Mastering Rhythm: A Beginner’s Guide to Using a Metronome

“`html

How to Use a Metronome

Learn all about how to practice with a metronome for piano playing

Mastering a musical instrument requires consistent practice and an array of tools to improve technique. One such indispensable tool for piano students is the metronome. This article aims to provide a detailed guide on how to use a metronome effectively. We’ll explore what a metronome is, how to use it from the basics to higher levels of mastery, and some fun ways you can incorporate it into your practice sessions. By reading through these sections, you’ll gain a comprehensive understanding of this brilliant device and how it can take your piano playing to the next level.

What is a Metronome? Piano students can benefit by learning how to use a metronome

A metronome is a device that produces regular, metrical ticks or beats, set to a certain tempo. The tempo is usually measured in beats per minute (BPM). Traditional metronomes use a pendulum mechanism, while modern versions can be digital or even app-based, allowing for more features and flexibility. No matter the type, the primary function remains the same: helping musicians maintain a consistent tempo during practice.

For piano students, learning how to use a metronome can significantly improve timing and rhythm skills. Consistent practice with a metronome trains your internal clock, enabling you to play pieces with better pacing and steadiness. It also provides a tangible sense of progress as you gradually increase the BPM while mastering a piece. Consequently, the metronome becomes an essential learning tool for both beginners and advanced players.

How to use a Metronome: Start by Learning the Notes

Starting with the basics, it is essential to first be familiar with the notes and rhythms of the piece you are practicing. Before incorporating a metronome, make sure you can play the notes correctly. Spend time reading through the sheet music and getting your fingers accustomed to the keys. Accuracy in this initial phase is crucial because the metronome will then help you to refine and synchronize.

Once you are comfortable with the notes, slowly integrate the metronome. Set it at a slower tempo, approximately 50-60% of the desired final BPM. This slower pace allows you to focus on playing the notes correctly while paying attention to the metronome’s beat. Gradually, as your confidence and proficiency increase, you can start raising the tempo in small increments.

How to Practice with a Metronome: Setting Your Time and Tempo

Effective practice with a metronome requires setting accurate time signatures and tempos that match the pieces you’re learning. Start by determining the piece’s time signature – whether it’s 4/4, 3/4, or any other timing – and set your metronome to match. At this stage, focus on internalizing the beats, ensuring each note and rest within the measure aligns perfectly with the metronome.

After setting the time signature, work on the tempo. Begin at a tempo slower than the piece’s recommended pace and gradually increase it as you become more comfortable. This incremental method not only builds muscle memory but also reduces the likelihood of making mistakes. Patience is key. Don’t rush through the BPM increases; rather, take the time necessary to flawlessly execute each note at the current tempo before moving on.

Metronome Games

Practicing with a metronome doesn’t have to be monotonous. Introducing metronome games can make practice sessions more enjoyable and engaging. One popular game is the “Tempo Challenge,” where you play a piece at a certain BPM and then increase the tempo slightly for each successful playthrough. The goal is to see how fast you can accurately play the piece while staying in rhythm.

Another engaging activity is the “Missing Beats” game. Set the metronome to a specific tempo, but mentally omit one beat every bar, gradually increasing the number of omitted beats. This exercise sharpens your internal sense of timing and improves your ability to play independently of constant external cues. These games add variety to your practice routine, making it both fun and beneficial.

Links and Recommendations

For further reading and additional resources on mastering the metronome, here are some helpful links:

  • Piano Lessons – A comprehensive guide to various aspects of piano playing.
  • Music Notes – A vast library of sheet music to practice with.
  • Music Theory – Free resources for understanding music theory concepts.

Spend Some Time with Your Metronome

Ultimately, the key to mastering the metronome is consistency and patience. Make it a part of your daily practice routine and take the time to understand how it complements your playing style. Whether you are working on basic scales or tackling complex pieces, the metronome is your steadfast companion in improving rhythm, timing, and overall musicality.

By integrating these practices and embracing the utility of the metronome, you pave the way for significant progress in your piano studies. Stay diligent and enjoy the process; before long, you’ll find yourself playing with a newfound level of precision and confidence.

Final thoughts

Section Summary
What is a Metronome? An introduction to the device and its benefits for piano students.
Start by Learning the Notes Emphasizes the importance of knowing the notes before utilizing a metronome.
Setting Your Time and Tempo Guides on how to set the metronome correctly for effective practice.
Metronome Games Introduces fun techniques to integrate the metronome into practice sessions.
Links and Recommendations Offers additional resources for learning and practicing with a metronome.
Spend Some Time with Your Metronome Encourages consistent practice and reassures the importance of the metronome.

“` This comprehensive guide covers essential aspects of using a metronome, from understanding its function to mastering its incorporation into your piano practice. Utilize these steps and recommendations to enhance your learning experience and achieve greater rhythmic precision in your playing.

Rocktron VOODU VALVE ™

Rocktron VOODU VALVE ™

The VOODU VALVE TM
(Tube Driven Programmable 24-Bit DSP Guitar Preamp With Effects)

The VooDu Valve™ is the first preamp in Rocktron history to combine our world renowned DSP effects processing with tube
technology. The VooDu will define new standards, giving you the warmth and clarity of your favorite old “plexi” or “pre-CBS”
combo in a convenient single-rack package. What makes the VooDu Valve unique is that you can choose “high” and “low” tube
gain selections depending on how much tube break-up you want for your application. If you want an ultra-clean tone with a sharp
edge and minimal distortion, select “low” tube gain presets. If your tone requires a tinge of dirt, dial up “high” tube gain selections and run minimal digital distortion to get natural medium-saturated tones reminiscent of a maxed out half stack. And for you
“gain-heads”, run “high” tube gain with digital clipping…you have to hear this! The preamp section also contains many totally

usable features such as Variac, Triode, Pentode and Solid State voicings. With a four band full parametric post EQ section and
comprehensive pre EQ section, you will never run into a dead-end when EQing your presets (as you will with bargain preamps). The
possibilities are endless. – effects on the VooDu Valve will not wash out your tone or leave you waiting while switching presets.
They sound amazingly close to many of your favorite analog pedals without the hassle. Effects include two-tap chorusing, dual-
mode phaser, two-tap flanger, compression, frequency programmable wah-wah, tremolo, reverb, echo-like delay featuring unique
tap tempo mode, pitch shift, and HUSH® noise reduction placed after the preamp and before the effects where it should be, (no
noise reduction after the effects as you find with cheaper, noisier preamps). – of course, the VooDu Valve is studio and stage
ready with XLR balanced outs (with level control) and 1/4″ outs. Speaker simulation is taken to an art form on this preamp since it
provides parameters for techniques commonly used by sound engineers, including mic placement, speaker size selection and our
patented Reactance parameter. All MIDI functions have been employed including eight parameter continuous control and mapping.
Plug into our new All Access® foot controller and many new time-saving MIDI extras will come to light, such as pre-assigned effect
controller on/off functions, boost option and titles that automatically transfer from the VooDu Valve to the All Access. –

SPECIFICATIONS:
Input impedance 470K ohms, output impedance <150 ohms, maximum input/output level +20dBu, MIDI in 7 pin DIN, power requirements 9VAC 3400mA, dimentions 19″ x 1.75″ x 7″, UL and CSA approved operation

VooDu Valve™ is a trademark of Rocktron Corporation.

All Access® and HUSH® are registered trademarks of Rocktron Corporation.

Would you like to know more about the VooDu Valve’s functions and features?

Click the button below to view the on-line version of the VooDu Valve User’s Manual!

Note: The manuals are large documents and may take a few moments to load.
It is may be best to let the document and it’s graphics finish loading before scrolling.

You may also visit the Manual Library to view other Rocktron product manuals. Click here to check out a Product Review on this and other Rocktron products.

Take a look at the Piranha and the Chameleon® too!

| Preamps | Effects | Power Amps | Processing & Specialty | Midi Controllers |

Home

Rocktron News: ROCK NOTES

Rocktron News: ROCK NOTES

A great source of information on who uses Rocktron!These are past news items from 1996.
12/2/96

James Murphy, former guitar player for the hard rock group, Testament, has his Sound Temple
Studio profiled in the November issue of EQ Magazine. Check out page 18, wherein Murphy’s
studio in Oakland, California is highlighted. Also, take note that Murphy is using the RSP
Technologies Saturator in that studio. Bringing tube warmth to digital recording, the Saturator
continues to be the choice for legions of great players.

Page 68 of the December issue of Electronic Musician features a profile on jazz guitarist, Henry
Robinett. Seems that Robinett, with the help of engineer Christian Heilman, built a personal studio
in which they recorded Robinett’s newest release, When Fortresses Fall. And what was their
choice for noise reduction? Rocktron’s HUSH IICX. Good to see the HUSH IICX used in Robinett’s Blue Degrees Digital project studio!

December’s Guitar Shop magazine, page 27, details the live setup for John Shanks, currently on
tour and playing guitar for Melissa Etheridge in support of her Your Little Secret cd. Shanks also
worked in the studio during the making of Secret as a guitarist, co-arranger and co-writer. Thanks
John, for choosing Rocktron as an integral part of your setup. We see in the diagram our Intellifex
effects processor, the Rocktron Power Station, and the cool, cool blue All Access footcontroller.

Guitar Player’s Special 30th Anniversary Issue (January 1997) has just hit the stands. This issue
looks at guitar players, their styles, the music trends and the gear from 1967-1997. Rocktron is
proud to find the company listed in an article titled: “Ace Hardware: The Gear That Shaped The
Way We Play”. Art Thompson takes a look at “30 or so mileposts” from the past years as he
examines musical gear that had defining impact on the guitar player. Rocktron is indeed included,
as Art Thompson states that “Rocktron’s HUSH IIC, a two-channel device that offered more than
30dB of noise reduction at all signal levels and frequencies quickly became an essential element.”
Now called the HUSH IICX, this unit is still selling well at music stores around the world. Of
course, even a HUSH Pedal is now available. Thank you Art Thompson for citing the HUSH as an important part of guitar gear history, and thank you Guitar Player. Congratulations on your 30th
Anniversary, from a company that is preparing to celebrate its 15th!

11/3/96

Neil Zaza has completed his “Burning Down Your Town” Rocktron clinic tour. The Clinics were a big success, with lot’s
of positive feedback coming back from store personal and people who attended the clinics. Bravo Neil!!!

10/22/96

Two guitarists have been added to the list of Rocktron endorsers! Chris Hicks of Reba McEntire, and John Shanks of Melissa Etheridge.

Chris uses his Rocktron VooDu Valve preamp for all live performances with Reba and will be aquiring more Rocktron gear shortly!

Melissa’s tour stoped here in Detroit on Saturday, October 19th for a performance at the Palace of Auburn Hills. John called several days before to invite us to the show. Before the show, John showed me his rig which included the Rocktron Power Station and the Intellifex, which he mainly uses for reverb effects. John’s massive setup, consisting of several Amp heads and many cool effect boxes, is all controlled with his Rocktron All Access MIDI foot controller. Also, we hooked John up with the Rocktron VooDu Valve preamp which he intends to use for recording in his home studio! When not touring, John is an active song writer/studio session player and has many credits, including songs written and recorded for Bonnie Raitt, Joe Cocker and “The Last Action Hero” movie sound track. Look for a diagram of John’s touring rig in the upcoming December issue of Guitar Shop magazine!

We’ve been saying for years that Rocktron users include a wide spectrum of players and performers. From grunge to metal to country, the best artists choose Rocktron gear. Even the “Achy Breaky” man himself, Billy Ray Cyrus chose Rocktron for his project studio. According to the October ’96 issue of EQ Magazine, (page 29), Billy Ray’s outboard gear in his project studio in Kingston Springs, Tenessee, includes the Rocktron Intellifex. A great choice for live, and for studio use, the Intellifex continues to be a standard in the industry! Thanks, Billy Ray!

10/16/96

Vintage effects are the rage these days, and the combination of retro-style effects with ’90s
effects in the Rocktron Replifex is a big hit. Seems that one of the hottest new bands to
come along is using the Replifex, as verified by the December 1996 issue of Guitar
School magazine. Tim Mahoney of the band 311 has chosen the Replifex, (see page
142) for use in the band’s fx arsenal. Just another sign that the best artists use the best
gear with Rocktron.

10/11/96

Check out the current issue of Guitar (U.S. version) wherein they detail a great rack setup
belonging to Paul Crook of Anthrax. Citing Crook as “a rising guitarist in the New York area”, they
point to his performance on the new Anthrax release “Stomp 442”. And what is in Paul Crook’s
rack? How about a Rocktron Replifex, Rocktron Intellifex, Rocktron Patchmate and a Rocktron
Pro Q!!! Paul also uses the Rocktron All Access to control his entire rack! This guy has great taste.

The original members of Journey have regrouped and are planning a massive tour. Guitarist extrordinaire, Neil Schon, will be taking the stage accompanied by Rocktron All Access foot controllers and Patchmates to manage his
numerous switching needs.

10/4/96

According to GUITAR Magazine’s German edition 5/96 which just reached us at Rocktron, Slash is using 4 of the Marshall 2555 amps, along with 4 Nady 1200 wireless systems. This is a sure
means of creating incredible noise problems for the performer. But look closely at the diagram
showing his setup, and you will find the answer to the problem: Rocktron’s HUSH noise reduction.
We must say that Slash knows his noise reduction!!

9/6/96

Gary Hoey’s new CD titled “Bug Alley” will be released by Surf Dog Records on October 23. Gary tells us he used the Intellifex, the RSP Intelliverb, the Chameleon and the VooDu Valve during the recording sessions. “Every effect you hear on this CD,” says Gary, “is Rocktron!”

Produced by the famous Roy Thomas Baker, this Hoey CD will have even wider distribution than his last few. Gary tells us that the RSP Reanimator solved some problems during recording that even some very expensive all-tube compressors could not solve. Roy Thomas Baker is said to be a big fan or the RSP Saturator as well, and it was used on bass tracks as well as some vocal tracks. We’re looking forward to the release of Bug Alley in October, and the re-release of Gary’s Christmas CD, “Ho-Ho-Hoey” in November!
Gary Hoey had a special guest on one of the tracks of his new CD, Bug Alley. Brian Setzer joined him in the making of the title track. Brian has recently done some touring and performing live on radio stations using the VooDu Valve and the Rocktron MIDI Mate controller pedal!

The September issue of Germany’s Sound Check magazine breaks down Bryan Adams rack on page 92. Listed prominently is a “Rocktron HUSH II Noise Reduction System.” Bryan has good taste, obviously!
Bryan Adams’ touring partner, Keith Scott has a rack profiled in the same magazine on page 94. You will find the Rocktron Patch Mate and a Rocktron Allen Holdsworth Juice Extractor in Keith’s rack.
Also profiled in the September Sound Check is Stevie Salas. Stevie has played with some of the most famous musicians out there, as well as releasing plenty of solo efforts. Stevie still uses the vintage Rocktron GAP1 preamp which was manufactured in the eighties! He swears by the tone!

8/26/96

November’s Guitar magazine will feature a Rocktron/Neil Zaza Giveaway Contest.
While Neil is out burning up the road on his Rocktron Clinic Tour, readers of
Guitar will get their chance to enter and win a Rocktron VooDu Valve Deluxe
Rack Combo. The VooDu Combo includes the screaming VooDu Valve tube preamp,
a Velocity© 120 power amplifier, a Rocktron MIDI Mate foot controller, two Velocity S-112 guitar cabinets, a soft rack gig bag with the big Rocktron logo, and a special cool Rocktron logo plate. Rocktron’s Rack Combos all ship pre-wired with
STRAIGHT A Gold Plated Cables, our only choice for guitar gear hookups!
Ten runner-ups will receive free Neil Zaza CD’s, “Sing” from High Chief Records.
Retail value of this great giveaway contest is over $2,800.00 USD. Get your issue,
on sale in the month of October and enter!

8/8/96

J. (White Zombie) just installed a Tsunami Chorus Pedal into his Patch Mate set up for his touring rig. He mentioned loving it’s sound and it’s road-proof chassis.— Remember to catch the “War of the Gargantuas” Tour featuring Pantera’s Dimebag Darrell, White Zombie’s J., and The Deftones’ Stephan Carpenter—All Rocktron Endorsers!!!

On Monday August 5th, we had the pleasure of having Guitarists David Barry, Larry Campbell, and guitar technitian Ron Johnson of k.d. lang stop by the Rocktron factory to take a tour of the facility and check out the latest Rocktron gear. David already uses the Rocktron All Access MIDI foot controller and the Replifex guitar effects unit in his touring rig. Larry heard the sounds David gets so he was interested in picking up some new toys as well. After demonstrating the Replifex, All Access and the Piranha preamp for Larry, he was so impressed with the sound that he purchaced all 3 units! Both David and Larry signed artist endorsment aggrements. Ron set us up with tickets and after show passes for that nights performance and the show was excelent.

Carvin Norge, Rocktron’s Norway distributor, sent us a CD recorded by Norwegian guitarist Carl August Tidemann. Carl is a Rocktron user and states in the CD liner notes: “My guitar rack is exclusively equipped with Rocktron Guitar Rack Technology” while proudly displaying the Rocktron logo. All guitar tracks on this all-instrumental solo CD were recorded with Carl’s Rocktron VooDu Valve preamp. Members of his progressive metal band “Tritonus” appear on the CD as well.

7/15/96

Tracy Chapman is getting set to begin touring in support of her new CD entitled “New Beginning” which is currently listed in Billboard’s top 10 albums. Tracy’s guitarist Linda Taylor will be using the Replifex in her live rig. Linda says “I like the Replifex for all the cool older sounding effects, especially the Rotary Speaker effect… It really provides all the effects I need for our style of music”.

Ron Johnson, guitar tech for David Barry of k.d. lang (formerly of Janet Jackson) called up to let us know that David is now using the Replifex with an All Access MIDI controller in his live rig. k.d. will be here in Detroit August 5th and Ron, David and other musicians from the band will be stopping by Rocktron to tour the factory and check out other Rocktron products!

7/9/96

Anyone watch the David Letterman show Tuesday evening, July 8th??? Musicial guest (formerly known as Prince) premiered his new material and Rocktron endorser Kat Dyson backed him up on guitar. Of course Kat was using her Voodu Deluxe Combo which features a VooDu Valve, Velocity 120, MIDI Mate and two SE112 speaker cabs. Kat swears by her Rocktron gear and simply refuses to play through anything else!

7/2/96

Andy the rack technition at Rudy’s Music in New York City informed us that he’s setting up rack systems for Will Lee of the David Letterman show, and guitarist Wayne Krantz of Steely Dan. Both riggs will include the Rocktron All Access MIDI controller and the Patch Mate switching system. Will uses 8 different floor effects which he wanted to get off the floor and neatly tucked back in his rack.

Kent Wells, guitarist for Reba McEntire, wrote us a letter to “let us know how much I enjoy your guitar rack products, both on the road and in the studio!” Kent is using a Replefex, VooDu Valve, Rack Interface and Power Station in his studio rig and an Intellifex, Power Station and Rack Interface in his touring rig. Kent exclaims “They always work great! You can hear the VooDu Valve all over Reba’s new album and it screams!” Look for the new Reba McEntire CD to be released sometime in September.

Country star Charlie Daniels reciently joined the ranks of VooDu Valve converts. When Charlie told Roger Campbell (Charlie’s guitar tech) that he wanted to go rack, Roger started searching for new rack gear. When asking around town, Roger spoke with Bud Philips, guitarist of Travis Tritt… Yeah you guessed it, Bud also uses the VooDu Valve and recomended it for Charlie. Roger says “Charlie uses it live and loves the thing”.

6/24/96

Vernon Reid – recently picked up some Rack Interfaces and Replifexes to add to his
already immense (multi-rack) setup. His tech Mark Snyder is a Rocktron devotee and
appreciates the best.

Dave Mustaine – who used the Chameleon as well as other Rocktron gear on Megadeth’s last Platinum “Euthanasia” CD. In fact, Vinnie Sansevere (Dave’s Tech) states that Dave
has a new rack featuring a Piranha, Replifex, Power Station, and Chameleon ready for the
next time they hit the road !

Labeled “The War of the Gargantuas” by Concrete Management who manages White
Zombie and Pantera..this is one tour Metalheads nationwide will not want to miss. Both
bands are currently using lots of Rocktron in their stage setups. In fact J.’s (White Zombie)
rack is a virtual Rocktron advertisement featuring: three Guitar Silencers, an All Access,
an Intellifex, a Patch Mate and a Tsunami Chorus pedal. We already know that Dimebag is
using a couple Guitar Silencer’s in his set-up.

