Tascam DM-24 Effects Manual

							5 – TC Works Reverb—High-cut filter
 TASCAM DM-24 Effects 21
High-cut filter
This filter can be used to cut off the upper frequen-
cies of the reverb signal.
Use PODs 3 and 4 on row 2 of the screen.
HICUT Sets the frequency at which the filter oper-
ates. Use POD 3 to select a value. The lower limit is 
20 Hz, and the higher limit is 16 kHz.
ATT Short for “attenuation”—the amount by which 
the high-cut filter cuts the upper frequencies. Use 
POD 4 to set this value from –40.0 dB to 0 dB in 
0.1 dB steps.
Space editor
These four parameters allow you to set the basic 
reverb type (row 3, labeled 
SPACE EDITOR).
SHAPE allows you to set the basic shape of the sim-
ulated room in which the sound is being reflected to 
produce the reverberation effect.
Turn POD 1 to select from the following list (a small 
representation of the room shape appears on the left 
of the screen as you make these changes):

HALL—a hall-shaped room (basically a cube)

H.SHOE—(horseshoe) a room where one wall is flat, 
and the other walls curve round.

PRISM—a prism-shaped space with two parallel 
walls focusing down to a wedge (similar to many 
auditoria).

FAN—even more wedge-shaped than the prism set-
ting.
CLUB—a T-shaped space, with a recessed stage 
area.

SMALL—a smaller, more intimate version of the 
cube.
SIZE The size of the space. Units are arbitrary, and 
may be set from 0.04 to 4.0 in the following steps: 
0.04, 0.05, 0.06, 0.08, 0.10, 0.13, 0.16, 0.20, 0.25, 
0.32, 0.40, 0.50, 0.63, 0.80, 1.0, 1.3, 1.6, 2.0, 2.5, 3.2, 
4.0.
W-DIFF Wall diffusion—the “liveness” of the room 
space, and the amount that the sound is scattered. Set 
a value from –50% to +50% I 1% steps.
WIDTH Not, strictly speaking, the width of the sim-
ulated room, but the stereo width of the reverb signal 
(which is affected by the width of the room). Set 
from 0% (mono point source) to 100% (full width) in 
1% steps.
Decay characteristics
The decay can be set for three bands independently, 
allowing, for example, the treble portion of the sound 
can continue to reverberate after the bass and mid 
sounds have decayed, giving a bright quality to the 
reverb.
The crossover points for the three bands can be set 
independently.
Use the four pods in row 4 and the two pods in row 5 
(labeled 
DECAY) to set the band times, as well as a 
“scale” which allows fine-tuning of the times without 
having to turn the PODs an excessive number of 
times.
LOW, MID, HIGH Each of the three bands can be 
set independently, in a range from 0.25 s to 9.99 s 
and from 10.0 s to 64 s (1024 steps in total).
RANGE The overall range for these three bands 
(and therefore the number of times the PODs must be 
turned to set a value) an be set to one of three values: 
4s, 16s and 64s.
X-over The two crossover frequencies to divide the 
sound spectrum into three bands can be set. Each of 
these frequencies can be set between values of 
20 Hz 
and 
16 kHz. Use PODs 1 and 3 on row 5 to set these 
values. 
						

