44 DIGITAL RACK MIXER M32R User Manual 45 DIGITAL RACK MIXER M32R User Manual
Rotary Speaker
Rotary Speaker emulates the sound of a Leslie rotating speaker. The M32’s Rotary
Speaker provides more exibility than its electro-mechanical counterpart,
and can be used with a variety of instruments, and even vocals, to create a
whirling, psychedelic e ect.
The LO SPEED and HI SPEED push encoders adjust the rotation speed of the
Slow and Fast speed selection, and can be toggled with the FAST button.
The ACCEL(eration) push encoder adjust how quickly the speed increases
and decreases from the Slow mode to the Fast mode. The rotation e ect can
also be disengaged with the STOP button, which will stop the movement of
the speakers.
DISTANCE adjust the perceived distance between the speakers and the virtual
microphone. BALANCE sweeps between low and high frequencies in the
output signal. MIX determines how much of the a ected signal is present in the
output audio.
Tremolo / Panner
Stereo Tremolo creates an up and down volume change at a constant and even
tempo just like the guitar amps of yesteryear. Use the M32’s Stereo Tremolo to
add a unique ‘surf-music’ texture to a vocal or instrumental track.
SPEED adjusts the LFO rate, and DEPTH sets the amount of modulation.
PHASE can be used to set an LFO phase di erence between the left and right
channels, which can be used for panning e ects. The WAVE push encoder blends
the LFO waveform between triangular and square shapes. The signal envelope ,
shaped by ATTACK, HOLD and RELEASE, can be used to modulate the LFO speed
(ENV SPD) and the LFO modulation depth (ENV DPTH).
Suboctaver
The Octave E ect combines the input signal with a digitally synthesised sound
one or two octaves below the original signal. This can be used to thicken up
guitar sounds, or to add extra ‘punch’ to kick drums.
The controls for the Suboctaver are split between two discreet layers.
Pressing the rst push encoder toggles the e ect for each layer on or o .
The second encoder increases the amount of the a ected signal that is present
in the output mix. The third encoder switches the range of the signal between
LO, MID and HI. The fourth and fth encoders adjust the level for each of the
individual lower octaves. To navigate between the two layers, use the up and
down navigational controls.
Delay + Chamber
Here we have combined Delay and Chamber reverb, so that a single device
can supply a variety of delay settings, plus add just the right amount of reverb
to the selected signal. This device only uses one e ects slot. Inspired by the
Lexicon PCM 70.
Use the BALANCE push encoder to adjust the ration between delay and reverb.
Low frequencies can be excluded with the LO CUT push encoder, and MIX
adjust how much of the e ect is added to the output signal. The TIME push
encoder adjusts the delay time for the left channel delay, and PATTERN sets
the delay ratio for the right channel delay. Adjust the FEEDBACK and trim some
high frequencies with the FEED HC (high-cut) push encoder. The XFEED push
encoder allows you to send the delay sound to the reverb e ect, so instead of
running completely parallel, the reverb a ects the echoes to a selected degree.
The PREDELAY push encoder determines the delay before the reverb a ects
the signal. The
DECAY push encoder adjusts how quickly the reverb fades.
SIZE controls how large or small the simulated space (room, cathedral, etc.).
The DAMPING push encoder determines the decay of high frequencies within
the reverb tail.
Chorus + Chamber
Taking up only one FX slot, the Chorus + Chamber e ect combines the shimmer
and doubling characteristics of a studio-grade chorus with the sweet sound of a
traditional chamber reverb. Inspired by the Lexicon PCM 70.
The BALANCE push encoder adjusts the balance between chorus and reverb.
Low frequencies can be excluded with the LO CUT push encoder, and the
MIX push encoder adjusts how much of the e ect is added to the signal.
SPEED, DELAY and DEPTH adjust the rate, delay and modulation depth of the
chorus. The LFO PHASE between the left and right channels can be o set by up
to 180°, and WAVE adjusts the LFO waveform from a sine wave to a triangular
wave. The PREDELAY push encoder determines the delay before the reverb
a ects the signal. The DECAY push encoder adjusts how quickly the reverb
fades. SIZE controls the size of the simulated space (room, cathedral, etc.).