U.K.’s Guitar Magazine for June includes an interview with Dimebag Darrell in which
his rig is detailed. Here is a direct quote from the article on page 30 in which Pantera’s
guitarist says “Even if your amp has all the gain you want, putting another form of gain
in-front of it will give you a completely different type of distortion that could be totally
crushing! Remember though, if you’ve got a lot of gain going on you’re gonna need a
noise gate to shut your shit down when you’re not playing. If I don’t have my Rocktron
Guitar Silencer running, my rig has way too much hiss and feedback going on! ”

Also on the “War of the Gargantuas” tour is Geffen Records newest metal offering, the
Deftones, who will be opening the show. Guitarist Stephan Carpenter recently picked up an
All Access, Replifex, Patch Mate, Power Station, and new sound!… He became a
Rocktron convert when the Deftones toured with Rocktron endorser Dr. Know of Bad
Brains.

Brooklyn’s Biohazard recently released their latest (and greatest) CD entitled “Mata Lead”
featuring some of the heaviest rap/rock known to man-kind. Guitarist Billy Graziadei is
also taking some newly acquired Rocktron gear out with him on their tour. His new rig
features a Replifex, All Access, and a couple of Phantom Cabs.

John Shanks – Guitarist for Melissa Etheridge recently picked up a new All Access for extensive touring.

Piranha Alert! ! ! ! Since Guitar Tech Expert Brian Doyle started working with the Red Hot
Chili Peppers, Piranha fever has struck. Silverchair did several stints with R.H.C.P. on
tour and when Silverchair’s lead singer/guitarist Daniel Johns found out that Brian used to
work with Page Hamilton from “Helmet” he HAD to meet him. On Brian’s
recommendation, Daniel took a Piranha back to Australia to use when they record their
follow-up to their double Platinum debut “Frogstomp”.

Brian did not stop there either. He loved the Piranha so much that he showed it to Axl Rose of Guns N Roses. Axl loved it so much that he ordered up an All Access, Replifex, Intellifex LTD, Power Station, and Rack Interfaces. He will be showing his
new sounds to Slash who will be showing up in a couple of weeks to start working on new
material. Hopefully their differences can be worked out and a new record will result.

August ’96 issue of Guitar Player features an article on Nashville studio players whercin
Nashville guitarist Troy Lancaster’s efforts are detailed. Check out his rig on page 71,
where you will find the Rocktron Model G612 mixer and the Rocktron Intellifex effects
processor. Troy obviously has good taste!

6/6/96

Nashville’s top session player, and Rocktron endorser, Chris Leuzinger will follow up
his work with Garth Brooks in September when he records Garth’s next CD. You can
hear Leuzinger’s work on the huge selling “Fresh Horses” CD that is helping Garth
Brooks set new sales records. Chris used Rocktron on that album, including his
Guitar Silencer with HUSH. “I use it all the time. The Silencer has been great, and it really
makes my life easier.”

Leuzinger also used the Guitar Silencer on Hal Ketchum’s new CD, a Greatest Hits
offering for which Chris recorded some new tracks. Chris reports that he uses the
Rocktron Intellifex in his demo rack “The Intellifex works well.” And to this day he is
still utilizing the Rocktron/Bradshaw switching system to control his Nashville rig.

Look for a new “Disney Country” CD, featuring artists such as Tim McGraw, Pam
Tillis and George Jones. You will find Rocktron’s favorite country player, Chris
Leuzinger using his Rocktron gear for the CD.

6/3/96

Just shipped from Rocktron to a studio in Los Angeles for recording use by Akira
Takasaki: a Piranha preamp and a Tsunami chorus pedal. Akira will be putting finishing touches on his newest CD for the Japan market. Over ten years as a Rocktron
endorser, and hundreds of thousands of CDs sold in Japan with his group “Loudness”,
Akira Takasaki has used Rocktron preamps for a very long time. He also uses the
Intellifex and Replifex units.

Working on his new CD in the States is Neil Zaza. Look for a feature ad with Neil to
appear in upcoming issues of Guitar Player and Guitar magazines promoting Neil’s fall
clinic tour in the U.S. Neil is using a wide range of Rocktron product on his new CD,
which should have worldwide release a bit later this year. Zaza visited us here at
Rocktron just a couple of weeks ago and told us he is very happy with all of his Rocktron
gear!

Catch the mention of the Rocktron HUSH The Pedal on page 78 of the July issue of
Guitar magazine. Article on Noise Gates includes The Pedal. While we do not consider
HUSH products as noise gates, we do appreciate the inclusion in an article on solving
noise problems for guitar players.

Rocktron listed by Music Trades publication as one of the Top 100 “leading music
suppliers of the music products industry.” We love the honor. Each year Music Trades
reviews the performance of the top manufacturers in the U.S. and ranks them by sales
volume. Inclusion on this list places Rocktron within the ranks of the music industry’s
top performers! While there are several thousand maufacturers within the music products
industry, members of the Top 100 list account for more than 80% of the industry’s retail
sales!

Rocktron recently shipped a Patch Mate for use by Richie Sambora on the latest Bon
Jovi tour. Sambora also uses the Rocktron Model 300G guitar compressor and has been a
Rocktron user for many years!

Also in the studio at this time, and burning up tracks with plenty of Rocktron gear is
Gary Hoey. Look for Hoey’s new CD to feature Gary doing vocals for the first time on
his releases! Hoey is also utilizing our RSP Technologies Saturator for guitar tracks,
which he says increases the “warmth” of the tracks!

Check out page 71 of the June issue of Guitar Shop in the States for a great review of the Rocktron Tsunami chorus pedal. Joe Cefalu states that “its quality should place it in the
same league as the much-coveted t.c. electronics chorus, though the Tsunami’s controls
have a deeper range.” Thanks to Shop for this great review!

The same issue of Guitar Shop has a great article on legend Jim Marshall of Marshall
Amplification. Jim’s choice for a product line to distribute in the U.K. in addition to
Marshall? Rocktron Guitar Rack Technology. The Marshall sales staff is selling and
promoting Rocktron in England and throughout the U.K. !

June issue of Guitar Shop also shows Carl Verheyen, L.A. studio wiz, who mentions
that he uses the Rocktron Juice Extractor. Actually, the Juice Extractor is no longer
manufactured, but was a product designed by Allan Holdsworth and manufactured by
Rocktron. Gone to the vintage pastures now!

Red Hot Chili Peppers picked up some HUSH Pedals while on tour in Australia very
recently. Rocktron Distributors, Downunder Musical Imports, actually met the band and
received signed t-shirts which they now proudly display in their shop!

Anyone notice the HUSH Pedal in front of Dimebag Darrell from Pantera in the June
issue of Guitar magazine in the States? Pantera has also used Rocktron’s
Guitar Silencer,
as have White Zombie and Anthrax for quite some time.

| What’s New? | Rocktron Notes | Product Reviews | Manual Library | Patch Bay! | Customer Support |

BACK TO THE TOP OF THE PAGE
Home

Rocktron Chameleon ™ Manual

Rocktron Chameleon ™ Manual

PRECAUTIONS
NOTE: IT IS VERY IMPORTANT THAT YOU READ THIS SECTION TO PROVIDE YEARS
OF TROUBLE FREE USE. THIS UNIT REQUIRES CAREFUL HANDLING.
All warnings on this equipment and in the operating instructions should
be adhered to and all operating instructions should be followed.
Do not use this equipment near water. Care should be taken so that objects
do not fall and liquids are not spilled into the unit through any openings.

The power cord should be unplugged from the outlet when left unused for
a long period of time.
DO NOT ATTEMPT TO SERVICE THIS EQUIPMENT. THIS EQUIPMENT SHOULD BE
SERVICED BY QUALIFIED PERSONNEL ONLY. DO NOT MAKE ANY INTERNAL ADJUSTMENTS
OR ADDITIONS TO THIS EQUIPMENT AT ANY TIME. DO NOT TAMPER WITH INTERNAL
ELECTRONIC COMPONENTS AT ANY TIME. FAILURE TO FOLLOW THESE INSTRUCTIONS
MAY VOID THE WARRANTY OF THIS EQUIPMENT, AS WELL AS CAUSING SHOCK HAZARD.

POWER REQUIREMENTS
This unit accepts power from the 9VAC/2A adaptor supplied with the unit.
This 9 volt RMS AC voltage is internally processed by a voltage doubler
which generates a bi-polar +/-15 volts to maintain the headroom and sound
quality of professional, studio quality equipment. Using an external power
source such as this minimizes excessive noise and hum problems often associated
with internal transformers, providing optimal performance for the user.

OPERATING TEMPERATURE
Do not expose this unit to excessive heat. This unit is designed to
operate between 32° F and 104° F (0° C and 40° C). This
unit may not function properly under extreme temperatures.
Copyright ©1994 Rocktron Corporation.
All rights reserved.

CONTENTS

1. Introduction
2. Front Panel
3. Rear Panel
4. Connections
5. Operating Format

Chameleon™ Functions and Parameter Descriptions
GLOBAL Function
MIXER Function
HIGH GAIN Function
LOW GAIN Function
HUSH® Function
PRE EQ (EXPERT) Function
POST EQ (EXPERT) Function
COMPRESSOR Function
SPEAKER SIMULATOR Function
WAH-WAH Function
PHASER Function
FLANGER Function
TREMOLO Function
PITCH SHIFT Function
CHORUS Function
DELAY Function
REVERB Function

6. Chameleon™ Configurations
7. Operating the Chameleon™

Selecting a preset
Changing preset parameters
Storing changed preset parameters
Selecting a configuration
Editing a preset title
Controller Assignments
Tap Delay
Program Changes
MIDI Channels
MIDI Dump/Load
Factory Restore
Selecting a Power On Preset
Using the Chameleon™ with a Rocktron All Access™
in REMOTE mode

8. Appendix

ERROR MESSAGES
MIDI IMPLEMENTATION
TECHNICAL DATA
CHAMELEON FACTORY PRESETS

1. INTRODUCTION
Congratulations on your purchase of the Rocktron Chameleon™! The Chameleon™
is a 24 bit DSP professional guitar preamp providing 12 unparalleled effect
algorithms and superb sound quality never before heard from a digital guitar
preamp. Complete programmability and full MIDI implementation are coupled
with a user friendly operating format to ensure that designing unique and
useful preset sounds is as simple as possible.
In addition, the Chameleon™ also features:

Advanced Speaker Simulation provides a strikingly realistic approximation
of a miked speaker cabinet at line-level for direct mixer input or headphone
listening.

Full parametric Pre and Post EQ gives the user complete EQ control
over each preset.

Hush Systems’ HUSH® Noise Reduction provides noise reduction while
playing and complete silence when not.

“Variac” Simulation, like a conventional Variac, adjusts
the level at which the preamp begins to distort. This provides more gain
in high-gain applications, and allows for full-bodied cleaner presets which
just begin to distort when the strings are attacked harder.

Internal Wah-Wah allows the player to use an expression pedal for Wah-Wah
effects instead of running long audio cables out to a conventional Wah-Wah
pedal.

High-quality Digital Effects, including:

Reverb, Phasing, Tremolo, Flanging
Pitch Shifting, Compression, Chorus and Delay.

XLR Outputs for direct mixer input.

For a thorough explanation of the Chameleon and its features, please
read this manual carefully and keep it for future reference. After removing
the Chameleon™ from the box, save all packing materials in case it becomes
necessary to ship the unit.
Back to CONTENTS

2. FRONT PANEL
1 POWER switch
2 RECALL button
This button is used to recall the displayed preset.
3 PRESET control
This control scrolls through the successive presets.
4 CONFIG button/led
The status of this button determines whether the Chameleon™ will display
either the preset number and titlc or the configuration of the currently
displayed preset. The configuration display indicates the effects that
the displayed preset executes and, in most cases, the order in which they
are executed.
The LED above the CONFIG button is lit when the configuration is displayed.
5 DISPLAY panel
The DISPLAY panel provides 16 characters consisting of 14 segments
each.
6 EFFECT BYPASS button/led
When lit, the Pre and Post effects are bypassed and only the Compressor/Preamp
signal is passed to the Chameleon™ outputs This button does not affect
the condition of the Speaker Simulator.
7 COMPARE button
The COMPARE button may be used to compare an altered parameter value
to its stored value.
This button may also be used to compare between the altered and stored
values of multiple parameters under the same function heading (i.e. “Reverb”,
“Mixer”, etc.).

Note: If comparing an aItered value to the stored value and the stored
value is currently being viewed, turning a knob or pressing a button that
changes the parameter value displayed will cancel the previous altered
value. This will alao occur if a MIDI Control change is received while
viewing the stored value(s).

8 PARAMETER ADJUST control
This control is used to adjust a displayed parameter value. When the
parameter is changed from its original value, the LED above the STORE button
will light until either the new value is stored, a new preset is selected
or the parameter is returned to its original value.
9 STORE button/led
This button is used to store values into the Chameleon™ memory when
altered. See “Storing Changed Preset Parameters”
for more information on this procedure.
10 PARAMETER SELECT control
the available parameters under the current function heading. In the
“Title Edit” function, this control will scroll through the character
locations to be edited.
11 FUNCTION SELECT control
This control allows access to each function of the Chameleon™, depending
on what configuration is currently recalled.
12 SPEAKER SIMULATOR indicator
When lit, this LED indicatcs that the Speaker Simulator is activated
for the current preset.
13 OUTPUT LEVEL control
This control is used to adjust the output level of the unit at the
unbalanced outputs.
14 INPUT LEVEL meter
These LEDs provide visual indication of the peak level of the input
signal when in the Preset Select mode. For the optimal signal-to-noise
ratio, it is best to adjust the input level so that the last LED (0dB)
is rarely lit. This will guard against the possibility of overdriving the
unit.
These LEDs also display the final digital mixer output levels when
any other functions are selected. This will help you to guard against clipping
the output of the mixer at the digital-to-analog converter.
15 INPUT LEVEL control
This control adjusts the unit’s gain to match the signal level at the
input of the Chameleon. Use the INPUT LEVEL meter to determine the setting
of this control.
16 INPUT jack
This standard, unbalanced mono 1/4″ jack is used to provide input
to the unit. It is front panel mounted for easy access.
Back to CONTENTS

3. REAR PANEL
1 BALANCED OUTPUT LEVEL
control
This control determines the output level at the XLR BALANCED OUTPUTS.
Note that the balanced outputs pass the same signals as the unbalanced
outputs, except that the levels are independently adjustable.
2 (L) BALANCED OUTPUT connector
This balanced XLR connector provides the left balanced output of the
Chameleon™ for direct use into a mixing console.
3 (R) BALANCED OUTPUT connector
This balanced XLR connector provides the right balanced output of the
Chameleon™ for direct use into a mixing console.
4 (L) UNBALANCED OUTPUT jack
This 1/4″ unbalanced RTS jack provides the left unbalanced output
of the Chameleon™ for use with a guitar amplifier or rack system setup.
In addition, this jack also allows for the connection of stereo headphones
(600ohms impedance or greater).
5 (R) UNBALANCED OUTPUT jack
This 1/4″ unbalanced RTS jack provides the right unbalanced output
of the Chameleon™ for use with a guitar amplifier or rack system setup.
6 FOOTSWITCH jack
This 1/4″ mono jack allows for the connection of a momentary footswitch
to control the Tapped Delay feature of the Chameleon™. The Tapped Delay
feature allows the player to set (or reset) the current delay time by tapping
the footswitch. The new delay time will be based on the length of time
between two taps. For more information on this feature, refer to the “Tap
Delay” section .
7 REMOTE jack
This 7-pin DIN connector is provided for the connection of a Rocktron
All Access™ MIDI footswitch, which can be configured to act as a dedicated
remote footswitch for the Chameleon™. This feature allows the user to access
Chameleon™ functions and parameters via the remote footswitch.
8 PHANTOM POWER jack
This 2.5mm PIN jack offers the ability to power Rocktron MIDI foot
controllers from a 7-pin MIDI cable which connects from the Rocktron MIDI
foot controller to the MIDI IN jack on the rear panel of the Chameleon™.
This eliminates the need to find an AC outlet near where the footpedal
would be placed during a performance, or the need to run an extension cord
out to the footswitch. Instead of inserting the AC adaptor into the “POWER”
jack of the footswitch as you would normally, plug it into the “PHANTOM
POWER” jack on the Chameleon™. This will power the Rocktron MIDI foot
controller through pins 6 and 7 of the MIDI cable connecting the two units.
A 7-pin MIDI cable must be used and is available from your Rocktron dealer.
9 MIDI IN jack
This 7-pin DIN connector must be connected to the MIDI OUT jack of
the transmitting MIDI device via a standard MIDI cable, or to the MIDI
THRU jack of the preceding device (if the Chameleon™ is within a chain
of MIDI devices).
Pins 6 and 7 of this connector carry the phantom power to power a Rocktron
MIDI foot controller when a 7-pin MIDI cable is used.
10 MIDI THRU/OUT jack
This standard 5-pin DIN connector can be connected to the MIDI IN jack
of another device via a standard MIDI cable. There are limitations to the
number of devices that can be chained (or series connected) in this fashion.

Note: Inherently in MIDI there is a limit to the number of devices
which can be chained together (connected in series). With more than 3 devices,
a slight distortion of the MIDI signal can occur (due to signal degradation)
which can cause an error in MIDI signal transmission. Should this problem
arise, a MIDI Thru box can be used which connects directly to the MIDI
device which transmits MIDI information and has multiple connectors for
the multiple devices receiving MIDI. MIDI cables should not exceed 50 feet
(15 meters) in length.

11 POWER jack
This 4-pin DIN connector accepts power from the 9VAC adaptor supplied
with the unit.
Back to CONTENTS

4. CONNECTIONS
Using the Chameleon™ with a stereo power amp
and guitar cabinets
Using the Chameleon™ directly into a mixing
console
Back to CONTENTS

5. OPERATING FORMAT
The Chameleon™ provides 254 stored sounds called presets Any of the
254 presets can be called up at any time via the front panel PRESET control
(used to select a preset) and RECALL button (used to call up the selected
preset), or by a remote MIDI footswitch.
The root of each preset’s sound is its confgurafion. The configuration
determines both the effects available for a given preset and the order
in which those effects are executed. The Chameleon™ provides 12 fixed configurations
to achieve a wide array of preset sounds, any of which may be instantly
called up at any time.
VooDu Chameleon™ Configurations:

High-gain Distortion – Chorus – Delay – Reverb
High-gain Distortion – Flange – Delay – Reverb
High-gain Distortion – Tremolo – Delay – Reverb
High-gain Distortion – Pitch Ship – Delay . Reverb
Wah – High-gain Distortion – Delay – Reverb
Phase Shift – High-gain Distortion – Delay – Reverb
Low-gain Distortion – Chorus – Delay – Reverb
Low-gain Distortion – Flange – Delay – Reverb
Low-gain Distortion . Tremolo . Delay – Reverb
Low-gain Distortion – Pitch Shift – Delay – Reverb
Wah – Low-gain Distortion – Chorus – Delay – Reverb
Phase Shift – Low-gain Distortion – Delay – Reverb

To see the configuration of each preset, press the CONFIG button on
the front panel of the Chameleon™ – the LED above the CONFIG button will
light and the display will show the configuration for the current preset.
Turning the PRESET control will then scroll through each successive preset
(displaying its configuration instead of its preset number and title)
The configuration of each preset can also be changed from within the
desired preset. For more information on selecting a configuration, see
“Selecting a Configuration” in “Operating
the Chameleon™”.
Back to CONTENTS

Chameleon™ Functions and
Parameter Descriptions
Each Chameleon™ preset is divided up into individual blocks called
functions (such as “Mixer”, “Reverb”,
etc.). Within each function of each configuration is a set of controls
which allow you to manipulate various aspects of that function. These controls
are called parameters. It is the setting of each of the parameters
which determines the overall sound of each preset.
The Chameleon™ is set up to allow you to first access each function
(via the FUNCTION SELECT control), then the parameter list for each function
(via the PARAMETER SELECT control) and finally the adjustable value for
each parameter (via the PARAMETER ADJUST control).

The functions available for each preset are dependent upon which configuration
is currently recalled. The remainder of this section will describe each
of the effect-based functions and the associated adjustable parameters
they provide.
The remaining functions are utility-based, and are described in “Operating
the Chameleon™”.
Back to CONTENTS

GLOBAL Function
The first function displayed after turning the FUNCTION SELECT control
is the Global function. The parameters provided in this function affect
all presets (i.e. the settings stored for these parameters are the same
for all presets).
The PARAMETER SELECT control will allow you to access these Global
parameters:
OUTPUT
The OUTPUT parameter determines whether the output of the Chameleon™
is a stereo (left and right) signal or two mono signals.
SPKR SIM
This SPEAKER SIMULATOR parameter under the Global function allows you
to globally (all presets) lock the Speaker Simulatoroff (LOCKOFF) so that
it will always be off for all presets – regardless of the status of the
“SPKR SIM” parameter under the Speaker Simulator function. It
may also be locked on for the left channel (LOCK L) or on for both channels
(LOCK B).

Note: The Chameleon™ will only recognize the “SPKR SIM”
parameter under the Speaker Simulator function when this parameter is stored
as UNLOCK.