							5 – TC Works Reverb—Pre-delay settings
22 TASCAM DM-24 Effects
Pre-delay settings
The bottom row of the screen allows different delay 
settings to be made.
See the diagram above for details of exactly what 
these settings change.
INLEV This is the initial level of the early reflec-
tions. 
Use POD 1 to set this value from 
Off, through 
–140 dB to 0dB.
REVLEV This is the level at which the decay “tail” 
portion of the reverb starts. Use POD 2 to set this value from 
Off, through –140 dB 
to 
0dB.
PREDLY This is the pre-delay portion of the reverb. 
It describes the time from the initial sound to the first 
of the initial reflections.
Use POD 3 to set this value from 
0ms to 160 ms in 
1 ms steps.
REVFEED This is the time separating the feed from 
the initial reflections to the “tail” part of the reverb.
Use POD 4 to set this value from 
0ms to 100 ms in 
1 ms steps.
Conclusion
Although the array of parameters and options for this 
reverb may seem a little baffling at first, compared 
with some other units, a little experimentation will 
soon make it clear what the different parameters 
actually control in terms of the sound produced.The preset library entries provide useful starting 
points for your own experiments, allowing you to 
either simulate real reverb situations, or to invent 
imaginary spaces with their own, distinctive, rever-
beration characteristics.
Preset reverb settings
These settings are all stored in the first preset effects 
library.
The English names give an idea of the kind of sound 
that can be obtained from these settings.
Ambience  settings basically give a feeling of life, 
without a definite reverb.
Box settings are smaller or and typically have a 
rather “live” sound.
Chamber  settings provide a sound a little like a 
room type of reverb.
FX settings provide a special effect, which may not 
sound totally natural, but may have a useful place in 
your project.
Tunnel settings provide the image of a long narrow 
live space.
Hall settings give the sound of larger enclosed 
spaces. There is a range of hall settings provided, 
with different acoustical characteristics, including 
“church” and “cathedral” settings.
Drum settings are specifically tailored for use with 
drum instruments. Of course, they can be used with 
other instruments and sources, but they may not be so 
effective as when they are used with drum sources.
Perc settings are suitable (but not exclusively) for 
use with percussion instruments and percussive 
sounds.
Plate Settings reproduce the sound of a vintage 
plate reverb unit.
Room settings provide the effect of a smaller, 
tighter space than a hall.jcASCAM effects
Number Name LCD indication
000
Ambience - Bright 1Ambi-Bright 1
001Ambience - Bright 2Ambi-Bright 2
002Ambience - Bright 3Ambi-Bright 3
003Ambience - DarkAmbi-Dark 
						

							5 – TC Works Reverb—Preset reverb settings
 TASCAM DM-24 Effects 23
004Ambience - MidnightAmbi-Midnight
005Ambience - Mornin VocalAmbi-MorninVocal
006Ambience - Soft 1Ambi-Soft 1
007Ambience - Soft 2Ambi-Soft 2
008Ambience - SpaceAmbi-Space
009Box - BrightBox-Bright
010Box - DarkBox-Dark
011Chamber - Large, DarkChmb-Large,Dark
012Chamber - SmallChmb-Small
013Chamber - Small, DarkChmb-Small,Dark
014Chamber - Very SmallChmb-Very Small
015FX - Big Barrel SpaceFX-BigBarrelSpce
016FX - Big Pre Delay SlapFX-BigPreDlySlap
017FX - Bright CymbalsFX-BrightCymbals
018FX - Drum Boom SlapFX-DrumBoom Slap
019FX - Dry After TasteFX-DryAfterTaste
020FX - Icy ShowerFX-Icy Shower
021FX - Lost in SpaceFX-Lost in Space
022FX - Neighbor (Hallway)FX-NeighborHallw
023FX - Neighbor 2 (Floor)FX-NeighborFloor
024FX - Not so Dry After TasteFX-NotsoDryAfter
025FX - Short Non-Lin LikeFX-Short Non-Lin
026FX - Slap BackFX-Slap Back
027FX - Steel WorksFX-Steel Works
028FX - Steel Works 2FX-Steel Works 2
029FX - Subtle SlapbackFX-SubtleSlapbac
030FX - Take OffFX-Take Off
031FX - Tight Bounce AroundFX-Tight Bounce
032FX - Ultra BrightFX-Ultra Bright
033FX - Under The SurfaceFX-Under Surface
034FX - Wet After TasteFX-WetAfterTaste
035FX - Wet After Taste w/RainFX-W.A.T w/Rain
036FX - Wood FloorFX-Wood Floor
037Tunnel - BrightTunn-Bright
038Tunnel - DarkTunn-Dark
039Tunnel - TubeTunn-Tube
040Hall - Big BrightHall-Big Bright
041Hall - Big ClearHall-Big Clear
042Hall - Big PredelayedHall-BigPredelay
043Hall - Big WarmHall-Big Warm
Number Name LCD indication 
						

