NOTE: For additional information regarding proper signal levels, refer to the Level section in Appendix A. DIGITAL PROCESSOR INPUT LEVEL CONTROL This slide control adjusts the amount of signal sent to the digital effects section of the SGX NIGHTBASS. It is located at the end of the analog effects section after Loop 1's return. Adjust the control to light the NOM LED the majority of the time and allow for transients to light the CLIP LED occasionally. When the slider is set to the far left, signal is still sent through the processor. For hotter signals from the analog section, set the slider to the left. MAINS/XLR OUTPUT LEVEL CONTROL The Output Level Control adjusts the final effect output level of the SGX NIGHTBASS. With the slider fully to the left, there is no output signal present at any of the output jacks. As you move the slider to the right the output signal level of the unit increases. When the slider is fully to the right, 100% effect output is achieved. With this slider you control the level to the Loop 2 effect send and the XLR outputs, as well as to the final output section. SEVEN SEGMENT DISPLAY (Red Numeric Display) The Seven Segment Display keeps you constantly informed of your Preset Number. Preset numbers are displayed from 001 to 200. When a preset is active the display is stable. A flashing display indicates you are in Edit Mode and a preset is ready to be recalled. The right decimal point will light to warn you your internal lithium battery is low and needs replacing. When using the Tuner, this display will become your tuning meter. ROTARY CONTROLS ENCODER The rotary Encoder enables you to make fast and accurate changes to presets, parameters, and values accessable in each preset or function. You will notice the encoder will turn continuously in either direction. When adjusting values, you may notice they sometimes "wrap" around to the beginning or end of their range. Other times when you reach a range end you will find you must go in the opposite direction to return to the beginning. Each click of the Encoder will change the parameter value one step. INPUT GAIN The Input Gain control sets the input level to the Preamp section. When the control is set at 0, no signal is sent to the effects. Range runs from 1 to 11. SECOND STAGE EQUALIZATION: The Second Stage Equalizer is a four band cut and boost equalizer that allows you to fine tune your sound from the front panel at any time without having to program or edit a preset. Cut and boost levels are plus and minus 12 dB. You may selectively "bypass" the Second Stage Equalizer in each preset by adding the Preamp Select algorithm to the effects chain of the preset. Set the PRS parameter to 2ND EQ OFF, this will remove the front panel EQ from the signal chain. THRUST Centered at 50Hz this controls your bottom end sound.

BOOST At 250Hz, control the upper end of your lows and lower mids to add some depth to the signal. PUNCH 1KHz is the center point of this band. Use it to color and fill in the sound. BRILLIANCE The frequency center is 3.0KHz and allows you enhance the upper midrange. TUBE CONTOUR Use this control to vary the harmonic balance sound of the tube. As you turn the control from left to right the frequency goes from low to high. Accent your sound at various frequencies to bring out the extra growl, punch, or edge to your tube distortion sound. The most neutral setting for this control is 12:00. CROSSOVER FREQUENCY To set the crossover frequency points when you are bi-amping, adjust this control. The frequency range is 40Hz to 800Hz. For example, if the control is set at 250Hz, frequencies below 250Hz will be sent to the Low Crossover Output Jack and frequencies above 250Hz will be sent to the High Crossover Output jack. CROSSOVER BALANCE This control adjusts the balance of Low and High signal level sent to the Low and High Crossover outputs. Using this control allows you to keep your amplifier set at one level and adjust your sound to have a heavy bottom/light top, or heavy top/light bottom. STEREO MASTER OUTPUT The final output level present at the Headphone, Line, and Crossover Outputs is set with this control. PUSH SWITCHES MASTER OVERIDE: EFX LOOP 1 Switches Effect Loop 1 in and out. When the switch is in, the effects loop is engaged. EFX LOOP 2 Switches Effect Loop 2 in and out. When the switch is in, the effects loop is engaged. NOTE: The switches must be in and you must use the Patch Bay algorithm to insert and delete outboard gear for use in a preset. CONTROL BUTTONS The buttons on the front panel engage or select the different functions of the NIGHTBASS. Modes of operation are indicated by LED's. When the LED is lit the function is active. Ten of the control buttons serve a dual purpose. The split functions are set apart by color. While you are in the PRESET MODE (standard operating mode), all buttons labeled in purple are active. When the EDIT MODE is engaged, the numbered
keypad entry buttons are used for preset effects control and utilities to be accessed. These functions are labeled in grey. FUNCTION BUTTONS The function buttons are those which select a particular function or feature to be executed or entered for modification. Status of the function button being in an active or inactive state is displayed by an LED next to the button identification. The function is active when the LED is lit. PRESET The PRESET button, when pressed, engages Preset Mode. Once this button is pressed, all 200 presets may be accessed by either the keypad or rotary encoder. When the NIGHTBASS is first powered on, you are automatically in Preset Mode. Audio is being processed constantly while you are scrolling through the presets with the encoder. Two methods of Preset selection are used, scanning (with the ENCODER) and keypad entry. Selecting a preset with the encoder is easy. Scroll through the presets by turning the knob clockwise to go forward and counterclockwise to go backwards, the