y

* > R f z

+ ? S g

, @ T h

. B V j }

/ C W k {

0 D X l

1 E Y m

2 F Z n

3 G [ o

Tutorial

The best way to learn a new piece of gear is to start using it in your studio. This section is designed to teach you how to edit your own programs using normal dayto-day examples. Remember that programs are subjective and these are just guidelines. If the program sounds weird when youre all done, change it - thats what the sliders are for! When youre writing a Program from scratch, its usually good to have a source thats easy to get to. This can be a synth, a guitar, or even an ADAT track or dry CD track on a loop. Dont forget to use the Impulse function on reverbs, it can really help you fine tune your room sound. (See the next Chapter for detailed explanations of each of these parameters. For now, just move the sliders up and down and listen to what they do to the room sound.)

Gothic Hall

The program well work on is the Gothic Hall program. This will be a typical large, warm hall program, with a lot of space for strings, pianos, etc. to swim around. Lets start with one of the default programs, so that all of the parameters are zeroed out. Preset 101 is the default Hall Reverb Program, so this is a perfect starting point. Press [EDIT/PAGE] and select page 1. The quickest way to change the sound of any reverb program is to change the Decay and LPF parameters. The Decay time (A Slider) dictates the size of the room, and the LPF emulates the wall surfaces. To simulate a large castle chamber with a few tapestries and other soft surfaces, well set the decay fairly long and the LPF (D Slider) relatively low. Dont worry if the decay time seems long, we can do other things to trim it down later.

Decay 4.68sec

LPF 5.65kHz
Our next step is editing the Density and Diffusion parameters on page 2. (Well come back to the Bass Boost parameters once the program is structured better.) These are more difficult to hear, but can make a big difference on your sound. Density (A Slider) affects how smooth the attack will be, and can approximate different surface textures. A very high density would be good for simulating a polished marble room, for example, and lower densities would simulate a rougher surface with more discrete echoes. The Impulse function can be a big help when programming Density and Diffusion; its much easier to hear than strings or piano. Press the [TAP/AUDITION] button while moving the Density slider up and down to hear its effect on the hall. I chose a value of 74% for this room - not too rough, but not too glassy either. The Diffusion parameter (B Slider) sets how smooth the decay will be. Used in conjunction with the Density parameter, it can be used to approximate hundreds of room textures. Again, use the [TAP/AUDITION] button to check if the room is getting too ripply or too glassy. For this program, I chose a value of 78%.

Chamber

Similar to the Room Reverb, this algorithm simulates a polished live reverb chamber. It differs from the Room in character; the chamber is smoother and more transparent. It sounds great on vocals and instruments, especially if youre looking for a nonobtrusive sound.

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. This works great for percussion, post-production, or anywhere you want to add space without a lot of long reverb.

Stereo Room

This algorithm is a true stereo room for use with stereo sources. The width is programmable and simulates the space between two microphones in a large room. The higher the width value gets, the closer the room gets to being two mono rooms with no bleed to each other.

Large Plate

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.
Plate is a variation on Large Plate. This version is not as thick and can sound better on drums and percussion.

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 Wedge 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 is a list of all reverb parameters found in the Wedge:

ER: Early Reflections (Spread, Shape and Level)
The Early Reflections of a reverb add attack to the room and dictate the rooms size.
The Shape parameter controls how the reflections fade out over time. Different shapes will dictate the shape of the room and the intensity of the attack. The Early Reflection shapes are diagramed below:
These shapes range from 0, which fades immediately and is good for small rooms, to 2, which builds and then falls to approximate a hall, to 4, which builds up slowly for a long bloom reverb. These shapes can then be scaled using the Spread parameter, explained below, to better emulate various spaces. The Level parameter controls how loud the early reflections will be compared to the reverbs body. The Spread parameter scales how close the reflections are to each other. If Spread is set for 500ms, the last reflection will be 500ms away from the first and the room will seem larger. Use Spread in conjunction with Shape to define the character of your reverberant spaces.
The Depth parameter makes the reverb sound wider and deeper. At 0%, the reverb sounds like its coming from the speakers and slightly behind. At settings of 60% and above, the reverb sounds like its around you and farther behind the speakers. Use a low setting for better mono or surround encoding compatibility and higher values for a huge stereo sound.