							5 – TC Works Reverb—Preset reverb settings
24 TASCAM DM-24 Effects
044Hall - Cathedral 12sHall-Cathdral12s
045Hall - Cathedral 7sHall-Cathedral7s
046Hall - ChurchHall-Church
047Hall - DomeHall-Dome
048Hall - Huge ClearHall-Huge Clear
049Hall - Huge WarmHall-Huge Warm
050Hall - Last Row Stadium ConHall-LastRowStdm
051Hall - Lush BalladHall-Lush Ballad
052Hall - Medium BrightHall-Med.Bright
053Hall - Medium ClearHall-MediumClear
054Hall - Medium WarmHall-Medium Warm
055Hall - Outside the StadiumHall-OutsideStdm
056Hall - Small BrightHall-SmallBright
057Hall - Small ClearHall-Small Clear
058Hall - Small WarmHall-Small Warm
059Hall - StageHall-Stage
060Hall - Warm Vocal HallHall-Warm Vocal
061Drum - Boom RoomDrum-Boom Room
062Drum - Drum BoothDrum-Drum Booth
063Drum - Huge Low TubularDrum-HugeLowTubu
064Drum - Low TubularDrum-Low Tubular
065Drum - Snare HallDrum-Snare Hall
066Drum - Snare RoomDrum-Snare Room
067Drum - Subtle Kick BoomDrum-SubtleKick
068Perc - Big BrightPerc-Big Bright
069Pe r c  -  B i g  C le a rPerc-Big Clear
070Pe r c  -  B i g  Wa r mPerc-Big Warm
071Perc - Medium BrightPerc-Med.Bright
072Perc - Medium ClearPerc-MediumClear
073Perc - Medium WarmPerc-Medium Warm
074Perc - Small BrightPerc-SmallBright
075Perc - Small ClearPerc-Small Clear
076Perc - Small RoomPerc-Small Room
077Perc - Small WarmPerc-Small Warm
078Plate - Big BrightPlat-Big Bright
079Plate - Big ClearPlat-Big Clear
080Plate - Big WarmPlat-Big Warm
081Plate - TightPlat-Tight
082Room - BathroomRoom-Bathroom
083Room - CD MasterRoom-CD Master
Number Name LCD indication 
						

							5 – TC Works Reverb—Preset reverb settings
 TASCAM DM-24 Effects 25
084Room - Dark & Mellow 5 secRoom-Dark&Mellow
085Room - Dry HouseRoom-Dry House
086Room - Empty GarageRoom-EmptyGarage
087Room - Empty RoomRoom-EmptyRoom
088Room - Empty Room, SmallRoom-EmptyRoom S
089Room - Large GarageRoom-LargeGarage
090Room - Percussion RoomRoom-Perc Room
091Room - SmallRoom-Small
092Room - Small Damped RoomRoom-S Dmp Room
093Room - Small Yet BigRoom-SmallYetBig
094Room - Small Yet Big w/PreRoom-S.Y.B w/Pre
095Room - StageRoom-Stage
096Room - Vocal BoothRoom-Vocal Booth
097Room - Vocal DryRoom-Vocal Dry
098Room - Vocal RoomRoom-Vocal Room
099Room - Vocal Room 2Room-Vocal Room2
These are not reverb settings, but this is the way in which the microphone and speaker modelers are selected
100
Antares AMM-1Antares AMM-1
101Antares SP modelerAntares SP Model
Number Name LCD indication 
						