HUSH® OFFSET
The HUSH® OFFSET parameter allows you to globally (all presets)
adjust the HUSH® Expander Threshold. This means that if this parameter
is altered from 0dB to +3dB, the Expander Threshold will be 3dB higher
for all presets. This feature can be useful when switching from a quiet
guitar with passive electronics to a noisy guitar with active electronics
– as the active guitar would require a higher Threshold level in all presets.
MUTE
The MUTE parameter allows you to mute the output of the Chameleon™.
This feature is especially useful when changing guitars during a live set.
If a Rocktron All Access™ is used in remote mode with the Chameleon™, a
single All Access™ button can be configured as a momentary switch which
will mute the output when it is held down. (See “Using a Chameleon™
with a Rocktron All Access™ in REMOTE mode”.)

FUNCTION PARAMETER LIST RANGE

GLOBAL OUTPUT (Output Level) Stereo, Mono
SPKR SIM (Speaker Simulator Lock) Unlock, Lock Off, Lock L, Lock B
HUSH® OFFSET -10 dB to +30 dB
MUTE Off, on

Back to CONTENTS
MIXER Function
The next function displayed after turning the FUNCTION SELECT control
is the Mixer function. The Mixer function parameters are included in all
presets – regardless of which configuration is currently recalled – although
the parameter values stored in this function are only for the currently
recalled preset.
This digital mixer allows you to control most signal levels pertaining
to each preset’s configuration and stores these levels for each preset.
The PARAMETER SELECT control will allow you to access these Mixer
parameters:
VOLUME
The VOLUME parameter determines the overall signal level of the current
preset.
LEFT OUT LVL
The LEFT OUT LEVEL parameter allows you alter the level of the left
channel output of the current preset independent of the right channel.
RIGHT OUT LVL
The RIGHT OUT LEVEL parameter allows you alter the level of the right
channel output of the current preset independent of the left channel.
MIX DIR/EFF
The DIR/EFF MIX parameter is used to define the ratio of direct signal
level to effect (Chorus, Flange, Pitch Shift) signal level.
DIR PAN
The DIRECT PAN parameter allows you to pan the direct signal to the
left or right.
DELAY LVL
The DELAY LEVEL parameter determines the overall level of the delayed
signal at the output relative to the direct signal and other effect signals.
This parameter can also be accessed from the Delay function parameter list.
REVERB LVL
The REVERB LEVEL parameter determines the level of the reverb signal
at the output relative to the direct signal and other effect signals. This
parameter can also be accessed from the Reverb function parameter list.

FUNCTION PARAMETER LIST RANGE

MIXER VOLUME (Volume Level) 0 to 127
LEFT OUT LVL (Left Channel Output Level) -oo to +6dB
RIGHT OUT LVL (Right Channel Output Level) -oo to +6dB
MIX (Direct/Effcct Mix Level) DIR <0 to 100> EFF
DIR PAN (Direct Signal Panning) L <0 to 100> R
DELAY LVL (Delay Signal Level) -oo to +0dB
REVERB LVL (Reverb Signal Level) -oo to +6dB

Back to CONTENTS
HIGH GAIN Function
The HIGH GAIN function is only accessible in configurations which display
“H-GAIN” in the configuration title. The preamp stage in these
configurations is set up to provide high gain levels for maximum sustain
and distortion.
The PARAMETER SELECT control will allow you to access these High
Gain parameters:
GAIN
The GAIN parameter determines the gain value in the distortion stage.

VARlAC ADJUST
The VARIAC ADJUST parameter adjusts the level at which the preamp stage
in the Chameleon™ begins to distort. A Variac is a voltage attenuating
device that plugs into an AC wall outlet and adjusts the voltage level
to any device which is plugged into it. For years, many guitarists have
plugged their amplifier heads into a Variac and reduced the voltage coming
into the amplifier from the AC wall outlet. This allows the amplifier tubes
to reach saturation at a lower input level and increases the gain produced.
The VARIAC ADJUST parameter operates in a similar manner as a conventional
Variac – where lowering the parameter value lowers the level at which saturation
will take place.
BASS LVL
The post BASS LEVEL parameter adjusts the amount of low frequency information
at the output of each preset. This parameter is also accessible from the
“Post EQ (Expert)” function. (In the Post EQ function, the center
frequency and bandwidth of this EQ section are also adjustable.)
MID LVL
The post MID LEVEL parameter adjusts the amount of mid frequency information
at the output of each preset. This parameter is also accessible from the
“Post EQ (Expert)” function. (In the Post EQ function, the center
frequency and bandwidth of this EQ section are also adjustable.)
TREBLE LVL
The post TREBLE LEVEL parameter adjusts the amount of high frequency
information at the output of each preset. This parameter is also accessible
from the “Post EQ (Expert)” function. (In the Post EQ function,
the center frequency and bandwidth of this EQ section are also adjustable.)
PRESENCE LVL
The post PRESENCE LEVEL parameter also adjusts the amount of high frequency
information at the output of each preset. This parameter is also accessible
from the “Post EQ (Expert)” function. (In the Post EQ configuration,
the center frequency and bandwidth of this EQ section are also adjustable.

FUNCTION PARAMETER LIST RANGE

HIGH GAIN GAIN (Gain Level) 12dB to 78dB
VARIAC ADJUST (Variac Level Adjustment) -6dB to 0dB
BASS LVL (Post Bass Level) -15dB to +15dB
MID LVL (Post Midband Level) -15dB to +15dB
TREBLE LVL (Post Treble Level) -15dB to +15dB
PRESENCE LVL (Post Presence Level) -15dB to +15dB

Back to CONTENTS
LOW GAIN Function
The LOW GAIN function is only accessible in configurations which display
“L-GAIN” in the configuration title. The preamp stage in these
configurations provides four distortion types, and can also be used for
clean tones.
The PARAMETER SELECT control will allow you to access these Low
Gain parameters:
GAIN
The GAIN parameter determines the gain value in the distortion stage.
DIST
The DISTORTION TYPE parameter allows you to select between four different
distortion types – Solid State, Pentode, Triode A and Triode B. The Solid
State setting provides the hardest clipping, while the Pentode type provides
a softer clipping and the Triode A and B types provide the softest clipping.
Triode A emulates a triode tube operating in Class A, with non-symmetrical
clipping – and therefore more even harmonics produced. Triode B emulates
a pair of triode tubes operating in Class B, with symmetrical clipping.
The differences between these types are most pronounced at moderate gain
settings of about 30dB or less, where Triode B produces the least amout
of upper harmonics.
BASS LVL
The post BASS LEVEL parameter adjusts the amount of low frequency information
at the output of each preset. This parameter is also accessible from the
“Post EQ (Expert)” function. (In the Post EQ function, the center
frequency and bandwidth of this EQ section are also adjustable.)
MID LVL
The post MID LEVEL parameter adjusts the amount of mid frequency information
at the output of each preset. This parameter is also accessible from the
“Post EQ (Expert)” function. (In the Post EQ function, the center
frequency and bandwidth of this EQ section are also adjustable.)
TREBLE LVL
The post TREBLE LEVEL parameter adjusts the amount of high frequency
information at the output of each preset. This parameter is also accessible
from the “Post EQ (Expert)” function. (In the Post EQ function,
the center frequency and bandwidth of this EQ section are also adjustable.)
PRESENCE LVL
The post PRESENCE LEVEL parameter also adjusts the amount of high frequency
information at the output of each preset. This parameter is also accessible
from the “Post EQ (Expert)” function. (In the Post EQ configuration,
the center frequency and bandwidth of this EQ section are also adjustable.)

FUNCTION PARAMETER LIST RANGE

LOW GAIN GAIN (Gain Level) 0dB to 48dB
DIST (Distortion type) Solid State, Pentode, Triode A, Triode B
BASS LVL (Post Bass Level) -15dB to +15dB
MID LVL (Post Midband Level) -15dB to +15dB
TREBLE LVL (Post Treble Level) -15dB to +15dB
PRESENCE LVL (Post Presence Level) -15dB to +15dB

Back to CONTENTS
HUSH® Function
The HUSH® function is accessible in all presets – regardless of
the configuration currently recalled.
HUSH® is Hush Systems’ patented single-ended noise reduction system.
The HUSH® system contained in the Chameleon™, though modeled after
the latest analog HUSH® design, is a fully digital implementation achieved
through Digital Signal Processing (DSP).
The low level expander of the HUSH® system operates like an electronic
volume control. The analog version of the HUSH® utilizes a voltage-controlled
amplifier (VCA) circuit which can control the gain between the input and
the output from unity to 30, 40 or even 50dB of gain reduction. When the
input signal is above the user preset threshold point, the VCA circuit
remains at unity gain. (This means that the amplitude of the output signal
will be equal to that of the input signal.) As the input signal level drops
below the user preset threshold point, downward expansion begins. At this
point the expander acts like an electronic volume control and gradually
begins to decrease the output signal level relative to the input signal
level. As the input signal drops further below the threshold point, downward
expansion increases. A drop in the input level by 20dB would cause the
output level to drop approximately 40dB (i.e., 20dB of gain reduction).
in the absence of any input signal, the expander will reduce the gain so
that the noise floor becomes inaudible.

The HUSH® circuit is located after the A/D converter in the signal
chain to reduce any noise generated from the guitar and the A/D converter.
This ensures a quiet input signal to the preamp section. Because the preamp
section of the Chameleon™ is digital, it is virtually noise-free (even
in the high-gain mode). Therefore, a quiet input signal to the preamp will
result in a quiet output signal.
The PARAMETER SELECT control will allow you to access these Hush
parameters:
HUSH I/O
The HUSH I/O parameter simply determines whether the HUSH® circuit
is active for the current preset.
HUSH® THRESH
The HUSH® THRESHOLD parameter determines the level at which downward
expansion begins. For example, if the HUSH® THRESHOLD was set at -20dB
and the input signal dropped below -20dB, downward expansion would begin.

FUNCTION PARAMETER LIST RANGE

HUSH® HUSH® (Hush In/Out) Out, In
EXP THRESH (Expander Threshold Level) -90dB to -27dB

Back to CONTENTS
PRE EQ (EXPERT) Function
The PRE EQ (EXPERT) function is available in all presets – regardless
of which configuration is currently recalled.
This function allows you to shape the tone prior to the distortion
stage. Considerable tone variations can be achieved by modifying these
pre-distort EQ parameters.
The PARAMETER SELECTcontrol will allow you to access these PRE
EQ parameters:
LF LEVEL
The pre-LF (low frequency) LEVEL parameter allows you to cut or boost
the low frequencies from – 15dB to +6dB prior to the distortion stage.
This EQ section is a shelving-type.
LF FREQ
The pre-LF (low frequency) FREQUENCY parameter allows you to select
a frequency band with an upper frequency between 63Hz and 500Hz to be cut
or boosted by the pre-LF LEVEL parameter.
MID LEVEL
The pre-MID LEVEL parameter allows you to cut or boost the mid-band
frequencies from -15dB to +12dB prior to the distortion stage.
MID FREQ
The pre-MID FREQUENCY parameter allows you to select a mid-band center
frequency between 500Hz and 4KHz to be cut or boosted via the pre-MID LEVEL
parameter.
MID BW
The pre-MID BANDWIDTH parameter determines how wide or narrow the bandwith
of the selected mid-band frequency is (in octaves). A small bandwidth only
boosts or cuts frequencies close to the center frequency, while a large
bandwidth affects the level of frequencies up to two octaves from the center
frequency.

FUNCTION PARAMETER LIST RANGE

PRE EQ LF LEVEL (Pre Low Frequency Level) -15dB to +6dB
(EXPERT) LF FRBQ (Pre Low Frequency Select) 63Hz to 500Hz
MID LEVEL (Pre Midband Level) -15dB to +12dB
MID FREQ (Pre Mid Frequency Select) 500Hz to 4kHz
MID BW (Pre Mid Bandwidth) 0.2 to 2.0 octaves

Back to CONTENTS
POST EQ (EXPERT) Function
The POST EQ (EXPERT) function is available in all presets – regardless
of which configuration is currently recalled.
This function allows you shape the tone after it has passed through
the distortion stage. These post-distortion EQ parameters have a more dramatic
effect on the overall tone than the pre-distortion parameters.
The PARAMETER SELECT control will allow you to access these POST
EQ parameters:
BASS LVL
The post-BASS LEVEL parameter allows you to cut or boost the low frequencies
by 15dB after the distortion stage.
BASS FREQ
The post-BASS FREQUENCY parameter allows you to select a center frequency
between 63Hz and 500Hz to be cut or boosted by the post- BASS LEVEL parameter.
BASS BW
The post-BASS BANDWIDTH parameter determines (in octaves) the width
of the selected bass band.
MID LVL
The post-MID LEVEL parameter allows you to cut or boost the mid-band
frequencies by 15dB after the distortion stage.
MlD FREQ
The post-MID FREQUENCY parameter allows you to select a mid-band center
frequency between 250Hz and 2KHz to be cut or boosted via the post-MID
LEVEL parameter.
MID BW
The post-MID BANDWIDTH parameter determines (in octaves) the width
of the selected mid-band.
TREBLE LVL
The post-TREBLE LEVEL parameter allows you to cut or boost the high-band
frequencies by 15dB after the distortion stage.
TREBL FRQ
The post-TREBLE FREQUENCY parameter allows you to select a high-band
center frequency between 1KHz and 8KHz to be cut or boosted via the post-TREBLE
LEVEL parameter.
TREBLE BW
The post-TREBLE BANDWIDTH parameter determines (in octaves) the width
of the selected high band.
PRESENCE LVL
The post-PRESENCE LEVEL parameter allows you to cut or boost another
high-band frequency by 15dB after the distortion stage.
PRES FREQ
The post-PRESENCE FREQUENCY parameter allows you to select a high-band
center frequency between 2KHz and 8KHz to be cut or boosted via the post-PRESENCE
LEVEL parameter.
PRES BW
The post-PRESENCE BANDWIDTH parameter determines (in octaves) the width
of the selected high band.

FUNCTION PARAMETER LIST RANGE

POST EQ BASS LVL (Post Bass Level) -15dB to +15dB
(EXPERT) BASS FREQ (Post Bass Frequency Select) 63Hz to 500Hz
BASS BW (Post Bass Bandwidth) 0.2 to 2.0 octaves
MID LVL (Post Midband Level) – 15dB to + 15dB
MID FREQ (Post Mid Frequency Select) 250Hz to 2kHz
MID BW (Post Mid Bandwidth) 0.2 to 2.0 octaves
TREBLE LVL (Post Treble Level) -15dB to +15dB
TREBLE FRQ (Post Treble Frequency Select) 1kHz to 8kHz
TREBLE BW (Post Treble Bandwidth) 0.2 to 2.0 octaves
PRESENCE LVL (Post Presence Level) -15dB to +15dB
PRES FREQ (Post Presence Frequency Select) 2kHz to 8kHz
PRES BW (Post Presence Bandwidth) 0.2 to 2.0 octaves

Back to CONTENTS
COMPRESSOR Function
The COMPRESSOR function is available only in configurations which display
“L-GAIN” in the configuration title.
This function allows you to compress the signal prior to the distortion
stage. Compression is often used to maintain an even level when using clean
tones, and also to increase sustain when using distorted tones.
The PARAMETER SELECT control will allow you to access these COMPRESSOR
parameters:
COMPRESSOR I/0
The COMPRESSOR IN/OUT parameter determines whether the compressor is
active for the current preset.
COMP THRESH
The COMPRESSOR THRESHOLD parameter determines the input level (in dB)
at which compression will begin. Lower settings of this parameter will
result in more compression.
COMP ATTACK
The COMPRESSOR ATTACK parameter determines the speed (in milliseconds)
in which the compressor will reach its maximum compression level after
the input signal has exceeded the threshold level (set by the COMPRESSOR
THRESHOLD parameter).
COMP RELEASE
The COMPRESSOR RELEASE parameter determines the speed in which compression
will cease after the input signal has dropped below the threshold level.

FUNCTION PARAMETER LIST RANGE

COMPRESSOR COMPRESSOR (Compressor In/Out) Out,In
COMP THRESH (Compressor Threshold Level) -24dB to 0dB
COMP ATTACK (Compressor Attack Time) 1ms to 75ms
COMP RELEASE (Compressor Release Time) 0.05 to 2.0s

Back to CONTENTS
SPEAKER SIMULATOR Function
The SPEAKER SIMULATOR function is included in all presets and provides
a realistic approximation of a miked speaker cabinet for applications involving
connecting the Chameleon™ directly to a mixing board, recording system
or other full range system.
When a preset is recalled which has the Speaker Simulator on for either
the left channel or both channels, the front panel SPKR SIM LED will light.

Note: The parameters provided in this function are operational only
when the SPKR SIM parameter under the GLOBAL FUNCTION is stored UNLOCK,
LOCK L or LOCK B.

The PARAMETER SELECT control will allow you to access these SPEAKER
SIMULATOR parameters:
SPKR SIM I/O
The SPEAKER SIMULATOR parameter allows you to select whether the Speaker
Simulator is on for BOTH outputs, on for only the LEFT output or OFF.
SPKR TYPE
The SPEAKER TYPE parameter determines the type of speaker to be simulated.
15″,12″,10″, 8″ and full range speakers are available.
MIC PLACEMENT
The MIC PLACEMENT parameter simulates a microphone placed anywhere
from the center of the speaker cone out to the edge of the cone. Positive
parameter values simulate moving the microphone toward the center of the
speaker, while negative values move it to the edge.
REACTANCE
The REACTANCE parameter simulates the characteristics of the the interaction
between a tube amplifier and a guitar speaker cabinet. The higher the parameter
value selected, the more these characteristics will be apparent. Negative
values of reactance can be used to simulate an open-back cabinet.

FUNCTION PARAMETER LIST RANGE

SPEAKER SIM SPKR SIM (Speaker Simulator Status) Off, Left, Both
SPKR TYPE (Speaker Type) 15, 12, 10, 8, Full
MIC POSITION (Microphone Position) -15dB to +15dB
REACTANCE (Reactance Level) -15dB to +15dB

Back to CONTENTS
WAH-WAH Function
The WAH-WAH function is available only in configurations which display
“WAH” in the configuration title.
The Chameleon™ has an internal wah-wah which allows for an expression
pedal to be used as a wah-wah pedal through continous Control changes.
Use of this feature eliminates the need to run long audio cables out to
a conventional wah-wah pedal.
To use an expression pedal as a wah-wah pedal, connect it to a MIDI
controller (such as a Rocktron MIDI Matetm)
and set the controller’s MIDI channel to correspond with the Chameleon™’s
receiving MIDI channel. Then set the pedal’s control number on the MIDI
Matetm to match the Wah Frequency parameter’s
control number on the Chameleon™. This control number is set on the Chameleon™
in the “CONTROLLER ASSIG” function. (See “Controller
Assignments” for more information on assigning control numbers.)
The PARAMETER SELECT control will allow you to access these WAH-WAH
parameters:
WAH-WAH I/O
The WAH-WAH I/O parameter determines whether the wah-wah is active
for the current preset.
WAH FREQ
The WAH FREQUENCY parameter allows you to manually sweep the frequency
range of the wah-wah via the PARAMETER ADJUST control. Selecting a frequency
for this parameter and storing the WAH-WAH parameter IN allows you to use
the wah-wah as a fixed wah.

FUNCTION PARAMETER LIST RANGE

WAH-WAH WAH-WAH (Wah-Wah In/Out Status) Out, In
WAH FREQ (Wah Frequency Select) 310Hz to 2.7KHz

Back to CONTENTS
PHASER Function
The PHASER function is available only in configurations displaying
“PHAS” in the configuration title.
Phase shifting involves splitting the input signal into two signals,
then shifting the phase of different frequencies of one signal and mixing
it back with the original signal.
The PARAMETER SELECT control will allow you to access these PHASER
parameters:
PHASER I/O
The PHASER IN/OUT parameter determines whether the Phaser is active
for the current preset.
DEPTH
The DEPTH parameter determines the modulation depth of the phase shift
effect. Higher parameter settings result in the sweep of the filtering
effect occurring over a wider frequency range.
RATE
The RATE parameter determines the speed at which the phase shifted
signal is modulated.
RESONANCE
The RESONANCE parameter adds feedback to the Phaser so that it has
a more pronounced effect.
STAGES
The STAGES parameter determines how many stages of phase shift are
to be active. A parameter setting of “4” produces a result similar
to a vintage Phase 90, while a setting of “6” emulates other
phaser pedals.

FUNCTION PARAMETER LIST RANGE

PHASER PHASER (Phaser In/Out Status) Out,ln
DEPTH (Amount of Modulation) 0 to 100
RATE (Rate of Modulation) 0 to 254
RESONANCE (Amount of Feedback) 0 to 100
STAGES (Number of Stages) 4, 6

Back to CONTENTS

FLANGER Function
The FLANGER function is available only in configurations displaying
“FLAN” in the configuration title.
Flanging involves splitting the input signal into at least two individual
de- layed signals (Voice 1 and voice 2), then modulating these delayed
signals so that, when summed back with the direct signal, phase cancellations
will occur at some frequencies while peaks in the response will occur at
others.
The PARAMETER SELECT control will allow you to access these FLANGER
parameters:
FLANGER I/O
The FLANGER IN/OUT parameter determines whether the Flanger is active
or bypassed for the current preset.
LEVEL 1
The LEVEL 1 parameter determines the volume of Voice 1 relative to
Voice 2.