Width (Stereo Room only)

This setting simulates the distance between two microphones in a stereo room. When set to 100%, you get two mono rooms. When set to 0%, you get a mono in, stereo out room. When set anywhere between these values, a sound which starts on one side reverberates there then bleeds over to the other side.

Reverberation Swirl

This parameter is very useful for adding randomness to the decay of a reverb when set to a low value. When set to a high value, it creates a more dramatic chorusing effect as the reverb decays.

Gating

Gating is the process which abruptly cuts off the reverbs decay for a more choppy sound. This effect was very popular on drums in the 80s because it makes them sound HUGE. It is achieved by dropping the level of the signal very rapidly after the initial attack making a short, sharp sound. In all the Single Configuration reverb effect types and most of the Double and Multi Chain Configurations which use the Room effect type, there are three gating parameters available. These include: Gate, Hold Time, and Release Time. The Gate controls the level of the reverb signal after the gate closes, and can be set between 001 and 100%. In other words, if Gate is set to 100%, then no reverb will sound after the gate turns it off. If Gate is set to 50%, then some reverb signal will still be present even after the gate turns off the main reverb signal. Alternatively, the Gate parameter can be set to OFF when you dont want to use the gating effect. The Hold Time determines how long the gate will be held open before it begins to turn off; this can be set from 0 to 500 ms. The rate at which the gate closes is determined by the Release Time, which can be set from 0 to 500 ms. On some Configurations, only one parameter is available: Gate. This can be set between OFF and 500 ms, and controls both the hold and release times of the gate effect.

This is a mono, less processor-intensive version of the Stereo Chorus effect, used in Multi Chain Configurations (Chorus Room, Room Flange, Flange Delay Room) and Dual Configurations (Room+Chorus).

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 MIDI Aftertouch.

Chorus/Flange Parameters

This is the rate that the delay time is modulated. It is adjustable from 0.00 to 6.47Hz.
This controls how deep the flange or chorusing will be. It affects how wide a range of delay time is swept, and is adjustable from 0-250.
This is the amount of regeneration (output fed back to the input) in the Chorus/Flanger, from -99 to 99%. Negative values produce out-of-phase feedback, which has a thinner, hollow sound. Rate, Depth and Feedback are always related, and you will probably find yourself adjusting all of them at the same time. In general, slower rates sound better with high depth settings than faster ones, and lots of feedback will sound better with lower depth settings.

Thru Zero

This control delays the input signal to better simulate tape flanging. 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 Wedge is digitally simulating the flanging effect, it normally cannot provide the through zero effect. The Thru0 parameter found in the Wedges 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 much 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. If you are using the Wedge in a send/return arrangement with a mixer (with Dry Defeat on), there is no dry signal to delay so you wont hear a difference in this control.

This filter allows you to roll off any high frequencies going into the Chorus/Flanger. This allows you to get a warmer flanger sound, or to simulate vintage effects.
Feedback Highpass and Lowpass Filters
These controls filter out the high and low frequencies in the feedback loop only. By rolling off the lowest and highest frequencies, you can add lots of feedback without getting a metallic ring or low frequency thump to the sound.

Predelay

This controls the amount of delay before the modulation effect. If you set it below 15mS, you get a Flanger. If you set it for 15 mS or more, you get a Chorus. The Predelay range is typically up to 250mS.
The Wave parameter sets the waveform of the Chorus/Flangers sweep, either Sine or Triangle.

SINE TRIANGLE

Triggered Flange
The Flanger effects can be Triggered by the input audio signal. This allows you to start the flanger at the top of the measure and other rhythmic effects. It starts the sweep of a flanger from the same point whenever it is triggered, and then runs until the next time you trigger it.
This function is controlled by three parameters: Trig: This selects which input to monitor to begin triggering. The choices are OFF, Left, Right, or Left and Right. Attack: This parameter sets the level where the flange will trigger or reset. When the audio goes above this level, the flanger will begin its sweep. Release: This is the level where the flanger stops listening to the input. When the flanger is triggered, it wont trigger again until the input signal falls below the Release level then goes above the Attack level.

Width (Quad Chorus only)

The Width parameter adjusts the stereo width of the Quad Chorus output. A setting of 99% is full stereo, 0% is mono, and -99% is reverse stereo (The left input feeding voice 1 will be panned right).