							26 TASCAM DM-24 Effects
6 – TASCAM effects
The general effects provided within the DM-24 as 
described in “Internal Effects on the DM-24” on 
page 3 may be used either as in-line inserted effects, 
or as part of an effect loop, using aux send and 
returns.There are no hard and fast rules as to how these 
effects can be used, but on the whole, any effect 
where there is a wet/dry level is suitable for use 
within effect loops, and the others are suitable for use 
as insert processors.
Common parameters
There are three parameters on the top row of the 
screen for all of these effects, using PODs 2, 3 and 4.
INPUT stands for input level. The input level of the 
signal fed to the effect is adjusted using this control.
MIX is the wet/dry balance of the output. When set 
to 0%, the output signal is composed totally of the 
original signal, and at 100%, it is completely the 
effect signal.
NOTE
There is a slight unavoidable processing delay on some 
effects. If you are using the effect as an insert, you 
should probably keep this setting at 100%.
OUTPUT The output level from the effect can be 
adjusted from 
Off, and then (in 5 dB steps): from 
–140 dB to –60 dB, (in 1 dB steps) from –60 dB to 
–20 dB and (in 0.1 dB steps) from –20 dB to 0 dB.
Effect parameters
The different parameters for use within these effects 
are as follows:
Chorus
RateDepthPre- delayFeedbackWet  Mi x LevelDry level
0.1 Hz to 10 Hz
(91 steps)0% to 100%
(101 steps)0.05 ms to 
500 ms
(101 steps)0% to 90%
(91 steps)–40 dB to –0 B
(41 steps)–40 dB to +20 dB
(61 steps)
De-esser
Threshold levelKnee shapeCenter FrequencyOutput levelBypass
–40 dB to –1 dB
(40 steps)0.50 to 1.00
(11 steps)1.0 kHz to 10 kHz
(91 steps)–40 dB to _20 dB 
(61 steps)On/off
Delay
Delay TimeFeedback TimeFeedback LevelFeedback TypeWet  Mi x LevelOutput level
0.05 ms to 
650 ms
(651 steps)0.05 ms to 
650 ms
(651 steps)0% to 90%
(91 steps)Stereo/
Ping-pong/
Multi-tap–40 dB to –0 B
(41 steps)–40 dB to +20 dB
(61 steps)
Distortion
Drive RatioDrive BoostEQ PatternOutput level
0 to 42
(43 steps)x 1 to x32
(32 steps)Overdrive 1/2, 
Distortion 1/2, 
Amp 1/2–40 dB to +20 dB
(61 steps)
Exciter
Sense FrequencyOutput levelBypass
0 to 42
(43 steps)1.0 kHz to 10 kHz 
(91 steps)–40 dB to +20 dB
(61 steps)On/off
Flanger
RateDepthResonanceDelayWet  Mi x LevelDry level
0.1 Hz to 10 Hz
(91 steps)0% to 100%
(101 steps)0.00 to 1.00
(91 steps)0.05 ms to 
500 ms
(101 steps)–40 dB to –0 B
(41 steps)–40 dB to +20 dB
(61 steps)
Guitar Compressor
RatioAttackOutput levelBypass
0 to 42
(43 steps)0.1 ms to 5.0 ms 
(50 steps)–40 dB to +20 dB
(61 steps)On/off
Phaser
StepsLFO RateLFO DepthResonanceOutput levelBypass
1 to 16
(16 steps)0.1 Hz to 10 Hz
(99 steps)0% to 100%
(101 steps)0% to 100%
(101 steps)–18 dB to +12 dB
(31 steps)On/off
Pitch
Semitone shiftPitch FinePre- DelayFeedbackWet  Mi x LevelDry level
–12 to +12
(25 steps)–50 to +50
(101 steps)0.05 ms to 
500 ms
(91 steps)0% to 90%
(91 steps)–40 dB to –0 B
(41 steps)–40 dB to +20 dB
(61 steps) 
						

							6 – TASCAM effects—Preset effect settings
 TASCAM DM-24 Effects 27
Some of these characteristics are difficult to explain 
in words, and quite frankly, the only way in which 
you can find out exactly what they do is to experi-
ment with the settings, if you are unfamiliar with 
them.
However, the bulk of these settings should be famil-
iar to anyone who has used any multi-effects proces-
sor in the past.
A few notes may be in order here:
 All effects here are dual-channel except for the dis-
tortion and the guitar compressor, which are sin-
gle-channel effects. The “EQ patterns” in the distortion corresponds to 
the approximate equivalent patterns produced by a 
number of popular guitar and bass amplifier/
speaker combinations. Experiment with these to 
obtain the guitar sound you want (or any other 
instrument you care to put through this processor)
 The different patterns on the delay correspond to 
Stereo, Ping-pong and Multi-tap settings.
 The knee shape on the soft compressor affects the 
sharpness of the compressor effect.
Preset effect settings
Please bear in mind that the descriptions here are 
very subjective. When a sound is recommended “for 
use with bass”, for example, this is not a rule—sim-
ply a recommendation.Feel free to play with the different sounds and exper-
iment, using these preset sounds as the basis for your 
own effects.
Soft Compressor
ThresholdRatioAttack TimeRelease TimeKnee ShapeOutput levelBypass
–40 dB to –1 dB
(40 steps)1:1.00 to 1:
∞0.05 s to 5.0 s
(100 steps)50.0 ms to 
500 ms
(451 steps)1.0x to 0.5x
(21 steps)–18 dB to +12 dB
(31 steps)On/off
Effect type Preset No. Title LCD indication Comments
Guitar Compressor
0
Guitar Comp.Guitar Comp.Basic compressor
1Classic Comp.Classic Comp.A classic compressor sound
2SustainSustainCompressor setting for guitar sustain
3Fa t  C o m p.Fat Comp.A rather deeper, “fatter” type of compression.
4Deep Comp.Deep Comp.Deep compressor sound.
5Rhythm Comp. Rhythm Comp. A cutting compression setting for percussion.
6Fast AttackFast AttackA fast attack setting.
7Slow AttackSlow AttackA rather slower attack setting.
8Slap Comp.Slap Comp.Suitable for slap bass
9Pe r cu ss i vePercussiveA clean sound, suitable for percussive guitar work, etc.
Distortion
10
DistortionDistortionA basic distortion sound.
11Over DriveOver DriveA basic overdrive sound.
12Blues 1Blues 1Suitable for a “front pickup” blues guitar style.
13Blues 2Blues 2A rather stronger sound than the previous Blues 1 sound.
14Vocal DistVocal DistUseful if you need distorted vocals.
15Rock 1Rock 1Suitable for 70s rock music.
16Rock 2Rock 2Another kind of rock-type distortion.
17Rhythm 1Rhythm 1A sweet-sounding distortion for backing work. 
						