Tip: Keep the settings of these levels high and use the DIR/EFF mix
parameter in the Mixer function to control the overall amount of flanged
signal.

PAN 1
The PAN 1 parameter allows you to pan Voice 1 to the left or right
channel.
DEPTH 1
The DEPTH 1 parameter adjusts the amount of modulation of Voice 1 .
Lower DEPTH settings produce more subtle effects, while higher settings
will result in a more drastic effect.
RATE 1
The RATE 1 parameter determines the speed at which Voice 1 is modulated.
LEVEL 2
The LEVEL 2 parameter determines the volume of Voice 2 relative to
Voice 1.
PAN 2
The PAN 2 parameter allows you to pan Voice 2 to the left or right
channel.
DEPTH 2
The DEPTH 2 parameter adjusts the amount of modulation of Voice 2.
Lower DEPTH settings produce more subtle effects, while higher settings
will result in a more drastic effect.
RATE 2
The RATE 2 parameter determines the speed at which Voice 2 is modulated.
REGEN
The REGENERATION parameter determines how much of the the delayed output
signal is fed back into the input. More regeneration produces a more pronounced
“jet airplane” type of effect.

FUNCTION PARAMETER LIST RANGE

FLANGER FLANGER (FlangerIn/OutStatus) Out, In
LEVEL 1 (Voice 1 Level) -oo to 0dB
PAN 1 (Voice 1 Panning) L <0 to 100> R
DEPTH 1 (Voice 1 Modulation Depth) 0 to 100
RATE 1 (Voice 1 Modulation Rate) 0 to 254
LEVEL 2 (Voice 2 Level) -oo to 0dB
PAN 2 (Voice 1 Panning) L <0 to 100> R
DEPTH 2 (Voice 2 Modulation Depth) 0 to 100
RATE 2 (Voice 2 Modulation Rate) 0 to 254
REGEN (Flanger Regeneration Level) -oo to 0dB

Back to CONTENTS

TREMOLO Function
The TREMOLO function is available only in configurations displaying
“TREM” in the configuration title.
The Tremolo effect continuously varies the volume of the signal.
The PARAMETER SELECT control will allow you to access these TREMOLO
parameters:
TREMOLO I/O
The TREMOLO IN/OUT parameter determines whether the Tremolo is active
or bypassed for the current preset.
LOCATION
The LOCATION parameter determines whether the Tremolo is located Pre-Reverb
or Post-Reverb. Most vintage amplifiers configured the Tremolo (or vibrato)
Post-Reverb.
DEPTH
The DEPTH parameter determines the amount of modulation for the Tremolo
signal. Lower DEPTH settings produce more subtle tremolo effects, while
higher settings will result in a more extreme tremolo effect.
RATE
The RATE parameter determines the speed at which the tremolo signal
modulates (or increases and decreases in volume).
SHAPE
The SHAPE parameter determines the waveshape of the tremolo signal.
Selecting a different waveshape produces a different tremolo effect.

FUNCTION PARAMETER LIST RANGE

TREMOLO TREMOLO (Tremolo In/Out Status) Out, In
LOCATION (Pre or Post Reverb Location) Pre-Rev, Post-Rev
DEPTH (Modulation Depth) 0 to 100
RATE (Modulation Rate) 0 to 254
SHAPE (WaveShape) Triangle, Square

Back to CONTENTS

PITCH SHIFT Function
The PITCH function is available only in configurations displaying “PSHF”
in the configuration title.
Pitch Shifting is used to change the pitch of the input signal to produce
a harmony note based on the input signal. The harmony voice may be of any
fixed interval – up to one octave above the input signal to two octaves
below – and is selected in 20-cent increments. Fine adjustment can be made
in one cent (1/ 100th semitone) increments.
The PARAMETER SELECT control will allow you to access these PITCH
SHlFT parameters:
PITCHSHIFT I/O
The PITCH SHIFT IN/OUT parameter determines whether the Pitch Shifter
is active or bypassed for the current preset.
LEVEL
The LEVEL parameter determines the volume of the pitch shifted signal.
The DlR/EFF MIX parameter in the Mixer function also affects this volume.
PAN
The PAN parameter allows you to pan the shifted signal to the left
or right channel.
PITCH
The PITCH parameter selects what harmony note the Chameleon™ will produce
based on the input note. The value displayed for this parameter represents
the number of cents that the signal will be shifted (adjustable in 20-cent
increments). Each 100 cents (or five 20-cent steps) above or below “0”
represents the number of half-steps the shifted signal will be from the
input signal.
This parameter is adjustable from “-2400” to “+1200”,
where “-2400” = two octaves below the input signal, “0”
= unison and “+1200′ = one octave above the input signal. Refer to
the table below to determine the cent value for each fixed interval.
FINE
The FINE parameter allows for adjustment in 1-cent steps for fine adjustment
of the harmony note
SPEED
The SPEED parameter determines the amount of time delay used in the
shifting process. SLOW results in the longest delay and the highest quality
shifted signal (especially at larger amounts of pitch shift), FAST results
in the least delay, but the lowest quality shifted signal. This setting
should only be used for slight amounts of pitch shift.
PITCH SHIFT INTERVALS

PARAMETER CORRESPONDING
VALUE INTERVAL

+1200 one octave
+1100 Major 7th
+1000 minor 7th
+900 Major 6th
+800 minor 6th
+700 perfect 5th voices above the
+600 diminished 5th input signal
+500 perfect 4th
+400 Major 3rd
+300 minor 3rd
+200 Major 2nd
+100 minor 2nd
0 Unison ——————–Equal to input signal
-100 Major 7th
-200 minor 7th
-300 Major 6th
-400 minor 6th
-500 perfect 5th
-600 diminished 5th
-700 perfect 4th
-800 Major 3rd
-900 minor 3rd
-1000 Major 2nd voices below the
-1100 minor 2nd input signal
-1200 1 Octave
-1300 One octave plus a Major 7th
-1400 One octave plus a minor 7th
-1500 One octave plus a Major 6th
-1600 One octave plus a minor 6th
-1700 One octave plus a perfect 5th
-1800 One octave plus a diminished 5th
-1900 One octave plus a perfect 4th
-2000 One octave plus a Major 3rd
-2100 One octave plus a minor 3rd
-2200 One octave plus a Major 2nd
-2300 One octave plus a minor 2nd
-2400 2 Octaves

NOTE: There are 5 steps of the parameter adjust control between each
of the intervals shown above (each step equals 20 cents). This allows for
smooth pitch change when an expression controller (such as a volume pedal
used with a Rocktron All Access™ or MIDI Matetm
foot controller) is assigned to the PITCH parameter to change the pitch
by remote means.

FUNCTION PARAMETER LIST RANGE

PITCH SHIFT PITCH SHIFT (Pitch Shift In/Out Status) Out, In
LEVEL (Pitch Shift Signal Level) -oo to 0dB
PAN (Pitch Shift Signal Panning) L <0 to 100> R
PITCH (Pitch Shift in 20-cent steps) -2400 to +1200
FINE (Pitch Shift in 1-cent steps) -20 to +20
SPEED (Pitch Shift Signal Speed) Slow, Medium, Fast

Back to CONTENTS

CHORUS Function
The CHORUS function is available only in configurations displaying
“CRS” in the configuration title.
The Chorus effect in the Chameleon™ is produced by using two delayed
signals (Voice 1 and Voice 2), detuning these delayed signals (slightly
changing their pitch), then modulating the detune effect so that the amount
of pitch detune is constantly varying. Using different detune amounts,
modulation rates, modulation depths and pan settings for each delayed signal
will produce a greater perceived spaciousness.
The PARAMETER SELECTcontrol will allow you to access these CHORUS
parameters:
CHORUS I/O
The CHORUS I/O parameter determines whether the Chorus is active or
bypassed for the current preset.
LEVEL 1
The LEVEL 1 parameter determines the volume of Voice 1 in relation
to Voice 2. The DIR/EFF MIX parameter in the Mixer function also determines
the Chorus level.
PAN 1
The PAN 1 parameter allows you to pan Voice 1 to the left or right
channel.
DEPTH 1
The DEPTH 1 parameter adjusts the amount of modulation of the Voice
1 signal. A lower depth setting will produce a more subtle detune effect,
while a higher setting will produce a more extreme detuning of Voice 1
.
RATE 1
The RATE 1 parameter determines the sweep speed (or the speed at which
Voice 1 is modulated). Lower parameter settings will result in slower speeds,
while higher settings will result in faster speeds.
DELAY 1
The DELAY 1 parameter allows you to select the minimum delay time (in
milliseconds) for Voice 1. This delayed signal (along with Voice 2) is
detuned and modulated to produce the chorus effect. Using shorter delay
times will result in a tighter sounding chorused signal, while longer delay
times will produce a larger ambient effect.
LEVEL 2
The LEVEL 2 parameter determines the volume of Voice 2 in relation
to Voice 1 .
PAN 2
The PAN 2 parameter allows you to pan Voice 2 to the left or right
channel.
DEPTH 2
The DEPTH 2 parameter adjusts the amount of modulation of the Voice
2 signal. A lower depth setting will produce a more subtle detune effect,
while a higher setting will produce a more extreme detuning of Voice 2.
RATE 2
The RATE 2 parameter determines the sweep speed (or the speed at which
Voice 2 is modulated). Lower parameter settings will result in slower speeds,
while higher settings will result in faster speeds.
DELAY2
The DELAY 2 parameter allows you to select the minimum delay time (in
milliseconds) for Voice 2. It is this delayed signal (along with Voice1)
that is detuned and modulated to produce the chorus effect Using shorter
delay times will result in a tighter sounding chorused signal, while longer
delay times will produce a larger ambient effect.

FUNCTION PARAMETER LIST RANGE

CHORUS CHORUS (Chorus In/Out Status) Out, in
LEVEL 1 (Voice 1 Level) -oo to 0dB
PAN 1 (Voice 1 Panning) L <0 to 100> R
DEPTH 1 (Voice 1 Modulation Depth) 0 to 100
RATE 1 (Voice 1 Modulation Rate) 0 to 254
DELAY 1 (Voice 1 Delay Length) 2ms to 40ms
LEVEL 2 (Voice 2 Level) -oo to 0dB
PAN 2 (Voice 2 Panning) L <0 to 100> R
DEPTH 2 (Voice 2 Modulation Depth) 0 to 100
RATE 2 (Voice 2 Modulation Rate) 0 to 254
DELAY 2 (Voice 2 Delay Length) 2ms to 40ms

Back to CONTENTS

DELAY Function
The DELAY function is available in all presets.
Delay is a reproduction of the input signal, occurring at a prescribed
time (usually expressed in milliseconds) following the input signal. The
Chameleon™ provides two discrete delays (Delay 1 and Delay 2), each of
which has its own parameters to determine its particular characteristics.
The PARAMETER SELECT control will allow you to access these DELAY
parameters:
DELAY
The DELAY parameter determines whether the Delay is active or muted for
the current preset.
MUTE TYPE
The MUTE TYPE parameter allows for muting the delay at its input (PRE),
its output (POST) or BOTH.
Muting the input (PRE) of the delay will not allow any signal to enter
the delay section until the delay is switched in. When using a moderate
amount of regeneration, switching out the delay with the input muted will
allow you to generate a non-delayed signal which will play over the decaying
regenerated signal which continues on after the delay is switched out.
Muting the output (POST) of the delay will result in the delayed signal
being immediately turned off when the delay is switched out. This means
that delays and regeneration will not continue when the delay is switched
out. If the output were not muted, signals that were input before the delay
was switched out would be allowed to regenerate, even after switching out
the delay.
It is also possible to mute both the input and the output (BOTH) so
that no signal enters or exits the Delay section when it is not switched
in.
DELAY LVL
The DELAY LEVEL parameter determines the overall level of the delayed
signal at the output relative to the direct signal and other effect signals.
This parameter can also be accessed from the Delay function parameter list.
MIX
The MIX parameter is used to define the ratio of Source 1 signal to
Source 2 signal to be input to the Delay section. Source 1 is the Voice
1 output frorn the previous effect in the signal chain (chorus, flanger,
pitch shifter, etc.), while Source 2 may be the Voice 2 output from the
previous effect in the signal chain or the direct signal (selectable via
the SOURCE 2 parameter).
In configurations where there is no effect immediately preceding the
delay, Source 1 and Source 2 will be the preamp output (direct) signal.
SOURCE 2
The SOURCE 2 parameter is used to select whether the Source 2 input
will be the VOICE 2 output from the previous effect in the signal chain
or the direct signal (DIR).
DLY HF DAMP
The DELAY HIGH FREQUENCY DAMPING parameter controls the amount of high
frequency content in the delayed and regenerated signals. Higher amounts
of damping will result in less high frequency information in the delayed
signal.
OUT LEVEL 1
The OUTPUT LEVEL 1 parameter determines the volume of Delay 1 in relation
to Delay 2.
PAN 1
The PAN 1 parameter allows you to pan the Delay 1 signal to the left
or right channel.
DLY TIME 1
The DELAY TIME 1 parameter determines the length of time (in milliseconds)
after the input signal that the Delay 1 signal will begin. The DELAY TIME
can be adjusted via the ADJUST control, MIDI controller changes or via
the Tap Delay feature (see “Operating the Chameleon”
for detailed descriptions of each).
REGEN 1
The REGENERATION 1 parameter determines the number of times the Delay
1 signal will repeat itself. This is achieved by feeding the delayed output
back into the input. Higher parameter settings will result in more repeats.
The displayed value represents the attenuation (in dB) that the regeneration
signal is subjected to at each repeat.
OUT LEVEL 2
The OUTPUT LEVEL 2 parameter determines the volume of Delay 2 in relation
to Delay 1.
PAN2
The PAN 2 parameter allows you to pan the Delay 2 signal to the left
or right channel.
DLY TIME 2
The DELAY TIME 2 parameter determines the length of time after the
input signal that the Delay 2 signal will begin. This length of time is
measured in milliseconds.
REGEN 2
The REGENERATION 2 parameter determines the number of times the Delay
2 signal will repeat itself. This is achieved by feeding the delayed output
back into the input. Higher parameter settings will result in more repeats.
* The Delay features a regeneration limter, since setting both REGEN
parameters to high levels would result in louder and louder echos until
a severe overload occurs. The limiter senses when this condition would
occur and automatically turns down both REGEN levels to avoid such an instability.
This is especially important when REGEN levels are being adjusted in real-time,
via MIDI control change messages, during a performance.
The regeneration levels can be reset by recalling the preset or by
accessing the REGEN 1 and REGEN 2 parameters and turning the ADJUST control.

FUNCTION PARAMETER LIST RANGE

DELAY DELAY (Delay Status) Muted, Active
MUTE TYPE (Mute Type Status) Pre, Post, Both
DELAY LVL (Delay Level) -oo to 0dB
MIX (Source 1/Source 2 Mix Level) S1 <0 to 100> S2
SOURCE 2 (Source 2 Select) Dir, Voice 2
DLY HF DAMP (Delay High Frequency Damping) 0 to 99
OUT LEVEL 1 (Delay I Level) -oo to 0dB
PAN 1 (Delay 1 Panning) L <0 to 100> R
DLY TIME1 (Delay 1 Length) 0 to 1000 ms
REGEN 1 (Delay 1 Regeneration) -oo to 0dB
OUT LEVEL 2 (Dclay 2 Level) -oo to 0dB
PAN 2 (Delay 2 Panning) L <0 to 100> R
DLY TIME2 (Delay 2 Length) 0 to 1000 ms
REGEN 2 (Delay 2 Regeneration) -oo to 0dB

Back to CONTENTS

REVERB Function
The REVERB function is available in all presets.
Reverb is a multitude of echos spaced so close together that, to the
human ears seem as a single continuous sound. These echos gradually decrease
in intensity until they are ultimately absorbed by the boundaries and obstacles
within a room. As the sound waves from the sound source strike the boundaries
of a room, a portion of the energy is reflected away from the obstacle
while another portion is absorbed into it – thereby causing both the continuance
of sound as well as the decaying or “dying out’ of the sound.
The PARAMETER SELECT control will allow you to access these REVERB
parameters:
REV INPUT
The REVERB INPUT parameter determines whether the input to the Reverb
section is ACTIVE (passing a signal) or MUTED (will not pass a signal).
MIX DIR/DLY
The MIX DIRECT/DELAY parameter is used to define the ratio of direct
signal to delayed signal to be input to the reverb section.
REVERB LVL
The REVERB LEVEL parameter allows you to control the level of the reverb
signal at the output in relation to the direct signal and other effect
signals. This parameter is also accessable from the Mixer function.
REV DECAY
The REVERB DECAY parameter determines the length of time that the reverb
signal will sound before it has completely died out.
REV HF DAMP
The REVERB HIGH FREQUENCY DAMPING parameter is used to control the
decay rate of high frequency information in the reverb signal. Higher parameter
settings will result in a faster decay of high frequency information.

FUNCTION PARAMETER LIST RANGE

REVERB REV INPUT (Reverb Input Status) Muted, Active
MIX (Direct/Delay Mix Level) Dir <0 to 100> Dly
REVERB LVL (Reverb Signal Level) -oo to 0dB
REV DECAY (Reverb Decay Length) 0 to 99
REV HF DAMP (Reverb High Frequency Damping) 0 to 99

Back to CONTENTS

6. CHAMELEON CONFIGURATIONS
Click on a configuration to see a block diagram of that configuration.

High-gain Distortion – Chorus – Delay – Reverb

High-gain Distortion – Flange – Delay – Reverb

High-gain Distortion – Tremolo – Delay – Reverb

High-gain Distortion – Pitch Ship – Delay . Reverb

Wah – High-gain Distortion – Delay – Reverb

Phase Shift – High-gain Distortion – Delay – Reverb

Low-gain Distortion – Chorus – Delay – Reverb

Low-gain Distortion – Flange – Delay – Reverb

Low-gain Distortion . Tremolo . Delay – Reverb

Low-gain Distortion – Pitch Shift – Delay – Reverb

Wah – Low-gain Distortion – Delay – Reverb
Phase Shift – Low-gain Distortion – Delay – Reverb

Refer to section 5. “Operating Format”
for Chameleon™ Functions and Parameter descriptions.
Back to CONTENTS

7. OPERATING THE CHAMELEON
Selecting a preset

Step 1 Turn the PRESET control to the desired preset you wish
to recall. The display will flash the selected preset number and title
and “PRESS RECALL FOR” alternately.
Step 2 Press the RECALL button to recall the preset you have
selected.

Back to CONTENTS

Changing preset parameters

Step 1 Turn the FUNCTION SELECT control to select the function
heading which contains the parameter(s) you wish to change.
Step 2 Turn the PARAMETER SELECT control to the specific parameter
you wish to change.
Step 3 Turn the PARAMETER ADJUST control to alter the parameter
value. The LED above the STORE button will light, indicating that the preset
has had a parameter altered from its stored value.
Step 4 The COMPARE button may now be pressed to compare the
sound of the stored parameter value to the sound of the altered parameter
value.

Back to CONTENTS

Storing changed preset parameters

Step 1 While viewing a function or parameter title, press the
STORE button to start the store procedure. The display will now alternatc
between the destination preset number and title and “STORE AT PRESET”.
Step 2 Turn the PRESET control to select the desired preset
number to store the new parameter values into. (If you wish to store the
new parameter values into the current preset number, this step is not necessary.)
The display will now alternate between the new preset number and “STORE
AT PRESET”.
Note: Turning the FUNCTION SELECT control at this time will cancel
the store procedure.
Step 3 Press the STORE button a second time to store the new
values into the selected preset number. The display will briefly flash
“STORED” before displaying the new preset number and title. (Note:
Turning either the FUNCTION SELECT or PARAMETER SELECT controls before
completing this step will cancel the store procedure.)
NOTE: if a preset with altered parameters is exited before
completing Step 3, all edited parameter values will be lost. When saving
altered parameters, make sure the display flashed “STORED” before
exiting the store procedure.
Step 4 After the parameter values have been stored, the Chameleon™
will display “COPY TITLE TOO?”. This message is displayed only
when storing into a new preset number and allows you to copy the title
from the altered preset into the new preset location. To copy the title
from the altered preset, press the STORE button a third time and the display
will again flash “STORED”.