Level (Quad Chorus only)

The level of Voices 2 and 3. 1 and 4 are always set to 100%.
Motor, Speed, High Rotor Level (Lezlie only)
These three parameters control the sound of the rotary speaker simulation. Motor turns the spinning effect on or off, but does not bypass the effect - it will still be phased and filtered with the rotor on, frozen in its pan position. Speed toggles between Fast and Slow. On true rotary speakers, an organ player often switches between these speeds during a performance. High Rotor Level affects the tone of the effect. A rotary speaker usually has two segments: a spinning horn for high frequencies and a woofer firing into a spinning scoop for low frequencies. This parameter simulates moving a microphone closer to the high rotor.

6 PLATE+HALL NONLINEAR MONO DELAY PINGPONGDLY 1 100ms 0-24 LoCut OFF, 029-4!3 Time1 000-250 Time2 000-250 Time3 000-250 Time4 000-250 Time5 000-250 MFdbk 000-100 Tap --Rate )00-^47 Time 100-600 Dir For, rEv 100ms 0-54 Decay !97-135 Dens 000-100 Decay !59-6!2 Dens 000-100
LDamp OFF, 029-4!3 LShlf 000-255 Diff 000-100 LDamp OFF, 029-4!3 Boost 000-255 Diff 000-100
HDamp 029-4!3, OFF HPF OFF, 029-4!3 PDly 000-250 HDamp 029-4!3, OFF BassF 029-4!3, OFF PDly 000-250
LPF 029-4!3, OFF Dens 000-100 10ms 0-9 LoCut OFF, 029-4!3 Depth 000-250 PanR )00-^47 10ms 0-9 HiCut 029-4!3, OFF Lvl1 00-99 Lvl2 00-99 Lvl3 00-99 Lvl4 00-99 Lvl5 00-99 LoCut OFF, 029-4!3 100ms 0-24 Fdbk -99-99 Depth 000-250 100ms 0-24
PDly 000-250 Diff 000-100 1ms 0-9 HiCut 029-4!3, OFF TremR )00-^47 PanD 000-100 1ms 0-9 Dens 000-100 Pan1 -50-50 Pan2 -50-50 Pan3 -50-50 Pan4 -50-50 Pan5 -50-50 HiCut 029-4!3, OFF 10ms 0-9 LoCut OFF, 029-4!3 Wave Sin, tri 10ms 0-9
2 MULTI TAP DELAY:DELAY 3 4

Rate )00-^47 Tap ---

Mix 000-100 LPF 029-4!3, OFF PMix 000-100 Mix 000-100 LPF 029-4!3, OFF PMix 000-100 Mix 000-100 PMix 000-100 Mix 000-100 Fdbk -99-99 Dens 000-100 TremD 000-100 Mix 000-100 Fdbk 00-99, -01-99 Mix 000-100 Fdbk1 00-99 Fdbk2 00-99 Fdbk3 00-99 Fdbk4 00-99 Fdbk5 00-99 Mix 00-100 1ms 0-9 HiCut 029-4!3, OFF RFdbk 00-99 1ms 0-9
CHRS/FLANGE QUAD CHORUS CHORUS: CHORUS QUAD PITCH LEZLIE}ROOM 1 1:Semi -12-12 2:Semi -12-12 3:Semi -12-12 4:Semi -12-12 PDly1 000-250 Fdbk1 -99-99 Motor OFF, On Rate )00-^47 Trig OFF, L, r, Lr 1:Rate )00-^47 1:Rate )00-^47 1:Rate )00-^47 1:Rate )00-^47 PDly1 000-250 Width -99-99 Rate )00-^47 Rate )00-^47 Rate )00-^47
Fdbk -99-99 Depth 000-250 Depth 000-250 LPF 029-4!3, OFF PDlyL 000-250 Attck 000-255 Depth 000-250 Depth 000-250 Depth 000-250 Depth 000-250 PDly2 000-250 Lvl2 00-99 Depth 000-250 LPF 029-4!3, OFF Wave Sin, tri Depth 000-250 LPF 029-4!3, OFF Wave Sin, tri Fine -50-50 Fine -50-50 Fine -50-50 Fine -50-50 PDly2 000-250 Fdbk2 -99-99 Speed SLo, FSt
LoCut OFF, 029-4!3 Wave Sin, tri Fdbk -99-99 FBHPF OFF, 029-4!3
Rel 000-255 Fdbk -99-99 Fdbk -99-99 Fdbk -99-99 Fdbk -99-99 PDly3 000-250 Lvl3 00-99 Fdbk -99-99 FBHPF OFF, 029-4!3 Thru0 OFF, On Fdbk -99-99 FBHPF OFF, 029-4!3 Thru0 OFF, On Level 00-99 Level 00-99 Level 00-99 Level 00-99 PDly3 000-250 HiCut 029-4!3, OFF HiRot 000-250
HiCut 029-4!3, OFF Mix 00-100 Thru0 OFF, On FBLPF 029-4!3, OFF PDlyR 000-250 Mix 000-100 Wave Sin, tri Wave Sin, tri Wave Sin, tri Wave Sin, tri PDly4 000-250 Mix 000-100 PDly 000-250 FBLPF 029-4!3, OFF Mix 000-100 PDly 000-250 FBLPF 029-4!3, OFF Mix 000-100 Pan -50-50 Pan -50-50 Pan -50-50 Pan -50-50 PDly4 000-250 Mix 000-100 LMix 000-100
4 DELAY} ROOM CHORUS} ROOM 5 ROOM} FLANGE 5
Decay !00-7%8 Dens 000-100
Tap --Fdbk -99-99 Rate )00-^47