preset will instantly be recalled when you stop. Each click of the encoder will change the preset value by one. For instantaneous recall of the preset using the keypad buttons, select the exact preset number. For example; if you want preset 196, locate the buttons shown on the front panel labeled 0 through 9 (the numbers are reversed image in purple), enter 1-9-6, instantly you will see the LCD read title and preset information. If you have audio hooked up you will notice the preset has been automatically recalled. If you enter two digits, there will be a slight pause before the preset is recalled. Entering only one digit will not recall a preset. MIX Think of the MIX control as a three channel mixer just before the output of the NIGHTBASS. To set the MIX you must access and change each parameter individually. Press the MIX button until the parameter you wish to adjust is highlighted in brackets i.e. [DGFX] then change the value with the Encoder. IN >

by the display [ ****ACTIVE****] for about two seconds and then just displaying the preset name and effects. NOTES: 1) If the MIX parameters are programmed DRY = 0% and DG or ANFX = >0% and the Bypass Level Utility parameter is set to =MIX DRY LEVEL and BYPASS is initiated, no signal will be present at the outputs. 2) Bypass level is determined by the Bypass Level parameter discussed in the Utility section. EDIT MODE EDIT MODE is engaged when you press the EDIT MODE button. All creation of presets or preset parameter editing is done while in this mode. Titles, MIDI parameters, and Utilities are all accessed in Edit Mode. When in Edit Mode, all buttons associated with grey lettering are active. All the control buttons work as well. You may access all two hundred presets for modification or use while in Edit Mode. Edit Mode is automatically entered when you press either the PARAM or VALUE buttons. Previewing Presets You may preview presets while in Edit Mode by engaging the PRESET button. Use the Encoder to scan through the presets. Only the titles of the presets are shown, so use descriptive titles which tell you what the preset will do or sound like. The processed output signal is not affected. To recall the preset when you are ready, press the RECALL button. Signal is being processed through the last active preset. The reason for this is so you can set up for the next preset change when you want it to happen. When you stop scanning, the preset number in the Seven Segment Display will be flashing. If RECALL is pressed, the display will stop flashing and the preset is now active. EDIT MODE CONTROL BUTTONS ENTER Use the ENTER button when you want to complete an action such as adding an effect to a preset. When adding an effect there is a [?] after the name, press Enter if you wish to insert this effect into your chain. The prompt [?] (i.e. [ADD EQUALIZER?]) will appear in the LCD when it is necessary to press Enter to complete a task. RECALL The RECALL button is used to Recall presets while you are in Edit Mode. To Recall a preset (the Seven Segment Display will be flashing a Preset number), select the proper Preset and press the RECALL button. If you have been editing the parameters in a preset and wish to return them all to the original settings, press the Recall button. ADD EFFECT Pressing the ADD EFFECT button once opens the Add Effect function. To add an effect to a preset, press this button and use the Encoder to select the effect you want to add to the chain. Turn the Encoder left or right to scan through your selections. Finalize the ADD EFFECT command (add the effect to the chain) by pressing the ENTER button. Doing this inserts the effect temporarily in memory. To add more effects, repeat the process. If audio is passing through the

UNLOCKING THE FACTORY PRESETS -Make sure you are in the EDIT Mode. (Press EDIT button if not) -Press the UTILITY button. -Press the Param button. -Use the Encoder to select the screen displaying [PRESET1.115 = LOCKED]. -Press the Value button and use the Encoder to change the value to UNLOCKED. *All presets are now unlocked. If you wish to store new information in the Factory Presets, press the STORE button after editing. NOTE: Remember, when you unlock a preset, ALL presets are unlocked. To prevent overwriting presets, re-lock the presets following the directions to unlock a preset, only selecting the "LOCKED" value. MIDI You may gain access to all MIDI parameters and their values by pressing this button. Shown here are the variable MIDI parameters and their default value settings. Once you are in MIDI Mode you may change values by first selecting the parameter and then changing the value. To do this, first press the PARAM button and select the parameter you wish to change with the Encoder. Next press the VALUE button and use the Encoder to select a new value. You do not need to press the STORE button to save the changes, it is done automatically. There is one exception, you need to press the Store button if you edit the On/Off status of an effect and want to make it permanent. To exit MIDI Mode, press the MIDI button to return to Edit Mode or the Edit button. PROGRAMMING HINT: Press the Value button to change and view the parameters then use the Encoder to set the value. This way you don't have to switch between the Param and Value buttons to edit values. MIDI Enable PM= ON, OFF [ON] PROG= ON, OFF [ON] Allows you to turn on or off Performance MIDI and the Program change function independently. If you wish to use PM and not change presets, set PROG to = OFF. MIDI Channel OFF-16 [1] Sets MIDI send and receive channel number. OMNI Mode ON, OFF [ON] Sets MIDI OMNI Mode on or off. The NIGHTBASS is shipped from the factory in OMNI mode, allowing it to receive MIDI PROGRAM numbers on any MIDI channel. MIDI Program Table [PROG= #] [PRESET= #] Allows you to edit the Midi Program Table (MPT). Refer to APPENDIX B for examples of editing the MPT and further documentation.