If you do not wish to copy the title from the altered preset, skip
Step 4 and turn the PRESET or FUNCTION SELECT control to exit the store
procedure.
Back to CONTENTS

Selecting a configuration

Step 1 To select a new configuration, turn the FUNCTION SELECT
control clockwise until the Chameleon™ displays “CONFIG SELECT”.
Step 2 Turn the PARAMETER SELLELCT control clockwise to display
the current configuration.
Step 3 Use the PARAMETER ADJUST control to select the desired
configuration.
(The STORE LED will light when the parameter is altered)
Note: The new configuration will not take effect until it is stored.
Step 4 Press the STORE button to initiate the store procedure.
The Chameleon™ display will alternate between the current preset number/title
and “STORE AT PRESET”.
Step 5 Turn the PRESET control to select the preset you wish
to store the new configuration into.(If you want to store the selected
configurution into the current preset, skip this step.)
Step 6 Press the STORE button a second time to store the selected
configuration into the selected preset. The Chameleon™ will display “STORED”
briefly.

When a new configuration is stored into a preset, each of the parameters
contained in the new configuration that were contained in the previous
configuration will retain the same values. All new configuration parameters
that were not contained in the old configuration will be set to their default
value (or their lowest value).
Back to CONTENTS

Editing a preset title

Step 1 To begin the Title Edit function, turn the FUNCTION SELECT
control clockwise until the Chameleon™ displays “TITLE EDIT”.
Step 2 Turn the PARAMETER SELECT control clockwise to initiate
the Title Edit mode. Turning this control will also select the character
location to be edited. A flashing decimal will follow the character currently
selected.
Step 3 Use the PARAMETER ADJUST control to select the desired
character for the current position (flashing decimal).
Step 4 To edit the character in the next position, turn the
PARAMETER SELECT control one step clockwise. The flashing decimal will
move to the next character.
Step 5 After all the characters have been edited as needed,
press the STORE button to save the new title memory. The Chameleon™ will
flash “STORED” briefly.

Note: The STORE button must be pressed to save the new title. Exiting
the Title Edit function before pressing the STORE button will erase any
editing that was done in Title Edit. Also, after flashing “STORED”,
the Chameleon™ will remain in the Title Edit mode. you may either (a) turn
the PRESET control to display and edit other preset titles without exiting
and re-entering Title Edit, or (b) turn the FUNCTION SELECT control to
exit the Title Edit mode.
Back to CONTENTS

Controller Assignments
The Controller Assignment function allows for specific Chameleon™ adjustable
parameters to be mapped (or assigned) to a MIDI controller for real-time
control by an expression pedal.
The Controller Assignment option also lets you store an upper and lower
parameter value limit which the controller cannot exceed. For example,
when using an expression pedal with a Rocktron All Access™ to send continuous
control changes to control the “PITCH” parameter, an upper limit
of +300 can be set and a lower limit of -200 can be set – even though the
actual parameter range is from +1200 to -2400. When the expression pedal
is at its heel position in this example, the “PITCH” parameter
will be at -200, while at its toe position it will be at +300.
Up to eight controllers can be assigned for each individual preset.

Step 1 To access the Controller Assign function, turn the FUNCTION
SELECT control clockwise to “CONTROLLER ASSIGN”.
Step 2 Turn the PARAMETER SELECT control for the first parameter
of the Controller Assign function. This parameter allows you to select
a controller number for the NUMB 1 parameter to respond to.

This parameter (NUMB 1 only) also gives you the option of selecting
“ADJ”. When “ADJ” is selected, the parameter assigned
to the first controller (PARA 1) can be instantly accessed by turning the
PARAMETER ADJUST control when the preset title is displayed. This allows
you to access a parameter that you adjust frequently without paging through
function headings and parameters.

Step 3 Use the PARAMETER ADJUST control to select the controller
number to be assigned to the PARA 1 parameter. Any number from 0 to 120
may be selected, as well as OFF (will not respond to MIDI control changes).
Match the number selected for this parameter with the controller number
on the MIDI transmitter.
Step 4 After selecting the desired controller number, press
the STORE button to save the number for the NUMB 1 parameter. “STORED”
will flash briefly on the display.
Step 5 Turn the PARAMETER SELECT control one step clockwise
to display the parameter that is currently mapped to the NUMB 1 control
number.
Step 6 Turn the PARAMETER ADJUST control to scroll through the
available parameters for the current configuration.
Step 7 After selecting the parameter that you which to assign
to a controller, press the STORE button to save it. The Chameleon™ will
flash “STORED” briefly.
NOTE: The Chameleon™ allows you to select an upper and lower
value limit which the parameter cannot exceed. For example, if a parameter
has a value range from -oo to 0dB, yet you would like the range of the
parameter to vary from only -12dB to -2dB, you may set a lower limit of
-12 and an upper limit of -2 via the Upper and Lower Limit parameters.
When a parameter is stored in the Controller Assign function (Step 7),
the maximum parameter value is automatically stored as the upper limit,
while the minimum value is stored as the lower limit.
Step 8 Turn the PARAMETER SELECT control one step clockwise
to display the Upper Limit parameter (for PARA 1).
Step 9 Use the PARAMETER ADJUST control to choose the highest
value that the parameter is not to exceed through MIDI control changes.
Step 10 After selecting a value for the upper limit, press the
STORE button to save it. “STORED” will flash briefly on the display.
Step 11 Turn the PARAMETER SELECT control one step clockwise
to access the Lower Limit parameter (for PARA 1).
Step 12 Use the PARAMETER ADJUST control to select the lowest
value which the parameter is not to fall below through MIDI control changes.
Step 13 After selecting a value for the lower limit, press the
STORE button to save it. “STORED” will flash briefly on the display.

Selecting a lower limit value that is greater than the upper limit
value will invert the response of the controller – i.e. the toe position
of the expression controller will provide the minimum value, while the
heel posilion will provide the maximum value.
NOTE: Steps 1-13 are repeated seven times for a total of eight
controllers. To exit Controller Assign at any time, turn either the PRESET
or FUNCTION SELECT control. Only changes that have been stored will be
saved after exiting the Controller Assign function.
Back to CONTENTS

Tap Delay
The Chameleon™ allows you to change the current delay time settings
for the Delay 1 and Delay 2 parameters while you are playing by connecting
a momentary footswitch to the rear panel FOOTSWITCH jack. When the Footswitch
function is activated, tapping the footswitch will change the current delay
time based on the amount of time that passes between taps. The Chameleon™
will detect the amount of time between any two taps that are less than
one second apart (i.e., if more than one second passes after the first
tap, two more taps – less than one second apart – will be required to change
the delay time again).
After the Chameleon™ detects the length of time between each tap, it then
multiplies or divides that time based on the type of note stored in each
of the DELAY 1 and DELAY 2 parameters of the Footswitch function. The resulting
delay time can be:

one-fourth of the time between taps (SIXTEEN)
one-half of the time between taps (EIGHTH)
two-thirds of the time between taps (TRIPLET)
equal to the time between taps (QUARTER)
two times the amount of time between taps (HALF), or
four times the amount of time between taps (WHOLE)

The maximum delay time the Chameleon™ provides is 1000ms, therefore
the Tap Delay feature will default to a lower parameter value when the
time between taps requires a delay time over 1000ms. For example, if the
WHOLE setting is stored for the Delay 1 parameter and the time between
taps is 300ms, a delay time of 1200ms would be required (i.e. 300ms x 4).
Because the maximum delay time is 1000ms, the Chameleon™ will default to
the next lower multiplier (HALF) and provide a delay time two- times the
delay time detected (600ms). if the delay time was over 1000ms again, the
unit would then provide the QUARTER note equivalent.
NONE can also be selected for the Delay 1 and Delay 2 parameters so that
they will not respond to taps on the footswitch.

Step 1 Turn the FUNCTION SELECT control to “FOOTSWITCH”.
Step 2 Turn the PARAMETER SELECT control one step clockwise
to display the current momentary footswitch “TYPE” (normally
open or normally closed).
The Footswitch TYPE parameter setting is global (i.e. the same for
all presets).
Step 3 Turn the PARAMETER ADJUST control to select the footswitch
type that you will be using (normally “OPEN” or “CLOSED”).
Step 4 Press the STORE button to save the altered Footswitch
Type setting. “STORED” will flash briefly on the display.
Step 5 Turn the PARAMETER SELECT control to one step further
clockwise to access the current status for “DELAY 1”.
Step 6 The PARAMETER ADJUST control can be used to change the
current DELAY 1 status.
Step 7 Press the STORE button to save the altered Delay 1 setting.
“STORED” will flash briefly on the display.
Step 8 Turn the PARAMETER SELECT control one step further clockwise
to access the current status for “DELAY 2”.
Step 9 Turn the PARAMETER ADJUST control to change the current
DELAY 2 status.
Step 10 Press the STORE button to save the altered Delay 2 setting.
“STORED” will flash briefly on the display.

The DELAY 1 and DELAY 2 parameters can be stored differently for
each preset.
Back to CONTENTS

Program Changes
Program Changes allow for different MIDI program numbers to be assigned
to Chameleon™ preset numbers. For example, MIDI program #58 can be mapped
to Chameleon™ preset #34. Then, when program #58 is selected from a MIDI
transmitting device (such as a Rocktron All Access™ foot controller), preset
#34 will be recalled on the Chameleon™.
The Program Changes Map table is shipped from Rocktron at a one-to-one
Correspondence (i.e. MIDI program #1 is mapped to Chameleon™ preset #1,
2 to 2, 3 to 3, etc.).

Step 1 To access MIDI Program Mapping, turn the FUNCTION SISLISCT
control clockwise until the Chameleon™ displays “PROGRAM CHANGES”.
Step 2 Turn the PARAMETER SELECT control one step clockwise
to display the current Program Change On/Map/Off status.

Program Changes status options

ON – Execute MlDI program changes as received by a MIDI controller
MAP – Use mapping table when a program change is received
OFF – Do not execute MlDI program changes

Step 3 Turn the PARAMETER ADJUST control to select the desired
Program Changes status setting.
Step 4 Press the STORE button to save the status selection.
“STORED” will flash briefly on the display.
Step 5 Turn the PARAMETER SELECT control one step clockwise
to display the current Program Changes mapping assignments.
Step 6 The number on the left of the display is the MIDI program
number (or the number sent via a MIDI footswitch or other MIDI transmitter).
Turn the PARAMETER SELECT control to select the MIDI program number to
map to a preset.
Step 7 The number on the right of the display is the preset
number to map to (or the preset number that will be recalled when the MIDI
program number on the left is received). Turn the PARAMETER adjust CONTROL
to select the preset number to map to.
* The preset number to map to can also be set to “OFF”
– thereby not responding to that program change command.
Step 8 After selecting both the MIDI program number and the
preset number, press the STORE button to save the change for each altered
mapping. “STORED” will flash briefly on the display.

Back to CONTENTS

MIDI Channels
The Chameleon™ can receive MIDI commands from other MIDI transmitting
devices, as well as transmit MIDI program changes to other MlDI-based equipment
when a preset is recalled on the Chameleon™ via the front panel RECALL
button. The MIDI Channels function allows you to select the MIDI channels
that the Chameleon™ will receive and transmit MIDI information on.

Step 1 Turn the FUNCTION SELECT control clockwise until the Chameleon™
displays “MIDI CHANNELS”.
Step 2 Turn the PARAMETER SELECT control one step clockwise
to display the current MIDI Receive channel.
Step 3 Turn the PARAMETER ADJUST control to select the desired
MIDI channel. You may select channels 1-16, OMNI (all channels) or OFF
(will not receive MIDI commands).
Step 4 Press the STORE button to save the new MIDI Receive channel.
“STORED” will flash briefly on the display.
Step 5 Turn the PARAMETER SELECT control one step further to
access the MIDI Transmit Channel status.
Step 6 Turn the PARAMETER ADJUST control to select the channel
that the Chameleon™ will transmit a MIDI program change on. you may select
channels 1-16 or OFF (will not transmit a MIDI program change).
Step 6 Press the STORE button to save the new MIDI Transmit
channel. “STORED” will flash briefly on the display.

Back to CONTENTS

MIDI Dump/Load
Any or all of the Chameleon™ presets may be dumped to a sequencer or
another Chameleon™ via system exclusive messages. The information exchanged
when performing a MIDI Dump consists of parameter values, title characters
and controller assignment/limit information. When dumping a single preset
into another Chameleon™, the dumped preset may be loaded into any preset
location on the receiving Chameleon™.
To dump a single Chameleon™ preset into another Chameleon™:

Step 1 Connect a standard MIDI cable from the MIDI OUT of the
transmitting Chameleon™ to the MIDI IN on the receiving Chameleon™.

IMPORTANT: Do not allow a looping connection from the MIDI OUT/THRU
of the receiving Chameleon™ back to the MIDI IN of the transmitting Chameleon™.
Click here to see a graphic of the MIDI
hook up.

Step 2 Turn the FUNCTION SELECT controls on both the transmitting
and receiving Chameleons until “MIDI DUMP/LOAD” is displayed
on each.
Step 3 Turn the PARAMETER SELECT control on each unit one step
clockwise to “PR DUMP/ LOAD”.
Step 4 Turn the PRESET control on the transmitting Chameleon™
to the preset that is to be dumped into the receiving Chameleon™. As the
PRESET control is turned, the preset number will be displayed in the first
three characters of the display.
Step 5 Use the PRESET control on the receiving Chameleon™ to
select the preset location to store the received preset. The preset currently
stored at the selected location will be lost when the new preset is received,
therefore caution should be used when selecting a preset location.
Step 6 To initiate the dump, press the STORE button on the transmitting
Chameleon™. The transmitting Chameleon™ will display the preset number
being dumped and “DUMPED”. The receiving Chameleon™ will display
the preset location being stored to and “RECEIVING…” while
it receives and stores the preset parameters and title.
After all the information for the dumped preset is stored, the receiving
Chameleon™ will display “LOADED”. The receiving Chameleon™ also
recalls the loaded preset at this time so that it may be verified.
Note: If there is an error in transmission, the unit will
display “RECEIVE ERROR “. Should this occur, check connections
and try again. If other errors occur, check the Error Messages chart in
the Appendix.

To dump the Chameleon™ memory into a sequencer:

Step 1 Connect a standard MIDI cable from the MIDI OUT of the
transmitting Chameleon™ to the MIDI IN on the receiving sequencer.

Click here to see a graphic of the
MIDI hook up.

Step 2 Turn the FUNCTION SELECT controls on the transmitting
Chameleon™ until “MIDI DUMP/LOAD” is displayed.
Step 3 Turn the PARAMETER SELECT control on the transmitting
Chameleon™ until “BULK DUMP/LOAD” is displayed.
Step 4 Start the sequencer recording.
Step 5 Press the STORE button on the Chameleon™ to initiate
the data dump. As the Chameleon™ performs the dump, it will display “XXX
DUMPED” – where “XXX” = the number of the data string currently
transmitting (i.e. strings 1-254 are presets, titles, controller information
and 2-tap delay information; string 255 contains program mapping information;
and string 256 contains miscellaneous information.
Step 6 After the Chameleon™ displays “TRANS COMPLETE”,
stop the sequencer. The sequencer should have recorded all of the data
that was dumped from the Chameleon™. Keep this data stored on a disk in
a safe place. Turn the PARAMETER SELECT control to continue.

To reload user data from a sequencer:

Step 1 Connect a standard MIDI cable from the MIDI OUT of the
transmitting sequencer to the MIDI IN on the receiving Chameleon™.

IMPORTANT: Do not allow a looping connection from the MIDI OUT/THRU
of the receiving Chameleon™ back to the MIDI IN of the transmitting sequencer.
Click here to see a graphic of the MIDI
hook up.

Step 2 Turn the FUNCTION SELECT controls on both the receiving
Chameleon™ until “MIDI DUMP/LOAD” is displayed.
Step 3 Turn the PARAMETER SELECT controls on the receiving Chameleon™
until “BULK DUMP/LOAD” is displayed.
Step 4 Play back the data stored on the sequencer. The Chameleon™
will display the data strings as it is storing them. Each data string will
appear with the word “LOADED”. After all the user data has been
loaded, the Chameleon™ will display “LOAD COMPLETE”. Do not play
back the data from the sequencer faster than it was loaded, as errors may
occur (errors may also occur if any knob is turned or any button is pressed
before the message “LOAD COMPLETE” appears).
If errors occur during transmission, the unit will display “RECEIVE
ERROR ” for transmission errors and “XMEM ERROR” for internal
hardware errors. Errors occurring in transmission does not indicate that
all of the received data is corrupted. Only the transmission string where
the error occurred is corrupted.
When receiving a Bulk Load, it is important that the data loaded
to the Chameleon™ is not transmitted faster than it was originally dumped
from the Chameleon™ If information is sent too fast to the Chameleon™,
an error will occur.
When dumping information from a data storage device, such as an
Alesis Data Disk, it is necessary to perform the dump in sequence mode
rather than sysx mode. Sequence mode will dump the information back to
the Chameleon™ at the same rate as it was received from the Chameleon™.
The Chameleon™ can receive a data dump at about 65Hz (or about 1 byte every
15 milliseconds).

Back to CONTENTS

Factory Restore
The Factory Restore function allows you to restore altered Chameleon™
presets to their original condition as shipped from the factory. Either
the entire Chameleon™ memory can be restored, a single preset can be restored
to any preset location, or the controller information alone can be restored.
Restoring a single factory preset:

Step 1 Turn the FUNCTION SELECT control clockwise to “FACTORY
RESTORE”.
Step 2 Turn the PARAMETER SELECT control one step clockwise
to “RESTR 1 TO 1”. The number on the left is the original factory
preset number to be restored. The number on the right is the preset location
that the preset will be stored into.
Step 3 Turn the PRESET control to select the factory preset
to be restored.
Step 4 Turn the PARAMETER ADJUST control to select the preset
location to store the restored preset into.

!! CAUTION !!
Pressing the STORE button at this time will overwrite
the current preset with the displayed factory preset.

Step 5 Press the STORE button to begin restoring the selected
preset into the selected location. After the process is completed, the
display should read “ERRORS 0”. This represents the number of
bytes that the Chameleon™ found did not initialize properly. Any number
of errors other than “0” means that the Chameleon™ may not have
initialized properly and the process should be repeated.
The Chameleon™ will remain in this condition until the FUNCTION
SELECTcontrol is turned to exit the Factory Restore function. The preset
currently recalled will be the preset most recently restored into the current
location.

Restoring all factory presets:

!! CAUTION !!
This procedure will permanently erase all user presets (1-254) and replace
them with the original factory presets. If you have altered and stored
presets
which you do not want to erase, do not perform the following procedure.

Step 1 Turn the FUNCTION SELECT control clockwise to “FACTORY
RESTORE”.
Step 2 Turn the PARAMETER SELECT control two steps clockwise
to “ALL RESTORE 0”.
Step 3 A specific code number must be entered to restore the
Chameleon™ memory. Use the PARAMETER ADJUST control to enter the number
“243”.

! ! WARNING ! !
Pressing the STORE button at this time will permanently erase all
user presets and replace them with the original factory presets. If
you have altered and stored presets which you do not want to erase,
turn the FUNCTION SELECT control to exit this function.

Step 4 Press the STORE button at this time to initiate the All
Restore procedure and erase all current Chameleon™ presets, replacing them
with the original factory presets. The Chameleon™ will display “INITIALIZING”
as the Chameleon™ memory is restored.
Afler the All Restore process is completed, the display should read
“ERRORS 0”. This is the number of bytes that the Chameleon™ found
that did not initialize properly. Any number of errors other than “0”
means that the Chameleon™ may not have initialized properly and the process
should be repeated.
The Chameleon™ will remain in this condition until the FUNCTION
SELECCT control is turned to exit the Factory Restore function. The preset
currently recalled will be the preset most recently restored into the current
location.

Restoring the Chameleon™ controller assignments:

The controller assignments for the Chameleon™ can also be reinitialized
without affecting presets and other stored information. Reinitialization
of the controller assignments is necessary when setting up the Chameleon™
to operate in remote mode with a Rocktron All Access™ footswitch.
To reinitialize only the controller assignments, enter a code number
of “244” at Step 3 above.

Back to CONTENTS

Selecting a Power
on Preset:
The Chameleon™ allows you to store a Power On preset which will always
be recalled when the unit is turned on.

Step 1 Turn the PRESET control to the preset number you wish
to be recalled each time the unit is turned on.
Step 2 Recall the selected preset by pressing the RECALL button.
Step 3 Press the STORE button while viewing the preset number
and title to save it as the Power On preset.

Back to CONTENTS

Using the Chameleon™
with a Rocktron All Access™ in REMOTE mode
A Rocktron All Access™ MIDI footswitch can act as a dedicated remote
control for the Chameleon™ – allowing direct access to specific Chameleon™
features and parameters from the footswitch at any time.

Step 1 To use an All Access™ footswitch as a dedicated remote,
connect the MIDI OUT of the All Access™ to the REMOTE jack of the Chameleon™
using a 7-pin MIDI cable.