							6 – TASCAM effects—Preset effect settings
28 TASCAM DM-24 Effects
18Rhythm 2Rhythm 2A lighter backing style distortion.
19Bass DistBass DistUse this distortion with bass.
20Fusion 1Fusion 1Use this with solo instruments to fill out the sound.
21Fusion 2Fusion 2Distortion used for a smooth, sweet fusion style.
22BritishBritishA fat classic “single-coil” distortion.
23FuzzyFuzzyA rather heavy fuzz distortion.
24GutsGutsA “single-coil” overdrive sound.
25SweetSweetA rather sweet, “rear pickup”-type solo sound.
26MellowMellowMellow distortion. Try with the front pickup.
27CheapCheapA cheap and cheerful distortion sound.
28LeadLeadA lead solo distortion sound.
29BottomBottomSomewhat bass-heavy driving sound.
30StrongStrongA powerful driving sound.
31Tr e b l yTreblyDriving sound with a lot of treble.
32SoloSoloHumbucker” solo sound.
33CrunchCrunch“Crunch”
34Fa t  D r i veFat DriveA thick, fat sound
Compressor
35
CompCompBasic compressor sound
36Fast AttackFast AttackA compressor with a fast attack
37Slow AttackSlow AttackA compressor with a slow attack.
38Short ReleaseShort ReleaseQuick-release compressor.
39Long ReleaseLong ReleaseSlow release compressor.
40Vo c a l  C o m p  1Vocal Comp 1Use this compressor with vocals.
41Vo c a l  C o m p  2Vocal Comp 2Maybe a little more natural-sounding than Vocal 1.
42InstInstThis setting is good with a rhythm box or drum machine.
Exciter
43
ExciterExciterHelps the definition of musical sounds.
44Edge Edge The treble is attenuated in this setting.
45Vo c a l  E XVocal EXSuitable for use with vocals.
46Rhythm GRhythm GUse this setting with rhythm guitars.
47Bass EXBass EXUse with bass guitars and instruments.
De-esser
48
De-esserDe-esserUse this to reduce sibilance.
Phaser
49
PhaserPhaserBasic phase sound.
50G Phaser 1G Phaser 1Use this phase with guitars
51G Phaser 2G Phaser 2Use this with backing guitars.
52G Phaser 3G Phaser 3Use the resonance in this sound with guitars.
53Bass Phaser 1Bass Phaser 1Use with fast passages from bass guitar.
Effect type Preset No. Title LCD indication Comments 
						