Performance Midi allows the NIGHTBASS to have up to eight of its parameters per preset controlled simultaneously via MIDI. Selection of the parameter to be controlled, the actual MIDI controller, and the Low and High value of the parameter may be programmed from the front panel. When you are in Preset or Edit Mode, the LCD will inform you of either Performance MIDI or FX ON/OFF information being received and what is being changed. There is also a means to monitor MIDI information being sent to the NIGHTBASS. While you are in the PM Mode you can select the MIDI Monitor utility and verify MIDI data being sent to the device. Refer to the MIDI DataMONITOR section for additional information. A table of MIDI controllers can be found in Appendix E, Tables and Charts. Presets in the NIGHTBASS are set up to be controlled by Performance MIDI via the ART X-15 ULTRAFOOT. See the section "Operating the Multiverb NIGHTBASS with the X-15 ULTRAFOOT" further on in this manual for more information. Don't let MIDI scare you, using Performance MIDI in an ART device is easy. In most cases
(especially with an X-15) you virtually plug in and play. But, if you want to program, we've made that easy too. Modification to select the specific values and ranges you want the parameter to cover is done by normal editing. The number displayed in the upper left corner represents the MIDI Controller you are working with. Performance MIDI has four levels of programming information associated with it broken up into 4 screens. The first screen displays the information to define what parameter the assigned MIDI controller will control. The second screen shows which MIDI controller is being used. The LCD will display the MIDI control number and its description (i.e. MC 4 FOOT CTLR). Incidentally, the default value is MC 4 which happens to be the Left Foot Controller on the X15. The MIDI DataMONITOR may be selected for use in this screen to display MIDI data being sent. The third screen displays the LOW value (minimum value) of the parameter's range. The fourth screen displays the HIGH value (maximum value) of the parameter's range. High and Low values refer to MIDI controller values. These parameters may be "swapped" to make the value change in a reverse or opposite direction. While you are in the first screen you may also view MIDI data. Change the value until the bottom of the screen displays MIDI DataMONITOR. (turn the Encoder counterclockwise) You are allowed to change between MIDI controllers on the device you are sending MIDI data from (keyboards, X-15, etc.) and view the corresponding data in this screen. The top half of the display will show the numerical value of the MIDI data being received by the NIGHTBASS. Displayed in the bottom half is the actual MIDI controller being used. Use the Value Up or Down key to change the MIDI controller. When you change the controller, its MIDI data will be displayed in the top half of the LCD. Screen 1 #1 IS CONTROLING MIX:DRY = 0% Screen 3 #1 LOW VALUE: MIX:DRY = 0% Screen 2 #1 CONTROLLER IS MC 4:FOOT CTRL. Screen 4 #1 HIGH VALUE: MIX:DRY = 100% DESCRIPTION OF ALGORITHMS The NIGHTBASS offers over seventy effects selections for you to choose from. Each effect may have several types to select for specifically narrowing down the particular sound you are looking for. The algorithms are listed in seven categories in the manual. These are: Analog Effects, Signal Frequency Shaping, Swept or Modulated Effect, Natural Reverberation, Gated Reverberation, Delay, and Utility/Level. There are some digital categories that cannot be combined together. Rather than tell you which effects cannot be combined, the NIGHTBASS automatically selects

SIGNAL FREQUENCY SHAPING ALGORITHMS EQUALIZER (SEVEN BAND EQUALIZER) [EQUALIZER],[EQL] Parameters: 40Hz [0dB] (+/-) 2,4,6,9,12,15 dB 100Hz [0dB] (+/-) 2,4,6,9,12,15 dB 250Hz [0dB] (+/-) 2,4,6,9,12,15 dB 640Hz [0dB] (+/-) 2,4,6,9,12,15 dB 1.6KHz [0dB] (+/-) 2,4,6,9,12,15 dB 4KHz [0dB] (+/-) 2,4,6,9,12,15 dB 10KHz [0dB] (+/-) 2,4,6,9,12,15 dB The Seven band Equalizer is located directly after the Digital Processor Input slide control. Each band may be adjusted plus or minus 15dB in twelve steps. Use the Equalizer to EQ the signal before it is sent to the digital effects. Levels of the bands are displayed in the LCD both by a complete bar graph display of all bands and the actual frequency with level setting. The LCD will display information like the following diagrams. 40Hz 0db 40Hz +15db 100Hz -15db 10KHz 0db _______ _ ______ _ ______ all bands flat ready to set 40Hz band 40Hz band (+)15dB
40Hz band (+)15dB, 100Hz band (-)15dB ready to set 100Hz band 40Hz,100Hz,640Hz band (+)6dB, 250Hz (+)15dB ready to set 10Khz band
ACOUSTIC ENVIRONMENT SIMULATOR [ACU-ENV-SIM], [AES] Parameter: [OFF] OFF, DEAD ROOM, HEAVY CARPET, WOOD/RUG MIX, DRAPE/CARPET, WOOD + TILE, PEWS/PEOPLE, WOOD BAFFLES, LT FLOOR RUG, CEILING DRAPE, STONE CEILING, WALL DRAPES, NATURAL WOOD, OPEN AMBNCE The Acoustic Environment Simulator (AES) allows you to simulate adding in baffles or sound absorption materials to alter the high end response of your signal. Of course this is a logical as well as necessary option, the NIGHTBASS reproduces sound to 20KHz, well above normal natural ambiance.