RMix 000-100 Diff 000-100 RMix 000-100 1ms 0-9 Dens 000-100 TremD 000-100 DMix 000-100 PMix 000-100 RMix 000-100 PDly 000-250 PDly 000-250 CMix 000-100 PMix 000-100 RMix 000-100 PDly 000-250 FBLPF 029-4!3, OFF FMix 000-100
MIDI Applications Chapter 6

MIDI APPLICATIONS

MIDI Functions
The Wedge 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.

CHAPTER 6

MIDI Channel
The MIDI Channel is used to receive program change messages, as well as other MIDI messages for use with the realtime modulation capabilities in the Wedge. To set the Wedges MIDI channel:
The [UTIL] button will light.
Continue pressing the [UTIL] button until page 2 is selected.
The display will look like this:
Move the [B] slider to set the MIDI Channel from 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 Wedge to another MIDI device:
Connect the control devices MIDI OUT to the Wedges [MIDI IN]. Then connect
the Wedges [MIDI OUT] to the MIDI IN of the other device you wish to control.
Press [UTIL] repeatedly until page 2 is selected. Press the [D] button to turn MIDI Thru On.
Chapter 6 MIDI Applications
Receiving Program Changes
In order to recall programs on the Wedge from a MIDI control device (keyboard, drum pad, guitar or bass controller, sequencer, etc.):
Connect the control devices MIDI OUT to the Wedges [MIDI IN]. Press the [UTIL] button repeatedly until page 2 is selected. Move the [D] slider to select either OFF, On or tbL.
When OFF, the Wedge ignores incoming program change messages. When On, program changes received on the MIDI channel the Wedge is set to will recall the same numbered Program in the currently selected bank When set to tbL, you can use the Program Change Table to remap incoming program change messages in order to select any Wedge Program in either the Preset or User bank (see next section).
Note: It is possible to select either the Preset or User bank via MIDI by sending a Controller 0 message immediately followed by a program change message. A Controller 0 with a value of 0 will select the Preset bank, while a value of 1 or higher (up to 127) will select the User bank.

Mod X Decay Decay Decay Decay Decay Decay Decay Decay Decay (Room) Decay (Room) Decay (Plate) Decay Feedback Feedback Master Feedback Delay 1 Feedback Wet/Dry Mix Wet/Dry Mix Chorus 1 Wet/Dry Mix (none) Speed (Slow/Fast) Delay Feedback Chorus Wet/Dry Mix Reverb Decay Flange Wet/Dry Mix Reverb Decay Reverb Decay Reverb Decay
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 Decay (Hall) Decay (Plate) Decay (Hall) Wet/Dry Mix Wet/Dry Mix Wet/Dry Mix Wet/Dry Mix Delay 2 Feedback Depth* Depth* Chorus 2 Wet/Dry Mix (none) Motor (On/Off) Reverb Decay Reverb Decay Flange Wet/Dry Mix Reverb Decay Delay Feedback Chorus Depth Flange Depth
* 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
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 Modu-lator 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.