Click here to see a graphic of
the MIDI hook up.
To set up the Chameleon™ for remote operations do the following:

Step 2 Reinitialize the controller assignments as shown earlier
in this section under the heading “Restoring the Chameleon™ Controller
Assignments”. This will match up the Chameleon’s controller assignments
to the All Access™. A code of “244” must be entered to initialize
only the controller information.
Step 3 Turn the FUNCTION SELECT control clockwise to “REMOTE
CONTROL”.
Step 4 Turn the PARAMETER SELECT control one step clockwise
to display “REMOTE”.
Step 5 Turn the PARAMETER ADJUST control to select “ON”.
Step 6 If the Chameleon™ titles are to be displayed on the All
Access™, turn the PARAMETER SELECT control to “TITLE XFER”.
Step 7 Turn the PARAMETER ADJUST control to “ON” to
enable title transfers from the Chameleon™ to the All Access™ display.

To set up the All Access™ for remote operation perform these steps
from the All Access™ SETUP program:

(See the All Access™ user’s manual for detailed information on editing
the All Access™)

Step 8 Set the Operating Mode to “REMOTE”.
Step 9 Set the Bank Size to “10”.
Step 10 Reinitialize only the controller information for the
instant access switches and pedals using a code of “231”.
Step 11 If the preset titles from the Chameleon™ are to be displayed
on the All Access™ automatically, set the Remote Title Number to match
the Unit ID Number parameter on the Chameleon™.

When operating in Remote mode with a Chameleon™, switches 1-10 act as
normal preset switches, while switches 11-15 each perform a special function.

Switch 11 switches in or out the first effect of the current
configuration (not including HUSH®). This can be either chorus, flange,
tremolo, pitch shift, wah or phase shift.
Switch 12 switches in or out the delay effect.
Switch 13 switches in or out the reverb effect.
Switch 14 can be pressed and held to mute the output of the
Chameleon™ for as long as the switch is held down. This is especially useful
when switching guitars during a live set.
Switch 15 provides instant access to the Tap Delay feature
of the Chameleon™ Switch 15 can be used instead of connecting a momentary
footswitch to the FOOTSWlTCH jack on the rear of the Chameleon™. For more
information on the Tap Delay Feature, see Tap Delay in this section.

Click here to see a graphic of
the All Access™ switch set up.
Upon proper setup and connection of the units, the All Access™ will
provide the functions shown in the graphic.
Back to CONTENTS

8. APPENDIX
ERROR MESSAGES
Message Possible Reason Corrective Action

MEMORY ERROR CODE BYTE IS NOT CORRECT IN MAKE SURE EEPROM IS TIGHT IN
EEPROM MEMORY. SOCKET

MAKE SURE WITHIN CORRECT
OPERATING TEMPERATURE.

DUMP ERROR MIDI INFORMATION IS BEING DISCONNECT MIDI CORD AT MIDI
RECIEVED AT THE MIDI IN AS IN OR TRANSMITING CHAMELEON.
THE SAME INFORMATION IS
BEING DUMPED.

RECIEVE ERROR MIDI EXCLUSIVE INFORMATION BULK LOAD WAS TRANSMITTED
WAS NOT RECIEVED CORRECTLY. TOO FAST.

CHECK SUM BYTE WAS NOT
CORRECT.

DATA STRINGS NOT CORRECT
LENGTH.

DATA STRINGS OUT OF ORDER.

XMEM ERROR EEPROM MEMORY IS NOT BEING MAKE SURE EEPROM IS TIGHT
STORED TO CORRECTLY. IN THE SOCKET.

MAKE SURE WITHIN THE CORRECT
OPERATING TEMPERATURE.

LOAD ERRORS MIDI SYSTEM EXCLUSIVE CHECK RECIEVE ERROR AND
INFORMATION WAS NOT XMEM ERROR
RECIEVED CORRECTLY OR
STORED CORRECTLY.

Back to CONTENTS

MIDI IMPLEMENTATION
Chameleon™
Date: May 10, 1993 Version: 1.0

0=YES
X=NO
FUNCTION TRANSMITTED RECOGNIZED REMARKS

BASIC DEFAULT 1-16 1-16 May be saved in
CHANNEL CHANGED 1-16 1-16 non-volatile memory

MODE DEFAULT X X
MESSAGES X X
ALTERED X X

NOTE
NUMBER TRUE VOICE X X

AFTER TOUCH KEY’S X X
CHANNEL X X

PITCH BEND X X

CONTROL CHANGE** X 0

PROGRAM CHANGE* 0 0

SYSTEM EXCLUSIVE 0 0 For Bulk Dump/Load
and Preset Dump/Load
SYSTEM COMMON SONG POSITION X X
SONG SELECT X X
TRUE REQUEST X X

SYSTEM CLOCK X X
REAL TIME COMMANDS X X

AUXILIARY LOCAL ON/OFF X X
MESSAGES ALL NOTES OFF X X
ACTIVE SENSING X X
SYSTEM RESET X X

* Actual MIDI program value sent is 0-253, corresponding to presets
1-254. Optional implementation of program mapping also available.
** The control number may be from 0-120, or OFF. An upper and lower range
may also be specified for most parameters.

Back to CONTENTS

TECHNICAL DATA
INPUT IMPEDANCE 470Kohms

MAXIMUM INPUT LEVEL + 20dBu

INPUT JACK 1/4″ mono

OUTPUT IMPEDANCE less than 150ohms

MAXIMUM OUTPUT LEVEL +20dBu

OUTPUT JACKS 1/4″ unbalanced Left and Right.
Left jack can drive stereo
headphones of 600ohms or more
(AKG studio phones, for example).

XLR balanced Left and Right.

MIDI IN 7-pin DIN

MIDI THRU/OUT 5-pin DIN

POWER REQUIREMENTS 9VAC/2A

DIMENSIONS 19″ X 7″ X 1 3/4″

Back to CONTENTS

CHAMELEON FACTORY PRESETS
Note: Presets 1-127 are repeated in locations 128-254 with the speaker
simulator tumed ON. Presets 128-254 share
the same titles as presets 1-127, and may have slight EQ modifications
to best accommodate full range speaker systems.

1/128 LIZARD LICKS 44/171 MARSHALL 2 86/213 HUMMER
2/129 BRONTOCHORUS 45/172 SATRIANI 87/214 RAW
3/130 VINTAGE STAK 46/173 DRAGON AUGHT 83/215 MYSTERIOUS
4/131 PSYCHOSIS 47/174 THE B BOY$ 89/216 FALLING
5/132 TWIN TREMOLO 48/175 GODZILLA 90/217 ROCK ME
6/133 TROWER POWER 49/176 STUDIO ROCK 91/218 RHYTHM UNDER
7/134 SHEEN 50/177 STEREOPAN Dl 93/219 DOWN HOME
8/135 BEETHOVEN 5 51/178 BLUES 4 YOU 93/220 FLYING PIGS
9/136 ATOMIC SPUNK 52/179 AURORA 94/221 PLAY ITJIMI
10/137 TINPAN ALLEY 53/180 PEPPY 95/222 BLUEMAN
11/138 HOUSES OF 54/181 SPACE TRAIN 96/223 DUSTY BLUES
12/139 LEAD CHORUS 55/182 LEAD FLANGE 97/224 TWIN
13/140 COLISEUM CRS 56/183 PAIN CAVE 98/225 CRUNCH/TREM
14/141 MIRRORS 57/184 CALL ME WAH 99/226 SPINNING
15/142 MONEY 4NUTIN 58/185 BIB RHYTHM 100/227 ABALENE
16/143 SATURATION 59/186 ROTATING 101/228 VERBY CRUNCH
17/144 OVER DA HILL 60/187 ROTATE SLOW 102/229 STONED TWIN
18/145 WET> DRY 61/188 SHIMMERING 103/230 12 STRING
19/146 DANCING PAN 62/189 VALLEYS 104/231 BENSON+HEDGE
20/147 FUZFACE 63/190 SHARK RIP 105/232 SYNCOTRIPLET
21/148 BURNING 64/191 CHUNK FLANGE 106/233 INEBRIATED
22/149 DOG 65/192 REC CRUNCH 107/234 THAT CHIME
23/150 VULGAR 66/193 AMBIENT BLUE 108/235 TONE ZONE
24/151 INSECTEOR 67/194 PHASE FOUR 109/236 POLY FLANGE
25/152 LITHIUM 68/195 BLACK WHITE 110/237 ULI CLEAN
26/153 R/l/P 69/196 EDGE 111/238 CLASSY
27/154 LEAD VERB 70/197 TURBO FLANGE 112/239 MR CLEAN
28/155 TAPE DELAY 71/198 OFF AXIS 113/240 CRYSTAL
29/156 Dl LIZARD 72/199 BRIDE SIGHS 114/241 CLEAN CRS
30/157 BOUNCE LEAD 73/200 MELLO GRIND 115/242 SPACER
31/158 NIGHTMARES 74/201 LESS PAIN 116/243 CHINA-BELLS
32/159 OCTAVIA 75/202 CRUNCH/VERB 117/244 GLIMMER
33/160 BAGEL ROCK 76/203 ROBIN 118/245 ECHO/PLEX
34/161 UTALKIN 2 ME 77/204 DRY CRUNCH 119/246 ARENA CRS DL
35/162 CONFUSED 78/205 CRUNCHY ECHO 120/247 SPREAD
36/163 SLAP VERB 79/206 FAT STRAT 121/248 WATERFALL
37/164 MARSHALL WAH 80/207 DEUCE 122/249 PLUNK THIS
38/165 CALL PSYCHO 81/208 SINGLE COILS 123/250 AOUA CLEAN
39/166 LEFT VERB 82/209 BLUES POWER 124/251 ATLANTIS
40/167 WICKED 83/210 ANGUS 125/252 LOUS BLUES
41/168 RIGHTSHADOW 84/211 PETESCHUNK 126/253 FIFTH GUN
42/169 LABROSE 85/212 IN YER FACE 127/254 SPIC-N-SPAN
43/170 MOBY DICK

Back to CONTENTS

Rocktron Voodu Valve(tm) Manual

Rocktron Voodu Valve(tm) Manual

VooDu Valve

PRECAUTIONS

NOTE: IT IS VERY IMPORTANT THAT YOU READ THIS SECTION TO PROVIDE YEARS
OF TROUBLE FREE USE. THIS UNIT REQUIRES CAREFUL HANDLING.

All warnings on this equipment and in the operating instructions should be adhered to and all operating instructions should be followed.
Do not use this equipment near water. Care should be taken so that objects do not fall and liquids are not spilled into the unit
through any openings.
The power cord should be unplugged from the outlet when left unused for a long period of time.

DO NOT ATTEMPT TO SERVICE THIS EQUIPMENT. THIS EQUIPMENT SHOULD BE SERVICED BY QUALIFIED PERSONNEL ONLY. DO NOT MAKE ANY INTERNAL ADJUSTMENTS OR ADDITIONS TO THIS EQUIPMENT AT ANY TIME. DO NOT TAMPER WITH INTERNAL ELECTRONIC COMPONENTS AT ANY TIME. FAILURE TO FOLLOW THESE INSTRUCTIONS MAY VOID THE WARRANTY OF THIS EQUIPMENT, AS WELL AS CAUSING SHOCK HAZARD.

POWER REQUIREMENTS

This unit accepts power from the 9VAC/3.4A adaptor supplied with the unit. This 9 volt RMS AC voltage is internally processed by a voltage doubler which generates a bi-polar +/-15 volts to maintain the headroom and sound quality of professional, studio quality equipment. Using an external power source such as this minimizes excessive noise and hum problems often associated with internal transformers, providing optimal performance for the user.

OPERATING TEMPERATURE

Do not expose this unit to excessive heat. This unit is designed to operate between 32° F and 104° F (0° C and 40° C).
This unit may not function properly under extreme temperatures.
Copyright ©1995 Rocktron Corporation.
All rights reserved.

CONTENTS

1. Introduction
2. Front Panel
3. Rear Panel
4. Connections
5. Operating Format

Voodu Valve™ Functions and Parameter Descriptions
GLOBAL Function
MIXER Function
HIGH GAIN Function
LOW GAIN Function
HUSH® Function
PRE EQ (EXPERT) Function
POST EQ (EXPERT) Function
COMPRESSOR Function
SPEAKER SIMULATOR Function
WAH-WAH Function
PHASER Function
FLANGER Function
TREMOLO Function
PITCH SHIFT Function
CHORUS Function
DELAY Function
REVERB Function

6. Voodu Valve™ Configurations
7. Operating the Voodu Valve™

Selecting a preset
Changing preset parameters
Storing changed preset parameters
Selecting a configuration
Editing a preset title
Controller Assignments
Tap Delay
Program Changes
MIDI Channels
MIDI Dump/Load
Factory Restore
Selecting a Power On Preset
Using the Voodu Valve™ with a Rocktron All Access™ in REMOTE mode

8. Appendix

ERROR MESSAGES
MIDI IMPLEMENTATION
TECHNICAL DATA
VOODU VALVE FACTORY PRESETS

1. INTRODUCTION

Congratulations on your purchase of the Rocktron Voodu Valve™! The Voodu Valve™ is a 24 bit
DSP professional tube guitar preamp providing 12 unparalleled effect algorithms and superb
sound quality never before heard from a digital tube guitar preamp. Complete programmability and
full MIDI implementation are coupled with a user friendly operating format to ensure that designing
unique and useful preset sounds is as simple as possible.
In addition, the Voodu Valve™ also features:

Advanced Speaker Simulation provides a strikingly realistic approximation of a miked speaker
cabinet at line-level for direct mixer input or headphone listening.
Full parametric Pre and Post EQ gives the user complete EQ control over each preset.
Hush Systems’ HUSH® Noise Reduction provides noise reduction while playing and complete
silence when not.
“Variac” Simulation, like a conventional Variac, adjusts the level at which the preamp begins to
distort. This provides more gain in high-gain applications, and allows for full-bodied cleaner presets
which just begin to distort when the strings are attacked harder.
Internal Wah-Wah allows the player to use an expression pedal for Wah-Wah effects instead of
running long audio cables out to a conventional Wah-Wah pedal.
High-quality Digital Effects, including:

Reverb, Phasing, Tremolo, Flanging
Pitch Shifting, Compression, Chorus and Delay.

XLR Outputs for direct mixer input.

For a thorough explanation of the Voodu Valve™ and its features, please read this manual carefully
and keep it for future reference. After removing the Voodu Valve™ from the box, save all packing
materials in case it becomes necessary to ship the unit.
Back to CONTENTS

2. FRONT PANEL

1 POWER switch
2 RECALL button
This button is used to recall the displayed preset.
3 PRESET control
This control scrolls through the successive presets.
4 CONFIG button/led
The status of this button determines whether the Voodu Valve™
will display either the preset number and title or the configuration
of the currently displayed preset. The configuration display indicates
the effects that the displayed preset executes and, in most
cases, the order in which they are executed.

The LED above the CONFIG button is lit when the configuration
is displayed.
5 DISPLAY panel
The DISPLAY panel provides 16 characters consisting of 14
segments each.
6 EFFECT BYPASS button/led
When lit, the Pre and Post effects are bypassed and only the Compressor/Preamp
signal is passed to the Voodu Valve™ outputs
This button does not affect the condition of the Speaker Simulator.
7 COMPARE button
The COMPARE button may be used to compare an altered
parameter value to its stored value.

This button may also be used to compare between the altered and
stored values of multiple parameters under the same function
heading (i.e. “Reverb”, “Mixer”, etc.).
Note: If comparing an aItered value to the stored value and the stored
value is currently being viewed, turning a knob or pressing a button that
changes the parameter value displayed will cancel the previous altered
value. This will alao occur if a MIDI Control change is received while
viewing the stored value(s).
8 PARAMETER ADJUST control
This control is used to adjust a displayed parameter value. When
the parameter is changed from its original value, the LED above
the STORE button will light until either the new value is stored, a
new preset is selected or the parameter is returned to its original
value.

9 STORE button/led
This button is used to store values into the Voodu Valve™ memory
when altered. See “Storing Changed Preset Parameters”
for more information on this procedure.
10 PARAMETER SELECT control
the available parameters under the current function heading.
In the “Title Edit” function, this control will scroll through the
character locations to be edited.
11 FUNCTION SELECT control
This control allows access to each function of the Voodu Valve™,
depending on what configuration is currently recalled.
12 SPEAKER SIMULATOR indicator
When lit, this LED indicatcs that the Speaker Simulator is activated
for the current preset.
13 OUTPUT LEVEL control
This control is used to adjust the output level of the unit at the
unbalanced outputs.
14 INPUT LEVEL meter
These LEDs provide visual indication of the peak level of the input
signal when in the Preset Select mode. For the optimal signal-to-noise
ratio, it is best to adjust the input level so that the last LED
(OdB) is rarely lit. This will guard against the possibility of
overdriving the unit.

These LEDs also display the final digital mixer output levels when
any other functions are selected. This will help you to guard
against clipping the output of the mixer at the digital-to-analog
converter.
15 INPUT LEVEL control
This control adjusts the unit’s gain to match the signal level at the
input of the Voodu Valve™. Use the INPUT LEVEL meter to
determine the setting of this control.
16 INPUT jack
This standard, unbalanced mono 1/4″ jack is used to provide input
to the unit. It is front panel mounted for easy access.
Back to CONTENTS

3. REAR PANEL

1 BALANCED OUTPUT LEVEL control
This control determines the output level at the XLR BALANCED
OUTPUTS. Note that the balanced outputs pass the same signals as
the unbalanced outputs, except that the levels are independently
adjustable.
2 (L) BALANCED OUTPUT connector
This balanced XLR connector provides the left balanced output of
the Voodu Valve™ for direct use into a mixing console.
3 (R) BALANCED OUTPUT connector
This balanced XLR connector provides the right balanced output of
the Voodu Valve™ for direct use into a mixing console.
4 (L) UNBALANCED OUTPUT jack
This 1/4″ unbalanced RTS jack provides the left unbalanced output
of the Voodu Valve™ for use with a guitar amplifier or rack
system setup.

In addition, this jack also allows for the connection of stereo
headphones (600ohms impedance or greater).
5 (R) UNBALANCED OUTPUT jack
This 1/4″ unbalanced RTS jack provides the right unbalanced
output of the Voodu Valve™ for use with a guitar amplifier or rack
system setup.
6 FOOTSWITCH jack
This 1/4″ mono jack allows for the connection of a momentary
footswitch to control the Tapped Delay feature of the Voodu
Valve™. The Tapped Delay feature allows the player to set (or
reset) the current delay time by tapping the footswitch. The new
delay time will be based on the length of time between two taps.
For more information on this feature, refer to the “Tap Delay”
section .
7 REMOTE jack
This 7-pin DIN connector is provided for the connection of a
Rocktron All Access™ MIDI footswitch, which can be configured
to act as a dedicated remote footswitch for the Voodu Valve™.
This feature allows the user to access Voodu Valve™ functions
and parameters via the remote footswitch.
8 PHANTOM POWER jack
This 2.5mm PIN jack offers the ability to power Rocktron MIDI
foot controllers from a 7-pin MIDI cable which connects from the
Rocktron MIDI foot controller to the MIDI IN jack on the rear
panel of the Voodu Valve™. This eliminates the need to find an
AC outlet near where the footpedal would be placed during a
performance, or the need to run an extension cord out to the
footswitch. Instead of inserting the AC adaptor into the “POWER”
jack of the footswitch as you would normally, plug it into the
“PHANTOM POWER” jack on the Voodu Valve™. This will
power the Rocktron MIDI foot controller through pins 6 and 7 of
the MIDI cable connecting the two units. A 7-pin MIDI cable must
be used and is available from your Rocktron dealer.
9 MIDI IN jack
This 7-pin DIN connector must be connected to the MIDI OUT
jack of the transmitting MIDI device via a standard MIDI cable, or
to the MIDI THRU jack of the preceding device (if the Voodu
Valve™ is within a chain of MIDI devices).

Pins 6 and 7 of this connector carry the phantom power to power a
Rocktron MIDI foot controller when a 7-pin MIDI cable is used.
10 MIDI THRU/OUT jack
This standard 5-pin DIN connector can be connected to the MIDI
IN jack of another device via a standard MIDI cable. There are
limitations to the number of devices that can be chained (or series
connected) in this fashion.
Note: Inherently in MIDI there is a limit to the number of devices which
can be chained together (connected in series). With more than 3 devices,
a slight distortion of the MIDI signal can occur (due to signal degradation)
which can cause an error in MIDI signal transmission. Should this problem
arise, a MIDI Thru box can be used which connects directly to the
MIDI device which transmits MIDI information and has multiple connectors
for the multiple devices receiving MIDI. MIDI cables should not
exceed 50 feet (15 meters) in length.
11 POWER jack
This 4-pin DIN connector accepts power from the 9VAC adaptor
supplied with the unit.
Back to CONTENTS

4. CONNECTIONS
Using the Voodu Valve™ with a stereo power amp and guitar cabinets
Using the Voodu Valve™ directly into a mixing console
Back to CONTENTS

5. OPERATING FORMAT

The Voodu Valve™ provides 254 stored sounds called presets Any of the
254 presets can be called up at any time via the front panel PRESET control (used
to select a preset) and RECALL button (used to call up the selected preset), or by a
remote MIDI footswitch.