Better than an equalizer, the AES program actually knocks out frequencies over the entire spectrum, simulating real world acoustics. AES lets you warm up a room or hall, deaden drums, soften a vocal, sizzle your ears off with presence, or just make your material sound natural. NOTE: When using AES alone, be sure to control its output level in the Mix with the ANFX parameter. If you are only using AES and no digital effects you must use this parameter to bring out the simulations at the output. LOW PASS FILTER [LOW-PASS], [LPF] Parameter: HF-CUT: = [THRU] THRU, 17.8K, 15.8K, 14.1K, 12.6K, 11.2K, 10.0K, 8.91K, 7.94K, 7.08K, 6.31K, 5.62K, 5.01K, 4.47K, 3.98K, 3.55K, 3.16K, 2.82K, 2.51K, 2.24K, 2.00K, 1.78K, 1.58K, 1.41K, 1.26K, 1.12K, 1.00K, 891Hz, 794Hz, 708Hz, 630Hz. There is one algorithm defining the Low Pass Filter. This effect placed at the front of the digital effects chain so as to tailor response of the effect and not the final product which should be at the board. Thirty possible selections of roll-off frequencies PITCH-TRANSPOSER [PITCH-TRANS], [PTr] Parameters: :TYPE= [SMOOTH] OFF, SMOOTH, NORMAL, QUICK :PITCH = [0] (-)12 to (+)12 half steps in 1 half step increments :FINE = [0.00] (-)4.00 to (+)4.00 half steps in 0.06 (six cents) increments :BASE KEY = [OFF] OFF, 1 through 127 (key note on) :REGENeration = [0%] 0 to 100 percent in % increments :LEVEL = [100%] 0 to 100 percent level in % increments Pitch Transposing or pitch shifting can be used to develop helpful second harmonies or other effects for vocals, instruments and even mixed material. There are three "types" of pitch transposing to choose from in the NIGHTBASS, Smooth, Normal and Quick. Smooth relates directly to processing and splicing the signal more slowly, resulting in a cleaner more precise sound. Use the Smooth setting when you are shifting pitch more than a fifth with lower frequency inputs such as the low strings on a guitar. Normal should be used for virtually all other applications of pitch shifting. There is a little less delay than the Smooth setting and qualitive processing is achieved. When you select the Quick setting, a shorter delay time is used causing faster splicing. Generally you should use the Normal Type for most applications. If you encounter problems relating to delay time, use the Quick Type and if detuning becomes a problem, use the Smooth Type. The PITCH control lets you set the range of pitch change in half steps. The FINE parameter lets you adjust the pitch in 6 cent intervals. Use the fine tune parameter to create or adjust micro pitch shifting or fat chorusing effects. will always be the frequency further modified are provided.

REGENeration is useful when you stack the Pitch Transposer with the MONO DDL algorithm. Each time a repeat is done it is shifted up or down by the pitch selected. The Base Key parameter should be used when triggering the Pitch Transposer from a MIDI keyboard. The amount of pitch shift may be set by MIDI Note On messages. The values selected in the Base Key parameter correspond to the MIDI Key Number. Example: BASE KEY = 60, (= middle C) if a D above middle C is played, the shift amount will be set to (2). If base key is set to OFF, Note On messages will not affect pitch. SWEPT OR MODULATED EFFECT ALGORITHMS FLANGER [FLANGER], [FLA] Parameters: :TYPE= [POST REVERB] FLANGER OFF, POST; REVERB, INV L, INV R, INV L+R, PRE; REVERB, INV L, INV R, INV L+R :WIDTH= [71%] 0 to 100 percent in % increments :SPEED= [0.84Hz].04Hz to 27.3Hz :REGENeration= [76%] 0 to 100 percent in % increments :LEVEL= [100%] 0 to 100 percent in % increments A wide range of flanging effects may be created with the NIGHTBASS. Normal and inverted flanging is available to you. An inverted flanger type reverses (inverts) one output from the other. The inverted types are listed as INV L and R, where L and R are Left and Right. The base delay of the Flanger is set and the sweep WIDTH and SPEED is user controlled. REGENeration may be adjusted to vary the "strength" of the processed signal. The output level of the FLANGER may be adjusted to control it's "depth" in the preset. When the Flanger TYPE= POST the flanger is positioned last in the chain. This is to assure that maximum effect and presence is maintained in all effects combinations. Using Flanger TYPE= PRE positions the FLANGER in parallel with any Reverb or DDL effect. By positioning the Flanger like this, the processed signal is not delayed or reverberated before it is flanged. CHORUS [CHORUS], [CHO] Parameters: :TYPE= [POST] OFF, POST, PRE, :WIDTH= [34%] 0 to 100 percent in % increments :SPEED= [0.84Hz].04Hz to 27.3Hz :DELAY= [30ms] 0 to 47ms in 1 ms increments :LEVEL= [100%] 0 to 100 percent in % increments Chorus may be used to thicken or sweeten the final processed sound. It is created by sweeping a comb filter through a base delay time and generally using between a 30 to 60 percent mix between the dry and wet signal. The base delay time plays an important role in the perception of the effect. Longer base delays are more preferable to give a deep rich sound to vocals and guitars, while shorter base delays are used for more delicate enhancement purposes. The width plays an important role in the range of perceived effect and is best used in conjunction