FNR Audio Hire Price List
Vocal PA 300-400Watt EV/XRD ICT/XRD EV/XR ICT/XR EV/EMX ICT/EMX Conference PA 500-700Watt EV/Studiomaster ICT/Studiomaster EV/Spirit ICT/Spirit Monitors Added to above systems EV (1) EV (2) 25.00 25.00 25.00 25.00 25.00 25.00 Radio Mics Sennheiser BF1051 Trantec S1000 Audio Technica Lib21 Mixer Amps 15.00 15.00 15.00

300 Watt

Peavey XR600E (6 Ch) Peavey XRD680S (8 Ch)

400 Watt

10.00 10.00 10.00 15.00 15.00 15.00
BF-173.8/174.1 MHz S1000-173.8MHz Lib-175MHz

Yamaha EMX640 (6 Ch)

500Watt

30.00 30.00 30.00 30.00

Recording Equipment Sony MD303 Minidisc Sony MD530 Minidisc Sharp Minidiscman Teac DAT Machine Philips CDR Per CD(inc CD)
10.00 10.00 10.00 10.00 8.00
Spirit Powerstation (8 Ch) Carlsbro CDX8-2 (8 Ch)

700 Watt

Studiomaster Vision (8 Ch) Outboard Alesis Midiverb 4 Alesis MEQ 230 Alesis Wedge DOD 831 II EQ DOD MT44 quad gates Behringer Composer Behringer Ultramatch BBE Sonic Maximiser Rack M4,MT44, MEQ,Comp
We transfer between all the above digitally

5.00 10.00

Mics, Stands and Leads are included in price
Microphones/DIs Shure SM58, SM57 AKG D112, D1200 AT MB2000 Sennheiser MD Series Behringer XM2000 Crown CM310a AT 3525 Shure Beta 57a DI Box
2.50 2.50 2.50 2.50 2.50 10.00 10.00 10.00 2.50
Playback Equipment Tape Deck 5.00 CD Player 5.00 Omnitronics twin DJ CD Decks 15.00 Gemini XL500 Turntables Each 10.00 Citronic CM7 DJ Mixer 10.00 Amplifiers Peavey 8.5c 825 watt Studiomaster 1200D 1200 W Speakers EV Stage 200s Martin Audio ICT300s
10.00 10.00 10.00 10.00 10.00 10.00 10.00 10.00 30.00

10.00 15.00

Consoles Allen & Heath Mixwizard Behringer MX2004a Other Multicore 16:4 Smoke Machine

15.00 10.00

15.00 15.00
Prices are per day: weekly rate is as for 4 days

10.00 10.00

Notes About PA
1. Always try and point the speakers at the crowd to get the best sound. Avoid pointing them towards nearby walls. 2. Make sure the speakers are in front of the microphones to prevent feedback. 3. If using Speakon leads always twist the speakon until it locks in the speaker. 4. With the Peavey and Yamaha heads setting all knobs to the 12 oclock position will give a reasonable starting point for vocals in a hurry. 5. For reverb make sure the channel reverb send is up, the master reverb sebd is up and the master reverb return is up. 6. With the Spirit, Studiomaster or Carlsbro, set the gain (top knob) to 12 oclock, leave the EQ flat (ie at 12 oclock) and bring the fader up to where you think its loud enough. 7.Careful where you leave that beer, the flat top of a PA head is tempting but could end up being a deadly or expensive place to have left it. Oh and put those candles somewhere else. 8. Try not to cup your hands around the mic like you see rappers doing. This completely changes the sound of the mic (makes it more middy) and makes it prone to feedback.

Client List

Cuirt Literature Festival (5 Years) Galway Arts Festival (4 Years) Heiniken Weekend festivals(4 years) Budweiser Weekends (5 Years) The GPO Niteclub Cuba Roisin Dubh The Quays Guava The Inflatable Sideshow Steve Earle Leslie Dowdall Sumo Brando Stand Elaine K David Gray Kaydee Garret Wall Goldfish The Frames Kristin Hersh Andy White Westlife Bass Oddessy Radio Waves Site Druid Theatre Company Site Zodiac St Anthony & Cladagh Credit Union Town Hall Theatre NUIG Students Union Tommy Fleming Mary Coughlan

FNR AUDIO

Hire Price List

May 2000

FNR Audio, Arch Mews Unit 49, William Street Galway. Ph: 761 Mobile: Email: fnraudio@gofree.indigo.ie Web: http://gofree.indigo.ie/~fnraudio