The DAMPING push encoder determines the decay of high frequencies within
the reverb tail.
langer + Chamber
Add the mind-bending, lter-sweeping e ect of a state-of-the-art anger to the
elegant sweetening of a traditional chamber reverb - all in one FX slot. Inspired by
the Lexicon PCM 70.
The BALANCE push encoder adjusts the balance between anger and reverb.
Low frequencies can be excluded with the LO CUT push encoder, and the MIX
push encoder adjusts how much of the e ect is added to the signal. SPEED,
DELAY and DEPTH adjust the rate, delay and modulation depth of the anger.
FEEDback can be adjusted by positive and negative amounts. The LFO PHASE
between the left and right channels can be o set by up to 180°. The PREDELAY
push encoder determines the delay before the reverb a ects the signal.
The DECAY push encoder adjusts how quickly the reverb fades. SIZE controls the
size of the simulated space (room, cathedral, etc.). The DAMPING push encoder
determines the decay of high frequencies within the reverb tail.
Delay + Chorus
This combination e ect merges a user-de nable delay (echo) with a studio-
quality chorus, sure to fatten up even the skinniest track. Uses only one FX slot.
Inspired by the TC Electronic D-Two.
The TIME push encoder adjusts the delay time, and the PATTERN push encoder
sets the delay ratio for the right channel and negative values activate a cross
feedback between the two channels. The FEEDHC push encoder adjusts the delay
high-cut frequency, while FEEDBACK adjusts the number of repeats. The X-FEED
control allows you to send the delay sound to the chorus e ect. The BALANCE
push encoder adjusts the ratio between delay and chorus. SPEED, DELAY and
DEPTH adjust the rate, delay and modulation depth of the chorus. The right
channel LFO PHASE can be o set by up to 180°, and WAVE adjusts the chorus
character by shaping the LFO waveform from sine wave to triangular wave. Use
the MIX push encoder to blend the a ected signal with the dry sound.
Delay + Flanger
This handy dynamic duo blends the ‘whoosh’ of soaring jet planes with
classic delay, and can be adjusted from mild to wild. This combination e ect only
takes up one FX slot. Inspired by the TC Electronic D-Two.
The TIME push encoder adjusts the delay time, and the PATTERN push encoder
sets the delay ratio for the right channel and negative values activate a cross
feedback between the two channels. The FEEDHC push encoder adjusts the delay
high-cut frequency, while FEEDBACK adjusts the number of repeats. The X-FEED
control allows you to send the delay sound to the chorus e ect. The BALANCE
push encoder adjusts the ratio between delay and chorus. SPEED, DELAY and
DEPTH adjust the rate, delay and modulation depth of the chorus. The right
channel LFO PHASE can be o set by up to 180°, and
FEED (positive and negative
amounts) adjusts the feedback e ect. Use the MIX push encoder to blend the
a ected signal with the dry sound.
Modulation Delay
Combining echo and chorus (and in this case, reverb too) is the domain of the
Modulation Delay. By combining the two, you can get the best of both worlds
in one, dreamy-sounding e ect.
The controls are separated onto two layers; layer one for the delay, and layer
two for the chorus. Use Balance to sweep between how much of either e ect
is present in the output signal. Navigate to layer two by using the navigational
control buttons. Use the PAR / SER function to switch between Parallel and
Serial modes. In Parallel mode the input signal is routed both to the modulated
delay and the reverb inputs. In Serial mode the modulated delay output is routed
to the reverb input. (When balance is set to -100 there is no audible di erence
between the two modes since in this case only the modulated reverb is audible.)
On layer one Time adjusts the time of the delay, whereas Feed controls how
many echoes follow the input signal. Lo Cut and Hi Cut are, as the names
suggest, low cut and high cut lters for the a ected signal. On both, Mix dictates
how much of the a ected signal is sent to the output bus.
On layer two Depth controls the depth of the chorus e ect, Rate controls the
speed of the modulation, and Decay controls the length of time after the initial
signal where the e ect is present. Damping reduces the level of the higher
frequencies in the output.
The type of reverb can be switched by pressing either of the third, fourth or fth
push encoders.