with the speed parameter. Like the FLANGER, the effect type may either be POST or PRE located in relation to reverb or delay. The output level of the CHORUS may be adjusted to control it's "depth" in the preset. PANNER [PANNER], [PAN] Parameters: :MOD % = [100%] 0 to 100 percent in % increments :SPEED= [2.16hZ].04Hz to 27.3Hz MIDI-PAN [MPN] Parameter: POSITN = [64] 0 to 127 in 1 step increments Panning automatically pans the audio image from the left to the right in the stereo sound field. By varying the MODulation, you adjust the "depth" into the stereo field (how far left and right you go). The SPEED merely controls the rate at which you do so. When you choose the Panner, the signal is automatically panned by the NIGHTBASS from left to right at a depth and speed you set. Choosing the MIDI-PAN allows you to assign a MIDI Controller to change the signal's position with an Expression Pedal or other MIDI device. NOTES: 1) When using the panner, you should always set your MIX DRY level to 0%. This ensures complete signal panning from left to right (full right = full signal. no signal left and vice versa). 2) When you use the Panner, make sure you are using both Line outputs or the Headphone outputs, if you're using only one Line output or the Instrument output you'll get NO EFFECT!, because the two outputs are summed canceling the effect. TREMOLO [TREMOLO], [TRM] Parameters: :MOD % = [100%] 0 to 100 percent in % increments :SPEED= [2.16hZ].04Hz to 27.3Hz Tremolo creates an amplitude modulating effect at the output. The actual output signal level is being cut in and out at a certain rate. Use the MOD parameter to control the depth of the Tremolo. Re-create the effect found on vintage as well as current guitar amplifiers. NATURAL REVERBERATION ALGORITHMS REVERB-1 [REVERB-1], [REV] Parameters: :TYPE= [HALL-1] HALL-1, ROOM-1, PLATE-1, VOCAL-1, OFF :IN = [PRE DDL] PRE DDL, POST DDL :DECAY = [2.4s] 0 to 25 seconds in varying increments

Position (POSITN) puts you the listener where you hear reverb reflections. Front positions you close to the initial signal so you hear more 1st reflections and the reverberant decay is in the background. As you position yourself more towards the Rear, you "mix" the initial sound to reverberant sound ratio. At the Rear, you hear the signal decay with all the reflections and little initial sound. Diffusion (DIFFUS) is how much the sound bounces around in the space. The lower diffusion % is looser and the smoothest at 100%. LEVEL adjusts the reverb effect level of the preset. GATED REVERBERATION ALGORITHMS GATE-VERB-1 [GATE-VERB-1], [GAT] Gated Reverb Parameters: :TYPE= [SLOPE-1] SLOPE-1, FLAT-1, RVRS-1A, RVRS-1B, OFF :IN = [PRE DDL] PRE DDL, POST DDL :DECAY = [0.25s] 0 to 0.25 seconds in :DECAY = 0.05 to 0.25 ms in 5 ms increments :DIFFUS= [100%] 60 to 100 percent in four increments of 20% :LEVEL = [100%] 0 to 100 percent in % increments GATE-VERB-2 [GATE-VERB-2], [GAT] Gated Reverb Parameters: :TYPE= [SLOPE-2] SLOPE-2, FLAT-2, RVRS-2A, RVRS-2B, OFF :IN = [PRE DDL] PRE DDL, POST DDL :DECAY = [0.40s] 0.05 to 0.40 seconds in 5 ms increments :DIFFUS= [100%] 60 to 100 percent in four increments of 20% :LEVEL = [100%] 0 to 100 percent in % increments GATE-VERB-3 [GATE-VERB-3], [GAT] Gated Reverb Parameters: :TYPE= [SLOPE-3] SLOPE-3, FLAT-3, RVRS-3A, RVRS-3B :DECAY = [0.40s] 0.05 to 0.40 seconds in 5 ms increments :DIFFUS= [100%] 60 to 100 percent in four increments of 20% :LEVEL = [100%] 0 to 100 percent in % increments Both GATE-VERB-1 and GATE-VERB-2 have forward and reverse gated reverb algorithms which are not quite as dense or complex as those found in the GATE- VERB-3 algorithms. GATE-VERB-3 algorithms are the most complex and dense. Always use GATE-VERB-3 when building "reverb only" programs. For an equal decay, GATE-VERB-2 is denser than GATE-VERB-1. The decay times found in GATE-VERB-2 are longer. When used in a stack of effects these gated sounds will fill in nicely. If you choose to use these effects alone, they will be loose and moderately sparse. By varying the amount of diffusion you directly affect the tightness (or looseness) of the sound. High diffusion equates to a tighter effect.