The root of each preset’s sound is its confgurafion. The configuration
determines both the effects available for a given preset and the order in which
those effects are executed. The Voodu Valve™ provides 12 fixed configurations to
achieve a wide array of preset sounds, any of which may be instantly called up at
any time.
VooDu Valve™ Configurations:

High-gain Distortion – Chorus – Delay – Reverb
High-gain Distortion – Flange – Delay – Reverb
High-gain Distortion – Tremolo – Delay – Reverb
High-gain Distortion – Pitch Ship – Delay . Reverb
Wah – High-gain Distortion – Delay – Reverb
Phase Shift – High-gain Distortion – Delay – Reverb
Low-gain Distortion – Chorus – Delay – Reverb
Low-gain Distortion – Flange – Delay – Reverb
Low-gain Distortion . Tremolo . Delay – Reverb
Low-gain Distortion – Pitch Shift – Delay – Reverb
Wah – Low-gain Distortion – Chorus – Delay – Reverb
Phase Shift – Low-gain Distortion – Delay – Reverb

To see the configuration of each preset, press the CONFIG button on the
front panel of the Voodu Valve™ – the LED above the CONFIG button will light
and the display will show the configuration for the current preset. Turning the
PRESET control will then scroll through each successive preset (displaying its
configuration instead of its preset number and title)

The configuration of each preset can also be changed from within the
desired preset. For more information on selecting a configuration, see “Selecting a configuration”
in “Operating the Voodu Valve™”.
Back to CONTENTS

Voodu Valve™ Functions and Parameter Descriptions

Each Voodu Valve™ preset is divided up into individual blocks called
functions (such as “Mixer”, “Reverb”, etc.). Within each function of each
configuration is a set of controls which allow you to manipulate various aspects of that
function. These controls are called parameters. It is the setting of each of the
parameters which determines the overall sound of each preset.

The Voodu Valve™ is set up to allow you to first access each function (via
the FUNCTION SELECT control), then the parameter list for each function (via the
PARAMETER SELECT control) and finally the adjustable value for each parameter
(via the PARAMETER ADJUST control).

The functions available for each preset are dependent upon which
configuration is currently recalled. The remainder of this section will describe each of the
effect-based functions and the associated adjustable parameters they provide.

The remaining functions are utility-based, and are described in
“Operating the Voodu Valve™”.
Back to CONTENTS

GLOBAL Function

The first function displayed after turning the FUNCTION SELECT control is
the Global function. The parameters provided in this function affect all presets
(i.e. the settings stored for these parameters are the same for all presets).
The PARAMETER SELECT control will allow you to access these Global parameters:
OUTPUT The OUTPUT parameter determines whether the output of the Voodu
Valve™ is a stereo (left and right) signal or two mono signals.
SPKR SIM This SPEAKER SIMULATOR parameter under the Global function
allows you to globally (all presets) lock the Speaker Simulatoroff
(LOCKOFF) so that it will always be off for all presets – regardless of
the status of the “SPKR SIM” parameter under the Speaker Simulator
function. It may also be locked on for the left channel (LOCK L) or on
for both channels (LOCK B).
Note: The Voodu Valve™ will only recognize the “SPKR SIM”
parameter under the Speaker Simulator function when this parameter is
stored as UNLOCK.
HUSH® OFFSET The HUSH® OFFSET parameter allows you to globally (all presets)
adjust the HUSH® Expander Threshold. This means that if this
parameter is altered from 0dB to +3dB, the Expander Threshold will be 3dB
higher for all presets. This feature can be useful when switching from a
quiet guitar with passive electronics to a noisy guitar with active
electronics – as the active guitar would require a higher Threshold level
in all presets.
MUTE The MUTE parameter allows you to mute the output of the Voodu
Valve™. This feature is especially useful when changing guitars during
a live set. If a Rocktron All Access™ is used in remote mode with the
Voodu Valve™, a single All Access™ button can be configured as a
momentary switch which will mute the output when it is held down.
(See “Using a Voodu Valve™ with a Rocktron All Access™ in
REMOTE mode”.)

FUNCTION PARAMETER LIST RANGE

GLOBAL OUTPUT (Output Level) Stereo, Mono
SPKR SIM (Speaker Simulator Lock) Unlock, Lock Off, Lock L, Lock B
HUSH® OFFSET -10 dB to +30 dB
MUTE Off, on

Back to CONTENTS

MIXER Function

The next function displayed after turning the FUNCTION SELECT control is
the Mixer function. The Mixer function parameters are included in all presets –
regardless of which configuration is currently recalled – although the parameter
values stored in this function are only for the currently recalled preset.

This digital mixer allows you to control most signal levels pertaining to each
preset’s configuration and stores these levels for each preset.
The PARAMETER SELECT control will allow you to access these Mixer parameters:
VOLUME The VOLUME parameter determines the overall signal level of the
current preset.
LEFT OUT LVL The LEFT OUT LEVEL parameter allows you alter the level of the left
channel output of the current preset independent of the right channel.
RIGHT OUT LVL The RIGHT OUT LEVEL parameter allows you alter the level of the
right channel output of the current preset independent of the left
channel.
MIX DIR/EFF The DIR/EFF MIX parameter is used to define the ratio of direct signal
level to effect (Chorus, Flange, Pitch Shift) signal level.

DIR PAN The DIRECT PAN parameter allows you to pan the direct signal to the
left or right.
DELAY LVL The DELAY LEVEL parameter determines the overall level of the
delayed signal at the output relative to the direct signal and other effect
signals. This parameter can also be accessed from the Delay function
parameter list.
REVERB LVL The REVERB LEVEL parameter determines the level of the reverb
signal at the output relative to the direct signal and other effect signals.
This parameter can also be accessed from the Reverb function
parameter list.

FUNCTION PARAMETER LIST RANGE

MIXER VOLUME (Volume Level) 0 to 127
LEFT OUT LVL (Left Channel Output Level) -oo to +6dB
RIGHT OUT LVL (Right Channel Output Level) -oo to +6dB
MIX (Direct/Effcct Mix Level) DIR <0 to 100> EFF
DIR PAN (Direct Signal Panning) L <0 to 100> R
DELAY LVL (Delay Signal Level) -oo to +0dB
REVERB LVL (Reverb Signal Level) -oo to +6dB

Back to CONTENTS

HIGH GAIN Function

The HIGH GAIN function is only accessible in configurations which display
“H-GAIN” in the configuration title. The preamp stage in these configurations is
set up to provide high gain levels for maximum sustain and distortion.
The PARAMETER SELECT control will allow you to access these High Gain parameters:
TUBE GAIN The TUBE GAIN parameter sets the amount of drive at the input of the
tube stage.
GAIN The GAIN parameter determines the gain value in the distortion stage.

VARlAC ADJUST The VARIAC ADJUST parameter adjusts the level at which the preamp
stage in the Voodu Valve™ begins to distort. A Variac is a
voltage attenuating device that plugs into an AC wall outlet and adjusts the
voltage level to any device which is plugged into it. For years, many
guitarists have plugged their amplifier heads into a Variac and reduced
the voltage coming into the amplifier from the AC wall outlet. This
allows the amplifier tubes to reach saturation at a lower input level and
increases the gain produced. The VARIAC ADJUST parameter
operates in a similar manner as a conventional Variac – where lowering
the parameter value lowers the level at which saturation will take place.
BASS LVL The post BASS LEVEL parameter adjusts the amount of low frequency
information at the output of each preset. This parameter is also
accessible from the “Post EQ (Expert)” function. (In the Post EQ function,
the center frequency and bandwidth of this EQ section are also
adjustable.)
MID LVL The post MID LEVEL parameter adjusts the amount of mid frequency
information at the output of each preset. This parameter is also accessible
from the “Post EQ (Expert)” function. (In the Post EQ function,
the center frequency and bandwidth of this EQ section are also adjustable.)
TREBLE LVL The post TREBLE LEVEL parameter adjusts the amount of high
frequency information at the output of each preset. This parameter is
also accessible from the “Post EQ (Expert)” function. (In the Post EQ
function, the center frequency and bandwidth of this EQ section are also
adjustable.)

PRESENCE LVL The post PRESENCE LEVEL parameter also adjusts the amount of
high frequency information at the output of each preset. This parameter
is also accessible from the “Post EQ (Expert)” function. (In the Post EQ
configuration, the center frequency and bandwidth of this EQ section are also
adjustable.

FUNCTION PARAMETER LIST RANGE

HIGH GAIN TUBE GAIN Low, High
GAIN (Gain Level) 12dB to 78dB
VARIAC ADJUST (Variac Level Adjustrnent) -6dB to 0dB
BASS LVL (Post Bass Level) -15dB to +15dB
MID LVL (Post Midband Level) -15dB to +15dB
TREBLE LVL (Post Treble Level) -15dB to +15dB
PRESENCE LVL (Post Presence Level) -15dB to +15dB

Back to CONTENTS

LOW GAIN Function

The LOW GAIN function is only accessible in configurations which display
“L-GAIN” in the configuration title. The preamp stage in these configurations
provides four distortion types, and can also be used for clean tones.
The PARAMETER SELECT control will allow you to access these Low Gain parameters:
TUBE GAIN The TUBE GAIN parameter sets the amount of drive at the input of the tube stage.
GAIN The GAIN parameter determines the gain value in the distortion stage.
TUBE The TUBE parameter allows you to select between four different tube
distortion types – Hard Clip, Soft Clip, Class A, Class B. The Hard Clip
setting provides the hardest clipping, while the Soft Clip type provides a
softer clipping and the Class A and B types provide the softest clipping.
The Class A setting produces non-symmetrical clipping – therefore
more even harmonics are produced. Conversely, the Class B setting
produces symmetrical clipping. The differences between these types
are most pronounced at moderate gain settings of about 30dB or less,
where Class B produces the least amount of upper harmonics.
BASS LVL The post BASS LEVEL parameter adjusts the amount of low frequency
information at the output of each preset. This parameter is also
accessible from the “Post EQ (Expert)” function. (In the Post EQ function,
the center frequency and bandwidth of this EQ section are also
adjustable.)
MID LVL The post MID LEVEL parameter adjusts the amount of mid frequency
information at the output of each preset. This parameter is also accessible
from the “Post EQ (Expert)” function. (In the Post EQ function,
the center frequency and bandwidth of this EQ section are also adjustable.)
TREBLE LVL The post TREBLE LEVEL parameter adjusts the amount of high
frequency information at the output of each preset. This parameter is
also accessible from the “Post EQ (Expert)” function. (In the Post EQ
function, the center frequency and bandwidth of this EQ section are also
adjustable.)
PRESENCE LVL The post PRESENCE LEVEL parameter also adjusts the amount of
high frequency information at the output of each preset. This parameter
is also accessible from the “Post EQ (Expert)” function. (In the Post EQ
configuration, the center frequency and bandwidth of this EQ section are also
adjustable.)

FUNCTION PARAMETER LIST RANGE

LOW GAIN TUBE GAIN Low, High
GAIN (Gain Level) 0dB to 48dB
TUBE (Tube distortion type) Hard Clip, Soft Clip, Class A, Class B
BASS LVL (Post Bass Level) -15dB to +15dB
MID LVL (Post Midband Level) -15dB to +15dB
TREBLE LVL (Post Treble Level) -15dB to +15dB
PRESENCE LVL (Post Presence Level) -15dB to +15dB

Back to CONTENTS

HUSH® Function

The HUSH® function is accessible in all presets – regardless of the configuration currently recalled.

HUSH® is Hush Systems’ patented single-ended noise reduction system. The
HUSH® system contained in the Voodu Valve™, though modeled after the latest
analog HUSH® design, is a fully digital implementation achieved through Digital
Signal Processing (DSP).

The low level expander of the HUSH® system operates like an electronic
volume control. The analog version of the HUSH® utilizes a voltage-controlled
amplifier (VCA) circuit which can control the gain between the input and the
output from unity to 30, 40 or even 50dB of gain reduction. When the input
signal is above the user preset threshold point, the VCA circuit remains at unity
gain. (This means that the amplitude of the output signal will be equal to that of
the input signal.) As the input signal level drops below the user preset threshold
point, downward expansion begins. At this point the expander acts like an electronic
volume control and gradually begins to decrease the output signal level
relative to the input signal level. As the input signal drops further below the
threshold point, downward expansion increases. A drop in the input level by
20dB would cause the output level to drop approximately 40dB (i.e., 20dB of gain
reduction). in the absence of any input signal, the expander will reduce the gain
so that the noise floor becomes inaudible.

The HUSH® circuit is located after the A/D converter in the signal chain to
reduce any noise generated from the guitar and the A/D converter. This ensures a
quiet input signal to the preamp section. Because the preamp section of the
Voodu Valve™ is digital, it is virtually noise-free (even in the high-gain mode).
Therefore, a quiet input signal to the preamp will result in a quiet output signal.
The PARAMETER SELECT control will allow you to access these Hush parameters:
HUSH I/O The HUSH I/O parameter simply determines whether the HUSH®
circuit is active for the current preset.
HUSH® THRESH The HUSH® THRESHOLD parameter determines the level at which
downward expansion begins. For example, if the HUSH® THRESHOLD
was set at -20dB and the input signal dropped below -20dB, downward
expansion would begin.

FUNCTION PARAMETER LIST RANGE

HUSH® HUSH® (Hush In/Out) Out, In
EXP THRESH (Expander Threshold Level) -90dB to -27dB

Back to CONTENTS

PRE EQ (EXPERT) Function

The PRE EQ (EXPERT) function is available in all presets – regardless of
which configuration is currently recalled.

This function allows you to shape the tone prior to the distortion stage.
Considerable tone variations can be achieved by modifying these pre-distort EQ
parameters.
The PARAMETER SELECTcontrol will allow you to access these PRE EQ parameters:
LF LEVEL The pre-LF (low frequency) LEVEL parameter allows you to cut or
boost the low frequencies from – 15dB to +6dB prior to the distortion
stage. This EQ section is a shelving-type.
LF FREQ The pre-LF (low frequency) FREQUENCY parameter allows you to
select a frequency band with an upper frequency between 63Hz and
500Hz to be cut or boosted by the pre-LF LEVEL parameter.
MID LEVEL The pre-MID LEVEL parameter allows you to cut or boost the mid-band
frequencies from -15dB to +12dB prior to the distortion stage.
MID FREQ The pre-MID FREQUENCY parameter allows you to select a mid-band
center frequency between 500Hz and 4KHz to be cut or boosted via the
pre-MID LEVEL parameter.
MID BW The pre-MID BANDWIDTH parameter determines how wide or
narrow the bandwith of the selected mid-band frequency is (in octaves).
A small bandwidth only boosts or cuts frequencies close to the center
frequency, while a large bandwidth affects the level of frequencies up to
two octaves from the center frequency.

FUNCTION PARAMETER LIST RANGE

PRE EQ LF LEVEL (Pre Low Frequency Level) -15dB to +6dB
(EXPERT) LF FRBQ (Pre Low Frequency Select) 63Hz to 500Hz
MID LEVEL (Pre Midband Level) -15dB to +12dB
MID FREQ (Pre Mid Frequency Select) 500Hz to 4kHz
MID BW (Pre Mid Bandwidth) 0.2 to 2.0 octaves

Back to CONTENTS

POST EQ (EXPERT) Function

The POST EQ (EXPERT) function is available in all presets – regardless of
which configuration is currently recalled.

This function allows you shape the tone after it has passed through the
distortion stage. These post-distortion EQ parameters have a more dramatic effect
on the overall tone than the pre-distortion parameters.
The PARAMETER SELECT control will allow you to access these POST EQ parameters:
BASS LVL The post-BASS LEVEL parameter allows you to cut or boost the low
frequencies by 15dB after the distortion stage.
BASS FREQ The post-BASS FREQUENCY parameter allows you to select a center
frequency between 63Hz and 500Hz to be cut or boosted by the post-BASS LEVEL parameter.
BASS BW The post-BASS BANDWIDTH parameter determines (in octaves) the
width of the selected bass band.
MID LVL The post-MID LEVEL parameter allows you to cut or boost the mid-band
frequencies by 15dB after the distortion stage.
MlD FREQ The post-MID FREQUENCY parameter allows you to select a mid-band
center frequency between 250Hz and 2KHz to be cut or boosted
via the post-MID LEVEL parameter.
MID BW The post.MID BANDWIDTH parameter determines (in octaves) the
width of the selected mid-band.
TREBLE LVL The post-TREBLE LEVEL parameter allows you to cut or boost the
high-band frequencies by 15dB after the distortion stage.
TREBL FRQ The post-TREBLE FREQUENCY parameter allows you to select a
high-band center frequency between 1KHz and 8KHz to be cut or
boosted via the post-TREBLE LEVEL parameter.
TREBLE BW The post-TREBLE BANDWIDTH parameter determines (in octaves)
the width of the selected high band.
PRESENCE LVL The post-PRESENCE LEVEL parameter allows you to cut or boost
another high-band frequency by 15dB after the distortion stage.
PRES FREQ The post-PRESENCE FREQUENCY parameter allows you to select a
high-band center frequency between 2KHz and 8KHz to be cut or
boosted via the post-PRESENCE LEVEL parameter.
PRES BW The post-PRESENCE BANDWIDTH parameter determines (in
octaves) the width of the selected high band.

FUNCTION PARAMETER LIST RANGE

POST EQ BASS LVL (Post Bass Level) -15dB to +15dB
(EXPERT) BASS FREQ (Post Bass Frequency Select) 63Hz to 500Hz
BASS BW (Post Bass Bandwidth) 0.2 to 2.0 octaves
MID LVL (Post Midband Level) – 15dB to + 15dB
MID FREQ (Post Mid Frequency Select) 250Hz to 2kHz
MID BW (Post Mid Bandwidth) 0.2 to 2.0 octaves
TREBLE LVL (Post Treble Level) -15dB to +15dB
TREBLE FRQ (Post Treble Frequency Select) 1kHz to 8kHz
TREBLE BW (Post Treble Bandwidth) 0.2 to 2.0 octaves
PRESENCE LVL (Post Presence Level) -15dB to +15dB
PRES FREQ (Post Presence Frequency Select) 2kHz to 8kHz
PRES BW (Post Presence Bandwidth) 0.2 to 2.0 octaves

Back to CONTENTS

COMPRESSOR Function

The COMPRESSOR function is available only in configurations which
display “L-GAIN” in the configuration title.

This function allows you to compress the signal prior to the distortion stage.
Compression is often used to maintain an even level when using clean tones, and
also to increase sustain when using distorted tones.
The PARAMETER SELECTcontrol will allow you to access these COMPRESSOR parameters:
COMPRESSOR I/0 The COMPRESSOR IN/OUT parameter determines whether the
compressor is active for the current preset.
COMP THRESH The COMPRESSOR THRESHOLD parameter determines the input
level (in dB) at which compression will begin. Lower settings of this
parameter will result in more compression.
COMP ATTACK The COMPRESSOR ATTACK parameter determines the speed (in
milliseconds) in which the compressor will reach its maximum
compression level after the input signal has exceeded the threshold
level (set by the COMPRESSOR THRESHOLD parameter).
COMP RELEASE The COMPRESSOR RELEASE parameter determines the speed in
which compression will cease after the input signal has dropped below
the threshold level.

FUNCTION PARAMETER LIST RANGE

COMPRESSOR COMPRESSOR (Compressor In/Out) Out,In
COMP THRESH (Compressor Threshold Level) -24dB to 0dB
COMP ATTACK (Compressor Attack Time) 1ms to 75ms
COMP RELEASE (Compressor Release Time) 0.05 to 2.0s

Back to CONTENTS

SPEAKER SIMULATOR Function

The SPEAKER SIMULATOR function is included in all presets and provides a
realistic approximation of a miked speaker cabinet for applications involving
connecting the Voodu Valve™ directly to a mixing board, recording system or
other full range system.

When a preset is recalled which has the Speaker Simulator on for either the
left channel or both channels, the front panel SPKR SIM LED will light.
Note: The parameters provided in this function are operational only when
the SPKR SIM parameter under the GLOBAL FUNCTION is stored UNLOCK, LOCK L or
LOCK B.
The PARAMETER SELECT control will allow you to access these SPEAKER SIMULATOR
parameters:
SPKR SIM I/O The SPEAKER SIMULATOR parameter allows you to select whether
the Speaker Simulator is on for BOTH outputs, on for only the LEFT
output or OFF.
SPKR TYPE The SPEAKER TYPE parameter determines the type of speaker to be
simulated. 15″,12″,10″, 8″ and full range speakers are available.
MIC PLACEMENT The MIC PLACEMENT parameter simulates a microphone placed
anywhere from the center of the speaker cone out to the edge of the
cone. Positive parameter values simulate moving the microphone
toward the center of the speaker, while negative values move it to the
edge.
REACTANCE The REACTANCE parameter simulates the characteristics of the the
interaction between a tube amplifier and a guitar speaker cabinet. The
higher the parameter value selected, the more these characteristics will
be apparent. Negative values of reactance can be used to simulate an
open-back cabinet.