							6 – TASCAM effects—Preset effect settings
 TASCAM DM-24 Effects 29
54Bass Phaser 2Bass Phaser 2Slower bass phaser.
55Rhythm Phaser 1Rhythm Phaser 1A phase for cutting rhythm.
56Rhythm Phaser 2Rhythm Phaser 2Fast rhythm phaser.
57Vocal Phaser 1Vocal Phaser 1A rather “loose” phase sound.
58Vocal Phaser 2Vocal Phaser 2“Inspirational” vocal phasing.
59Drum PhaserDrum PhaserUse this with drums to create space.
60Fusion PhaserFusion PhaserSounds good with fusion styles.
61Vibrato PhaserVibrato PhaserPhase used as vibrato.
62Wah PhaserWah PhaserPhaser used like a wah-wah pedal.
Delay
Stereo 63DelayDelayA basic delay setting.
64Long Echo Long Echo Long echo setting.
65Stereo Echo Stereo Echo A long stereo echo sound.
66BathBathSinging in the bath?
67DoublingDoublingA doubling echo setting.
68One TimeOne TimeOne-shot echo.
69Rhythm EchoRhythm EchoA good echo sound to use with drums.
Ping-Pong 70OasisOasisA lazy, casual echo sound.
71Short EchoShort EchoShort repeat echo.
72LooseLooseSlightly looser” echo setting.
73Vo c a l  E c h o  1Vocal Echo 1A “karaoke”-type echo.
74Vo c a l  E c h o  2Vocal Echo 2Use this setting with vocals for a short repeat.
Multi-tap 75Cross FeedbackCross FeedbackLeft and right echoes cross over.
76CoolCoolAlmost a vibrato setting.
77100bpm 1100bpm 1Use this at 100bpm.
78100bpm 2100bpm 2
79120bpm 1120bpm 1Use this at 120bpm.
80120bpm 2120bpm 2
81150bpm 1150bpm 1Use this at 150bpm.
82150bpm 2150bpm 2
Chorus
83
ChorusChorusThe basic chorus sound.
84Backing ChorusBacking ChorusAn “arpeggio” type of chorus setting.
85Fa s t  C h o r u sFast ChorusA fast chorus setting.
86Slow ChorusSlow ChorusA slower, lazier chorus.
87Soft ChorusSoft ChorusSoft and gentle.
88Deep ChorusDeep ChorusA deep chorus sound.
89Ensemble 1Ensemble 1A thick, “multiple” chorus sound.
90Ensemble 2Ensemble 2A chorus sound with a strong tremolo. 
91Ensemble 3Ensemble 3Another kind of ensemble sound.
Effect type Preset No. Title LCD indication Comments 
						

							6 – TASCAM effects—Preset effect settings
30 TASCAM DM-24 Effects
92Clean Chorus 1Clean Chorus 1A light chorus sound.
93Clean Chorus 2Clean Chorus 2Use this clean sound with vocals.
94Clean Chorus 3Clean Chorus 3A vibrato-type chorus effect.
95Chorus Flange 1Chorus Flange 1A feedback chorus setting, almost like a flanger.
96Chorus Flange 2Chorus Flange 2A flanger-like setting for use with bass.
97Chorus Flange 3Chorus Flange 3Strong modulation setting.
Pitch
98
Pitch shifterPitch shifterOctave doubler.
99Ensemble 1Ensemble 1A repeat setting to give an ensemble effect.
100Ensemble 2Ensemble 2A short repeat provides a “coming and going” effect.
101Ensemble 3Ensemble 3Useful when used with chorus.
1023th Harmony 13th Harmony 1Thirds-type harmony.
1033th Harmony 23th Harmony 2Lower thirds harmony.
104Octave 1Octave 1Octave up pitch shift.
105Octave 2Octave 2Octave down pitch shift.
1065th Harmony 15th Harmony 1Fifth up harmony.
1075th Harmony 25th Harmony 2Fifth down harmony.
108Pitch Chorus 1Pitch Chorus 1Detune and echo gives a chorus effect.
109Pitch Chorus 2Pitch Chorus 2Strong pitch change effect provides a chorus-like feel.
11012 Strings12 Strings12-string guitar emulation.
111Glow upGlow upPitch shift and feedback for an interesting effect.
112MysteryMysteryA sound of mystery.
Flanger
113
FlangerFlangerA “sparkling” flanger setting.
114G Flanger 1G Flanger 1Use this flanger setting with guitars.
115G Flanger 2G Flanger 2A fast flange setting.
116G Flanger 3G Flanger 3A looser flange setting.
117Bass Flanger 1Bass Flanger 1Use this flanger with bass instruments.
118Bass Flanger 2Bass Flanger 2Another sound for use with bass instruments.
119Vocal Flanger Vocal Flanger This can be used to add life to vocals.
120FunnyFunnyCreatures from outer space?
121Jet Flanger 1Jet Flanger 1Resonance to simulate a jet takeoff.
122Jet Flanger 2Jet Flanger 2A spacious “jet” sound.
123Sweet Flanger Sweet Flanger A smoother, sweet flange setting.
124Flanger EchoFlanger EchoRepeat and flange together.
125Tremolo FlangeTremolo FlangeFlanger used as a tremolo.
126Deep FlangerDeep FlangerA deep flanger setting.
127Metallic ToneMetallic ToneA flanger setting giving a metallic tone.
Effect type Preset No. Title LCD indication Comments