Gated reverb TYPEs have differences in their decay characteristics. The difference between normal reverb decays and decays when a gated program is the normal decay gradually fades into nothing while the gated decay ends in an abrupt manner. A "Sloped" gate follows a normal decay curve, and then when a certain level threshold is reached, it shuts off. Reverse decay increases in level as the signal decays and then shuts off short when the threshold level is reached. The most interesting gated program is the flat setting. Here, there is no decay but the equivalent of a short burst of sound which shuts off abruptly. A common practice with reverb is to use it with delay. The IN parameter allows you to place the reverb in parallel (PRE) with the delay to fatten up the reverb sound, or, after the delay (POST), allowing you to separate the initial sound from the reverb for clarity. DELAY ALGORITHMS TAP'D-DDL-S [TAP'D-DDL-S], [DDL] Tapped Digital Delay - Short Parameters: :TYPE:= [FLAT-1m] FLAT-1m, FLAT-1s, RVRS-1m, RVRS-1s, SLOPE1m, SLOPE1s, (E) FLAT-2m, FLAT-2s, RVRS-2m, RVRS-2s, SLOPE2m, SLOPE2s, (S) FLAT-3m, FLAT-3s, RVRS-3m, RVRS-3s, SLOPE3m, SLOPE3s (L) :TAPS= [2] 1 to 7 in one step increments :DELAY* = [100ms] 0 to 960ms increments:5ms;0-350, 10ms;350-700 20ms;700-960 D-FINE* = [0ms] 0 to 50ms in 1ms increments :REGENeration = [76%] 0 to 100 percent in % increments :LEVEL= [100%] 0 to 100 percent in % increments *Total delay possible is 1010ms. TAP'D-DDL-L [TAP'D-DDL-L], [DDL] Tapped Digital Delay - Long Parameters: :TYPE:= [FLAT-1m] FLAT-1m, FLAT-1s, RVRS-1m, RVRS-1s, SLOPE1m, SLOPE1s, (E) FLAT-2m, FLAT-2s, RVRS-2m, RVRS-2s, SLOPE2m, SLOPE2s, (S) FLAT-3m, FLAT-3s, RVRS-3m, RVRS-3s, SLOPE3m, SLOPE3s (L) :TAPS= [3] 1 to 7 in one step increments :DELAY* = [240ms] 0 to 1100ms increments:5ms;0-350, 10ms;350-700 20ms;700-1000, 50ms;1000-1100 D-FINE* = [0ms] 0 to 50ms in 1ms increments :REGENeration = [76%] 0 to 100 percent in % increments :LEVEL= [100%] 0 to 100 percent in % increments *Total delay possible is 1150ms There are three levels of tapped delays in the NIGHTBASS. These are what we call Even (E), Shortened (S), and Lengthened (L). (1's are Even, 2's are Shortened, 3's are Lengthened) Even means that the delay taps are at evenly spaced intervals. Shortened means that as the taps approach the set delay, the intervals

are closer together. As the taps approach the set delay in the Lengthened mode they are farther apart. In the types you will see an [m] and an [s], the [m] means mono and the [s] signifies stereo. The mono tapped delay has its left and right taps at the same delay points where the stereo taps are staggered. When using the stereo tapped delays the first right tap is half the delay time before the first left tap. There also Flat has a the signal the signal are three slopes used in the tapped delays, Flat, Reverse and Forward. flat linear response. Reverse increases in amplitude exponentially as approaches the end. Forward exponentially decreases in amplitude as approaches its end point.
TYPE 3 taps are dense and full. Use the longer tapped delay programs to add some expansiveness to short reverb patches. Use the longer tapped delays especially the Sloped algorithms to create a fundamental front end reverb. REGEN-DDL-S [REGEN-DDL-S], [DDL] Regenerated Digital Delay - Short Parameters: :DELAY* = [100ms] 0 to 960ms increments:5ms;0-350, 10ms;350-700 20ms;700-960 D-FINE* = [0ms] 0 to 50ms in 1ms increments :REGENeration = [76%] 0 to 100 percent in % increments :LEVEL= [100%] 0 to 100 percent in % increments *Total delay possible is 1010ms. Since this delay algorithm has the characteristic of being in parallel with a reverb program if used with one, it can be used to add a small amount of depth, or wrap-around effect to the sound. A "hard reverb" effect may be achieved by using longer delay and a moderate amount of regeneration. Tonal sounding drones may be found using short delay and large amounts of regeneration. REGEN-DDL-L [REGEN-DDL-L], [DDL] Regenerated Digital Delay - Long Parameters: :DELAY* = [200ms] 0 to 1100ms increments:5ms;0-350, 10ms;350-700 20ms;700-1000, 50ms;1000-1100 D-FINE* = [0ms] 0 to 50ms in 1ms increments :REGENeration = [50ms] 0 to 100 percent in % increments :LEVEL= [100%] 0 to 100 percent in % increments *Total delay possible is 1150ms Use this algorithm for the same reasons and applications as the short Regen-DDL, only using longer delay times.
STEREO-DDL-S [STREO-DDL-S], [DDL] Stereo Digital Delay - Short Parameters: :DLY-L* = [80ms] 0 to 1100ms :L-FINE* = [0ms] 0 to 50ms in 1ms increments :DLY-R* = [110ms] 0 to 1100ms :R-FINE* = [0ms] 0 to 50ms in 1ms increments increments:5ms;0-350, 10ms;350-700 20ms;700-1000, 50ms;1000-1100 :REGEN = [76%] 0 to 100 percent in % increments :HFDAMP = [0%] 0 to 100 percent in % increments :LEVEL= [100%] 0 to 100 percent in % increments *Total possible delay is 1150ms STEREO-DDL-L [STREO-DDL-L], [DDL] Stereo Digital Delay - Long Parameters: :DLY-L=* [250ms] 0 to 1300ms :L-FINE* = [0ms] 0 to 50 ms in 1 ms increments :DLY-R* = [125ms] 0 to 1300ms :R-FINE* = [0ms] 0 to 50ms in 1ms increments increments:5ms;0-350, 10ms;350-700 20ms;700-1000, 50ms;1000-1300 :REGEN= [45%] 0 to 100 percent in % increments :HFDAMP= [0%] 0 to 100 percent in % increments :LEVEL= [100%] 0 to 100 percent in % increments *Total possible delay is 1350ms You can split image or create alternating regenerative patterns between the left and right outputs using Stereo Digital Delay. The ability to set separate delay times for each channel enables you to do this. When used in conjunction with the Flanger, Chorus or Panner, spatial effects are the result. Regeneration is derived from the left channel. When longer delay times are needed, use the STREO-DDL-L algorithm. Set both Left and Right Delay times at 1300 ms for maximum delay output with no separation. You may also operate this effect in mono. SAMPLER-S [SAMPLER-S], [SMP] Sampler-Short Parameters: STAT= [REC-RDY] REC-RDY, PLAY, IDLE RECORD= [AUTO] AUTO, MANUL, MIDI PLAY= [SINGLE] SINGLE, PUNCHIN, MIDI, REPEAT, AUDIO

for your normal maximum operating level. Select the crossover frequency with the Crossover Frequency control on the front panel. To fine tune the balance between high and low level use the front panel Crossover Balance Control. Miscellaneous Suggestions It is not suggested to use a microphone plugged directly into the NIGHTBASS. Even though the device will function properly with some types of microphones you may encounter level mismatch or level problems. Some type of preamplifier is required since the input sensitivity of most microphones is less than -40dB. For the effects that have a LEVEL control parameter, use this control to adjust for depth and apparent mix level for each preset. To control the overall output level of the NIGHTBASS via MIDI, assign an external MIDI controller to change the Master parameter in the Programmable Level algorithm. You are able to do this by adding a MIDI controller to your preset and setting the values accordingly. Signal level required to trigger the AUTO Record of the Sampler is to input enough signal to light the GREEN LED. Signal level required to trigger the AUDIO Play of the Sampler is to input enough signal to light the YELLOW LED. Use the front panel Digital Input slider to adjust the threshold level of the audio trigger. Insert a volume pedal in Loop 1 and use it to control the signal level to your proccessor. If you are using the Instrument Input on the front panel you clip the NIGHTBASS easily, use the Line Input (L mono) on the rear panel.
