The internal effects can be configured in many different ways, but they all come down to these two basic options:
- OR -
- Channel dynamics
The channel dynamics can be used on any channels you choose. They can be placed at internal digital insert points.
The important thing to remember when assigning stereo effects to an auxiliary send is that the effect must return somewhere. The effect output can come back through either the EFFECT RETURN, AUX RETURN, or through any channel. If the effect output is assigned to a channel, that channel cannot feed aux sends. (This prevents a feedback loop created by feeding the output of a processor back into the input of the processor via the aux send.)
If the stereo effect is assigned to the Master L/R output, then it is treated as an insert. Therefore, the effects on the Master L/R actually receive signal from the L/R, then continue straight through to the L/R output. (These effects should not return back to channels, EFFECT RETURNS, or AUX RETURNS because that would create a feedback loop.)
One other thing to remember is that the two effect processors have different capabilities. Listed below are the effects possible with each processor:
Effect 1: delay, chorus, pitch shifter, flanger, phaser, limiter, compressor, expander, de-esser, and exciter.
Effect 2: same as Effect 1 plus reverb and gated reverb.
Typically, aux 1-2 would be used as a reverb or delay, and the L/R compressor limiter.
This feeds one effect into the other, such as a delay into a reverb, or a chorus into a delay. Another possibility is to apply a dynamic processor to the signal about to be processed. You will need to work with the direct and processed signals to achieve a suitable amount of each effect. There are two options for this, allowing you to reverse the order of the two processors.
This again puts two stereo effects on Aux 1-2, but this time it splits the signal, and feeds each effect processor independently. This way, the delay and reverb will both be processed from the same Aux Send, but they do not feed each other. So, there is no reverb in the delay, and no delay in the reverb.
Here we have each stereo effect on its own stereo send. Remember, only one of these can be a reverb, and you must have all 4 Aux/Buss paths assigned as Aux to access this setting.
The FX-D1000 expansion card essentially doubles the internal processing power. The
FX-D1000 effects card can be assigned as a 4 dynamic processors or two stereo effects,
just as the internal effects can. When combined with the internal card, the effect
combinations grow to 20 different set-ups. However, they all boil down to one of these
three basic options:
- OR -
- OR -
The effect processors on the expansion card have different effects capabilities, just as the effect processors built into the board have different capabilities. Listed below is the summary of all the processors:
Built into the TM-D1000:
Effect 1: delay, chorus, pitch shifter, flanger, phaser, limiter, compressor, expander, de-esser, and exciter.
Effect 2: Same as Effect 1 plus reverb and gated reverb.
On the FX-D1000:
Effect 4: Same as Effect 1
Effect 5: same as Effect 2
In case you’re wondering why there is no Effect 3, the mixer designates channel dynamics as Effect 3. For this reason, you really won’t see Effect 3 in any set-up menus.
Again, as mentioned in the previous section, stereo effects assigned to aux sends need to be returned somewhere. Channel dynamics and stereo effects assigned to the master L/R output are treated as inserts.
When multiple effects are run from the same source (Aux output or L/R), there are a few different typical methods for that:
Applications for Parallel Stereo Effects on Aux Sends: This allows two separate effects to pull from the same Aux Send. For instance, the Aux 1-2 could feed a delay and a chorus. The important thing to realize here is that there is no delay effect feeding into my chorus, and there is no chorus effect feeding into my delay. Also, since both effects are taking sound from both Aux 1 and Aux 2, there is no independent control of each effect. This is useful however, for stacking two delays on the same signal. Each could be set up with different delay times, allowing more polyrhythmic taps.
Applications for Cascaded Stereo Effects on Aux Sends: Here, you do have one effect feeding the other. So, a chorus effect could feed a delay. This is a popular combination, because this means your chorused rhythm guitar is also chorused in delay signals. Another common application is to place a dynamic before a reverb, or dynamic before a delay. This helps to control the amount of effect, so that if a loud section of the lead vocal is followed by some softer parts, the reverb tail (or delay taps) from the louder passage won’t drown out the more subtle parts that follow.
Applications for the Cascaded Stereo Effects on the Master L/R Output: There are a number of possibilities here, ranging from master mix compression and exciter, to creating some extremely WILD effects for a " breakdown" section in the song. In other words, you could create a passage for a few bars that have a heavy phaser and stereo delay over the entire mix to create a surreal effect for a few moments. Of course, as mentioned previously, there are also the standard combinations of compression and/or gating and/or enhancers to give your mix more of a "Mastered" sound.
When determining which effects set-up you wish to use, it is important to keep in mind that these set-ups require you to have at least 2 aux sends. (Some of them will require all 4) For more information on making aux sends available, see Section V- Buss+Aux=4.
Also, keep in mind that effects on the Aux Sends need to return somewhere. Directions for selecting the effects set-up and routing effect returns are listed below.
To change your effects set-up:
If you are assigning stereo effects, then you can skip the next set of instructions. If you are assigning channel dynamics, then continue below. (The built-in effects processor is now set up for your processing slots, but the individual dynamics still need to be assigned to specific channels.)
The channel numbers are silk-screened on the frame of the display window.
To assign the internal effects to either the EFFECT RETURN -or- AUX RETURN:
With all the effect combination possibilities, it can get confusing which effect is on Aux 1-2, or Master L/R, or whatever. It may be easy to see in the chart we provided in this manual where it details all of the effect possibilities. What happens if you don’t carry this manual with you everywhere you go? It is possible to simply ask the mixer what effect processors are assigned where. To get to this screen:
Press SHIFT and OPTION MONITOR simultaneously. (OPTION MONITOR is located just under the ENTER key.)
Press the DATA ENTRY dial down until the bottom line reads Effect.
Rotate the DATA ENTRY dial all the way to the right, and the screen will display your effects set-up.
Note: These effect set-up examples are only possible with the optional FX-D1000 expansion card.
This screen indicates that there are 4 channel dynamics, and Stereo Effect 2 is assigned to Aux 1-2, and Stereo Effect 5 is assigned to Aux 3-4.
This screen indicates that Stereo Effect 2 is cascaded into Stereo Effect 5 on Aux 1-2, effect 1 is fed in mono on Aux 3, and Effect 4 is fed in mono on Aux 4.