APPENDIX B EXAMPLES COPYING A PRESET You may copy a preset from any location into another easily. (If you want to copy a factory preset into another factory preset location, you must first Unlock the destination preset.) To copy a factory preset into one of the 85 user presets follow these steps. -Enter EDIT Mode. -Select the preset you want copied by pressing the Preset button and using the Encoder to dial it up. -Press the RECALL button. -Use the Encoder to select the preset location you are copying to i.e. Preset 111. -Press the STORE button. *The preset has now been copied and stored to the new location. FACTORY RESET There is a Factory Reset sequence which will reinitialize the NIGHTBASS to ALL of its original values. Be sure that you have either downloaded or kept a written record of the Presets you want saved since they will be eliminated. To perform a Factory Reset you must press and hold the PRESET, 0/ENTER and 4/MIDI buttons simultaneously. EXAMPLE 1: Editing the MPT from the NIGHTBASS front panel controls. In this example, we will edit the MPT so when MIDI numbers 1 and 2 are received, NIGHTBASS PRESETS 60 and 151 will be recalled. It is assumed that the NIGHTBASS's MPT has not been edited. -Make sure you are in the EDIT Mode. (Press EDIT button if not) -Press the MIDI button. -Press the Param button. -Turn the Encoder until you see in the LCD: MIDI PROG= PRESET= 0 1_ > > MIDI PROG= PRESET= 0 60_

REMOTE SWITCH 2 = DECR PROGS 9 EXAMPLE 5 Adding Performance MIDI to an existing preset. In this example we are going to add PM to preset 45, "TV ON MARS". The effect parameter we will control is: REV:DECAY, the reverb decay time of the preset. The intended controller will be MC 4, Foot Controller. Now when the MIDI controller is used, the decay time will change from 0.9s to 5.0s. -Recall preset 45. -Press the EDIT button. -Use the Encoder to scroll up to preset 120. -Press the Store button. *You've just copied 45 to location 120. -Press the ADD EFFECT button and turn the Encoder until you see [ADD:MIDI CONTRL?]. -Press the ENTER button. *You have just added a MIDI controller to the preset. -Press the Param button four times. -Press the Value button. -Use the Encoder to select [REV:DECAY = 0.9s] *The upper half of the display reads [#1 IS CONTROLING] -Press the Value button again, DON'T CHANGE THIS VALUE. -Press the Value button again. -Use the Encoder to set the Low Value to [REV:DECAY = 0.9s] -Press the Value button one more time. -Use the Encoder to change the High Value to [REV:DECAY = 5.0s] -Press the STORE button. -Press the Edit button to escape to Preset Mode. You now have edited a Factory Preset for PM control. You may edit any existing preset to be controlled by PM. Remember to UNLOCK the preset to STORE your changes and then re-lock the presets if you edit a factory preset at its original location. The MIDI controller assigned in this preset is MC 4, a foot controller. If you are using your NIGHTBASS with an ART X-15 ULTRAFOOT, the left pedal will control the master level of the preset.
APPENDIX C NIGHTBASS MIDI MESSAGES The NIGHTBASS responds to the following messages: Program change: Cxh ddh x = channel number 0h to Fh for channels 1 to 16 dd = program number 0h to 7Fh or 0 to 127 If the channel the NIGHTBASS is set to is not off and the channel matches (either it is the same number or OMNI is on), then the unit will look up the preset in the MIDI Program Table (MPT) and recall the corresponding preset. Channel Mode message for OMNI on/off Bxh 7Ch 0h : OMNI Mode Off Bxh 7Dh 0h : OMNI Mode On x = channel number, 0h to Fh for channels 1 to 16 If the channel matches the units's channel number, it will set the OMNI mode accordingly. The current OMNI mode does not affect this message, the channel must match regardless of current OMNI mode. SYSTEM EXCLUSIVE MESSAGES message format: general: <System Exclusive Status> <ART ID> <channel> <product ID> <message ID> <message.> <EOX> in hex: F0h 1Ah 0xh 12h <message ID> <message.> F7h F0h - System Exclusive status byte. 1Ah - ART manufacturer's ID number. 0xh - channel number, 0 to 0Fh. 13 - NIGHTBASS product id code. F7h - End Of exclusive status byte. Message ID values >= 40h are requests. A request is a message that when received by the NIGHTBASS causes a message to be sent by the NIGHTBASS. 0x is the channel number, 0 to 15 (00h to 0Fh). is displayed as 1 to 16. To the user, the channel number

SLAP JAZZ BASS (no digital) CMP NGT EQL LVL (no controllers) ACTIVE JAZZ BASS (no digital) CMP PRA NGT EQL (no controllers) SIT ON MY BASS REV-1 CHO CMP NGT EQL AES LVL (no controllers) JUST A TASTE REV-1 CMP NGT EQL AES (no controllers) HORNET JAZZ REV-1 FLA CMP PRA NGT EQL AES XOR (no controllers) TV ON MARS R-DDL-L REV-1 FLA HAR PRA NGT (no controllers) MONSTER WOBBLE FLA GAT-2 PRA EQL XOR (no controllers) BASEMENT BOUNCE T-DDL-L REV-1 NGT AES XOR (no controllers) SPACE CHORUS LPF REV-1 CHO TRM PRA ENV NGT AES XOR LVL (no controllers) FLANGO TANGO REV-1 FLA HAR EQL XOR (no controllers) RICKENWAH X-15 (no digital) CMP PRA ENV NGT EQL LVL 1 controller: 11 VENUS COCKTAIL REV-2 FLA TRM NGT XOR LVL 2 controllers: LUCID DREAM LPF R-DDL-S REV-3 PRA- EQL AES 2 controllers: PINO PARADISE PTR REV-1 NGT EQL AES LVL (no controllers) SPIKEHEAD LPF FLA GAT-1 CMP NGT EQL XOR LVL (no controllers) OCTAVE GROWL PTR REV-1 CMP NGT EQL XOR LVL (no controllers)
(no controllers) 56 DOUBLEFUNK R-DDL-S PTR REV-1 PRA NGT EQL AES XOR (no controllers) FUNKED UP FIFTH PTR HAR PRA NGT EQL XOR 1 controller: 4 BUZZWARP FLA EXP DST HAR PRA NGT EQL XOR LVL (no controllers) SNARLCAT PTR REV-1 DST PRA NGT EQL XOR LVL (no controllers) UNIBENDER X-15 PTR REV-1 NGT EQL AES LVL 1 controller: 11 MOCK 5-STRING PTR REV-1 NGT EQL (no controllers) MUDFOOT CHO CMP EXP PRA NGT EQL AES XOR LVL 2 controllers: PORK PIE HAT REV-2 CMP EXP PRA NGT EQL AES LVL 2 controllers: SCHMOOZ R-DDL-S CHO GAT-1 CMP EXP PRA NGT EQL AES XOR 2 controllers: RUGBURN CHO CMP EXP PRA ENV NGT EQL AES XOR LVL (no controllers) HOT FOOT PTR REV-1 CMP EXP PRA NGT EQL AES XOR LVL 2 controllers: COOL FOOT LPF S-DDL-S CHO CMP EXP PRA ENV NGT EQL AES XOR LVL 2 controllers: FUNKY EAST PTR REV-1 CMP EXP PRA NGT EQL AES XOR LVL (no controllers) ENCHANTRESS S-DDL-S CHO CMP EXP PRA NGT EQL AES XOR LVL 2 controllers: ALIEN SOLO PTR REV-1 CMP EXP PRA ENV NGT EQL XOR LVL 2 controllers: STRING CRUSHER CHO GAT-1 CMP EXP DST PRA NGT EQL AES XOR LVL 72 FAIRLITE PTR CMP EXP HAR PRA ENV NGT EQL AES XOR (no controllers) 73 CLOUD NINE S-DDL-S CHO CMP EXP PRA NGT EQL AES XOR LVL 2 controllers: DIGIFLANGE R-DDL-S FLA GAT-1 CMP EXP PRA NGT EQL XOR LVL 2 controllers: MOOGFOOT PTR REV-1 CMP EXP DST PRA ENV NGT EQL AES LVL 2 controllers: POLAR DANCE PTR REV-1 CMP EXP HAR PRA NGT EQL AES XOR LVL (no controllers) DARKFINGER REV-1 CHO CMP EXP PRA NGT EQL AES XOR LVL (no controllers) MUSH MELON CHO CMP EXP PRA NGT EQL AES LVL (no controllers) YES SQUIRE! R-DDL-S REV-1 CHO CMP EXP DST PRA NGT EQL AES LVL (no controllers) ICEPACK R-DDL-L PTR CMP EXP PRA ENV NGT EQL AES XOR LVL 3 controllers: STARDUST REV-3 CMP EXP PRA NGT EQL LVL (no controllers) MEMORY MAN S-DDL-S CHO CMP EXP HAR PRA NGT EQL LVL 2 controllers: CHRONUS R-DDL-S FLA GAT-2 CMP EXP HAR PRA NGT EQL AES LVL 2 controllers: WHITE HEAT GTR REV-3 CMP EXP DST NGT EQL LVL (no controllers) BLUE TUBE GUITAR REV-3 CMP EXP DST PRA NGT EQL LVL (no controllers) DUAL LEAD GUITAR R-DDL-S PTR REV-1 CMP EXP DST PRA NGT EQL LVL 2 controllers: DOUBLE TRAK LEAD R-DDL-S PTR REV-1