FUNCTION PARAMETER LIST RANGE

SPEAKER SIM SPKR SIM (Speaker Simulator Status) Off, Left, Both
SPKR TYPE (Speaker Type) 15, 12, 10, 8, Full
MIC POSITION (Microphone Position) -15dB to +15dB
REACTANCE (Reactance Level) -15dB to +15dB

Back to CONTENTS

WAH-WAH Function

The WAH-WAH function is available only in configurations which display
“WAH” in the configuration title.

The Voodu Valve™ has an internal wah-wah which allows for an expression
pedal to be used as a wah-wah pedal through continous Control changes. Use of
this feature eliminates the need to run long audio cables out to a conventional
wah-wah pedal.

To use an expression pedal as a wah-wah pedal, connect it to a MIDI
controller (such as a Rocktron MIDI Mate™ and set the controller’s MIDI channel to
correspond with the Voodu Valve’s receiving MIDI channel. Then set the
pedal’s control number on the MIDI Mate™ to match the Wah Frequency
parameter’s control number on the Voodu Valve™. This control number is set on
the Voodu Valve™ in the “CONTROLLER ASSIG” function. (See “Controller Assignments” for more information on assigning control numbers.)
The PARAMETER SELECT control will allow you to access these WAH-WAH parameters:
WAH-WAH I/O The WAH-WAH I/O parameter determines whether the wah-wah is
active for the current preset.
WAH FREQ The WAH FREQUENCY parameter allows you to manually sweep the
frequency range of the wah-wah via the PARAMETER ADJUST
control. Selecting a frequency for this parameter and storing the WAH-WAH
parameter IN allows you to use the wah-wah as a fixed wah.

FUNCTION PARAMETER LIST RANGE

WAH-WAH WAH-WAH (Wah-Wah In/Out Status) Out, In
WAH FREQ (Wah Frequency Select) 310Hz to 2.7KHz

Back to CONTENTS

PHASER Function

The PHASER function is available only in configurations displaying “PHAS”
in the configuration title.

Phase shifting involves splitting the input signal into two signals, then shifting
the phase of different frequencies of one signal and mixing it back with the
original signal.
The PARAMETER SELECT control will allow you to access these PHASER parameters:
PHASER I/O The PHASER IN/OUT parameter determines whether the Phaser is active for
the current preset.
DEPTH The DEPTH parameter determines the modulation depth of the phase
shift effect. Higher parameter settings result in the sweep of the filtering
effect occurring over a wider frequency range.
RATE The RATE parameter determines the speed at which the phase shifted
signal is modulated.
RESONANCE The RESONANCE parameter adds feedback to the Phaser so that it has
a more pronounced effect.
STAGES The STAGES parameter determines how many stages of phase shift are
to be active. A parameter setting of “4” produces a result similar to a
vintage Phase 90, while a setting of “6” emulates other phaser pedals.

FUNCTION PARAMETER LIST RANGE

PHASER PHASER (Phaser In/Out Status) Out,ln
DEPTH (Amount of Modulation) 0 to 100
RATE (Rate of Modulation) 0 to 254
RESONANCE (Amount of Feedback) 0 to 100
STAGES (Number of Stages) 4, 6

Back to CONTENTS

FLANGER Function

The FLANGER function is available only in configurations displaying “FLAN”
in the configuration title.

Flanging involves splitting the input signal into at least two individual de-
layed signals (Voice 1 and voice 2), then modulating these delayed signals so
that, when summed back with the direct signal, phase cancellations will occur at
some frequencies while peaks in the response will occur at others.
The PARAMETER SELECT control will allow you to access these FLANGER parameters:
FLANGER I/O The FLANGER IN/OUT parameter determines whether the Flanger is active
or bypassed for the current preset.
LEVEL 1 The LEVEL 1 parameter determines the volume of Voice 1 relative to
Voice 2.
Tip: Keep the settings of these levels high and use the DIR/EFF mix
parameter in the Mixer function to control the overall amount of flanged
signal.
PAN 1 The PAN 1 parameter allows you to pan Voice 1 to the left or right
channel.
DEPTH 1 The DEPTH 1 parameter adjusts the amount of modulation of Voice 1 .
Lower DEPTH settings produce more subtle effects, while higher
settings will result in a more drastic effect.
RATE 1 The RATE 1 parameter determines the speed at which Voice 1 is
modulated.
LEVEL 2 The LEVEL 2 parameter determines the volume of Voice 2 relative to
Voice 1.
PAN 2 The PAN 2 parameter allows you to pan Voice 2 to the left or right
channel.
DEPTH 2 The DEPTH 2 parameter adjusts the amount of modulation of Voice 2.
Lower DEPTH settings produce more subtle effects, while higher
settings will result in a more drastic effect.
RATE 2 The RATE 2 parameter determines the speed at which Voice 2 is
modulated.
REGEN The REGENERATION parameter determines how much of the the
delayed output signal is fed back into the input. More regeneration
produces a more pronounced “jet airplane” type of effect.

FUNCTION PARAMETER LIST RANGE

FLANGER FLANGER (FlangerIn/OutStatus) Out, In
LEVEL 1 (Voice 1 Level) -oo to 0dB
PAN 1 (Voice 1 Panning) L <0 to 100> R
DEPTH 1 (Voice 1 Modulation Depth) 0 to 100
RATE 1 (Voice 1 Modulation Rate) 0 to 254
LEVEL 2 IVoice 2 Level) -oo to 0dB
PAN 2 (Voice 1 Panning) L <0 to 100> R
DEPTH 2 (Voice 2 Modulation Depth) 0 to 100
RATE 2 (Voice 2 Modulation Rate) 0 to 254
REGEN (Flanger Regeneration Level) -oo to 0dB

Back to CONTENTS

TREMOLO Function

The TREMOLO function is available only in configurations displaying
“TREM” in the configuration title.

The Tremolo effect continuously varies the volume of the signal.
The PARAMETER SELECT control will allow you to access these TREMOLO parameters:
TREMOLO I/O The TREMOLO IN/OUT parameter determines whether the Tremolo is
active or bypassed for the current preset.
LOCATION The LOCATION parameter determines whether the Tremolo is located
Pre-Reverb or Post-Reverb. Most vintage amplifiers configured the
Tremolo (or vibrato) Post-Reverb.
DEPTH The DEPTH parameter determines the amount of modulation for the
Tremolo signal. Lower DEPTH settings produce more subtle tremolo
effects, while higher settings will result in a more extreme tremolo
effect.
RATE The RATE parameter determines the speed at which the tremolo signal
modulates (or increases and decreases in volume).
SHAPE The SHAPE parameter determines the waveshape of the tremolo signal.
Selecting a different waveshape produces a different tremolo effect.

FUNCTION PARAMETER LIST RANGE

TREMOLO TREMOLO (Tremolo In/Out Status) Out, In
LOCATION (Pre or Post Reverb Location) Pre-Rev, Post-Rev
DEPTH (Modulation Depth) 0 to 100
RATE (Modulation Rate) 0 to 254
SHAPE (WaveShape) Triangle, Square

Back to CONTENTS

PITCH SHIFT Function

The PITCH function is available only in configurations displaying “PSHF” in
the configuration title.

Pitch Shifting is used to change the pitch of the input signal to produce a
harmony note based on the input signal. The harmony voice may be of any fixed
interval – up to one octave above the input signal to two octaves below – and is
selected in 20-cent increments. Fine adjustment can be made in one cent (1/
100th semitone) increments.
The PARAMETER SELECT control will allow you to access these PITCH SHlFT parameters:
PITCHSHIFT I/O The PITCH SHIFT IN/OUT parameter determines whether the Pitch Shifter
is active or bypassed for the current preset.
LEVEL The LEVEL parameter determines the volume of the pitch shifted
signal. The DlR/EFF MIX parameter in the Mixer function also affects
this volume.
PAN The PAN parameter allows you to pan the shifted signal to the left or
right channel.
PITCH The PITCH parameter selects what harmony note the Voodu Valve™
will produce based on the input note. The value displayed for this
parameter represents the number of cents that the signal will be shifted
(adjustable in 20-cent increments). Each 100 cents (or five 20-cent
steps) above or below “0” represents the number of half-steps the
shitted signal will be from the input signal.

This parameter is adjustable from “-2400” to “+1200”, where “-2400” =
two octaves below the input signal, “0” = unison and “+1200′ = one
octave above the input signal. Refer to the table below
to determine the cent value for each fixed interval.
FINE The FINE parameter allows for adjustment in 1-cent steps for fine
adjustment of the harmony note
SPEED The SPEED parameter determines the amount of time delay used in the
shifting process. SLOW results in the longest delay and the highest
quality shifted signal (especially at larger amounts of pitch shift), FAST
results in the least delay, but the lowest quality shitted signal. This
setting should only be used for slight amounts of pitch shift.
PITCH SHIFT INTERVALS

PARAMETER CORRESPONDING
VALUE INTERVAL

+1200 one octave
+1100 Major 7th
+1000 minor 7th
+900 Major 6th
+800 minor 6th
+700 perfect 5th voices above the
+600 diminished 5th input signal
+500 perfect 4th
+400 Major 3rd
+300 minor 3rd
+200 Major 2nd
+100 minor 2nd
0 Unison ——————–Equal to input signal
-100 Major 7th
-200 minor 7th
-300 Major 6th
-400 minor 6th
-500 perfect 5th
-600 diminished 5th
-700 perfect 4th
-800 Major 3rd
-900 minor 3rd
-1000 Major 2nd voices below the
-1100 minor 2nd input signal
-1200 1 Octave
-1300 One octave plus a Major 7th
-1400 One octave plus a minor 7th
-1500 One octave plus a Major 6th
-1600 One octave plus a minor 6th
-1700 One octave plus a perfect 5th
-1800 One octave plus a diminished 5th
-1900 One octave plus a perfect 4th
-2000 One octave plus a Major 3rd
-2100 One octave plus a minor 3rd
-2200 One octave plus a Major 2nd
-2300 One octave plus a minor 2nd
-2400 2 Octaves

NOTE: There are 5 steps of the parameter adjust control between each of the intervals shown above (each step equals 20 cents). This allows for smooth pitch change when an expression controller (such as a volume pedal used with a Rocktron All Access™ or MIDI Mate™ foot controller) is assigned to the PITCH parameter to change the pitch by remote means.

FUNCTION PARAMETER LIST RANGE

PITCH SHIFT PITCH SHIFT (Pitch Shift In/Out Status) Out, In
LEVEL (Pitch Shift Signal Level) -oo to 0dB
PAN (Pitch Shift Signal Panning) L <0 to 100> R
PITCH (Pitch Shift in 20-cent steps) -2400 to +1200
FINE (Pitch Shift in 1-cent steps) -20 to +20
SPEED (Pitch Shift Signal Speed) Slow, Medium, Fast

Back to CONTENTS

CHORUS Function

The CHORUS function is available only in configurations displaying “CRS”
in the configuration title.

The Chorus effect in the Voodu Valve™ is produced by using two delayed
signals (Voice 1 and Voice 2), detuning these delayed signals (slightly changing
their pitch), then modulating the detune effect so that the amount of pitch detune
is constantly varying. Using different detune amounts, modulation rates, modulation
depths and pan settings for each delayed signal will produce a greater
perceived spaciousness.
The PARAMETER SELECTcontrol will allow you to access these CHORUS parameters:
CHORUS I/O The CHORUS I/O parameter determines whether the Chorus is active
or bypassed for the current preset.
LEVEL 1 The LEVEL 1 parameter determines the volume of Voice 1 in relation
to Voice 2. The DIR/EFF MIX parameter in the Mixer function also
determines the Chorus level.
PAN 1 The PAN 1 parameter allows you to pan Voice 1 to the left or right
channel.
DEPTH 1 The DEPTH 1 parameter adjusts the amount of modulation of the Voice 1
signal. A lower depth setting will produce a more subtle detune effect,
while a higher setting will produce a more extreme detuning of Voice 1 .
RATE 1 The RATE 1 parameter determines the sweep speed (or the speed at
which Voice 1 is modulated). Lower parameter settings will result in
slower speeds, while higher settings will result in faster speeds.
DELAY 1 The DELAY 1 parameter allows you to select the minimum delay time
(in milliseconds) for Voice 1. This delayed signal (along with Voice 2)
is detuned and modulated to produce the chorus effect. Using shorter
delay times will result in a tighter sounding chorused signal, while
longer delay times will produce a larger ambient effect.
LEVEL 2 The LEVEL 2 parameter determines the volume of Voice 2 in relation
to Voice 1 .
PAN 2 The PAN 2 parameter allows you to pan Voice 2 to the left or right
channel.
DEPTH 2 The DEPTH 2 parameter adjusts the amount of modulation of the Voice
2 signal. A lower depth setting will produce a more subtle detune effect,
while a higher setting will produce a more extreme detuning of Voice 2.
RATE 2 The RATE 2 parameter determines the sweep speed (or the speed at
which Voice 2 is modulated). Lower parameter settings will result in
slower speeds, while higher settings will result in faster speeds.
DELAY2 The DELAY 2 parameter allows you to select the minimum delay time
(in milliseconds) for Voice 2. It is this delayed signal (along with Voice1) that
is detuned and modulated to produce the chorus effect Using
shorter delay times will result in a tighter sounding chorused signal,
while longer delay times will produce a larger ambient effect.

FUNCTION PARAMETER LIST RANGE

CHORUS CHORUS (Chorus In/Out Status) Out, in
LEVEL 1 (Voice 1 Level) -oo to 0dB
PAN 1 (Voice 1 Panning) L <0 to 100> R
DEPTH 1 (Voice 1 Modulation Depth) 0 to 100
RATE 1 (Voice 1 Modulation Rate) 0 to 254
DELAY 1 (Voice 1 Delay Length) 2ms to 40ms
LEVEL 2 (Voice 2 Level) -oo to 0dB
PAN 2 (Voice 2 Panning) L <0 to 100> R
DEPTH 2 (Voice 2 Modulation Depth) 0 to 100
RATE 2 (Voice 2 Modulation Rate) 0 to 254
DELAY 2 (Voice 2 Delay Length) 2ms to 40ms

Back to CONTENTS

DELAY Function

The DELAY function is available in all presets.
Delay is a reproduction of the input signal, occurring at a prescribed time
(usually expressed in milliseconds) following the input signal. The Voodu Valve™
provides two discrete delays (Delay 1 and Delay 2), each of which has its own
parameters to determine its particular characteristics.
The PARAMETER SELECT control will allow you to access these DELAY parameters:
DELAY The DELAY parameter determines whether the Delay is active or
muted for the current preset.
MUTE TYPE The MUTE TYPE parameter allows for muting the delay at its input
(PRE), its output (POST) or BOTH.

Muting the input (PRE) of the delay will not allow any signal to enter
the delay section until the delay is switched in. When using a moderate
amount of regeneration, switching out the delay with the input muted
will allow you to generate a non-delayed signal which will play over the
decaying regenerated signal which continues on after the delay is
switched out.

Muting the output (POST) of the delay will result in the delayed signal
being immediately turned off when the delay is switched out. This
means that delays and regeneration will not continue when the delay is
switched out. If the output were not muted, signals that were input
before the delay was switched out would be allowed to regenerate, even
after switching out the delay.

It is also possible to mute both the input and the output (BOTH) so that
no signal enters or exits the Delay section when it is not switched in.
DELAY LVL The DELAY LEVEL parameter determines the overall level of the
delayed signal at the output relative to the direct signal and other effect
signals. This parameter can also be accessed from the Delay function
parameter list.
MIX The MIX parameter is used to define the ratio of Source 1 signal to
Source 2 signal to be input to the Delay section. Source 1 is the Voice 1
output frorn the previous effect in the signal chain (chorus, flanger,
pitch shifter, etc.), while Source 2 may be the Voice 2 output from the
previous effect in the signal chain or the direct signal (selectable via the
SOURCE 2 parameter).

In configurations where there is no effect immediately preceding the
delay, Source 1 and Source 2 will be the preamp output (direct) signal.
SOURCE 2 The SOURCE 2 parameter is used to select whether the Source 2 input
will be the VOICE 2 output from the previous effect in the signal chain
or the direct signal (DIR).
DLY HF DAMP The DELAY HIGH FREQUENCY DAMPING parameter controls the
amount of high frequency content in the delayed and regenerated
signals. Higher amounts of damping will result in less high frequency
information in the delayed signal.
OUT LEVEL 1 The OUTPUT LEVEL 1 parameter determines the volume of Delay 1
in relation to Delay 2.
PAN 1 The PAN 1 parameter allows you to pan the Delay 1 signal to the left or
right channel.
DLY TIME 1 The DELAY TIME 1 parameter determines the length of time (in
milliseconds) after the input signal that the Delay 1 signal will begin.
The DELAY TIME can be adjusted via the ADJUST control, MIDI
controller changes or via the Tap Delay feature (see “Operating the Voodu Valve” for
detailed descriptions of each).
REGEN 1 The REGENERATION 1 parameter determines the number of times the Delay 1 signal will
repeat itself. This is achieved by feeding the delayed output back into the input. Higher
parameter settings will result in more repeats. The displayed value represents the attenuation (in
dB) that the regeneration signal is subjected to at each repeat.
OUT LEVEL 2 The OUTPUT LEVEL 2 parameter determines the volume of Delay 2 in relation to Delay 1.
PAN2 The PAN 2 parameter allows you to pan the Delay 2 signal to the left or right channel.
DLY TIME 2 The DELAY TIME 2 parameter determines the length of time after the input signal that the Delay
2 signal will begin. This length of time is measured in milliseconds.
REGEN 2 The REGENERATION 2 parameter determines the number of times the Delay 2 signal will
repeat itself. This is achieved by feeding the delayed output back into the input. Higher
parameter settings will result in more repeats.

* The Delay features a regeneration limter, since setting both REGEN parameters to high levels
would result in louder and louder echos until a severe overload occurs. The limiter senses when
this condition would occur and automatically turns down both REGEN levels to avoid such an
instability. This is especially important when REGEN levels are being adjusted in real-time, via
MIDI control change messages, during a performance.
The regeneration levels can be reset by recalling the preset or by accessing the REGEN 1
and REGEN 2 parameters and turning the ADJUST control.

FUNCTION PARAMETER LIST RANGE

DELAY DELAY (Delay Status) Muted, Active
MUTE TYPE (Mute Type Status) Pre, Post, Both
DELAY LVL (Delay Level) -oo to 0dB MIX (Source 1/Source 2 Mix Level) S1 <0 to 100> S2
SOURCE 2 (Source 2 Select) Dir, Voice 2
DLY HF DAMP (Delay High Frequency Damping) 0 to 99
OUT LEVEL 1 (Delay I Level) -oo to 0dB
PAN 1 (Delay 1 Panning) L <0 to 100> R
DLY TIME1 (Delay 1 Length) 0 to 1000 ms
REGEN 1 (Delay 1 Regeneration) -oo to 0dB
OUT LEVEL 2 (Dclay 2 Level) -oo to 0dB
PAN 2 (Delay 2 Panning) L <0 to 100> R
DLY TIME2 (Delay 2 Length) 0 to 1000 ms
REGEN 2 (Delay 2 Regeneration) -oo to 0dB

Back to CONTENTS

REVERB Function

The REVERB function is available in all presets.

Reverb is a multitude of echos spaced so close together that, to the human ears
seem as a single continuous sound. These echos gradually decrease in intensity
until they are ultimately absorbed by the boundaries and obstacles within a room.
As the sound waves from the sound source strike the boundaries of a room, a
portion of the energy is reflected away from the obstacle while another portion is
absorbed into it – thereby causing both the continuance of sound as well as the
decaying or “dying out’ of the sound.
The PARAMETER SELECT control will allow you to access these REVERB parameters:
REV INPUT The REVERB INPUT parameter determines whether the input to the
Reverb section is ACTIVE (passing a signal) or MUTED (will not pass
a signal).
MIX DIR/DLY The MIX DIRECT/DELAY parameter is used to define the ratio of
direct signal to delayed signal to be input to the reverb section.
REVERB LVL The REVERB LEVEL parameter allows you to control the level of the
reverb signal at the output in relation to the direct signal and other effect
signals. This parameter is also accessable from the Mixer function.
REV DECAY The REVERB DECAY parameter determines the length of time that the
reverb signal will sound before it has completely died out.
REV HF DAMP The REVERB HIGH FREQUENCY DAMPING parameter is used to
control the decay rate of high frequency information in the reverb
signal. Higher parameter settings will result in a faster decay of high
frequency information.

FUNCTION PARAMETER LIST RANGE

REVERB REV INPUT (Reverb Input Status) Muted, Active
MIX (Direct/Delay Mix Level) Dir <0 to 100> Dly
REVERB LVL (Reverb Signal Level) -oo to 0dB
REV DECAY (Reverb Decay Length) 0 to 99
REV HF DAMP (Reverb High Frequency Damping) 0 to 99

Back to CONTENTS

6. VOODU VALVE CONFIGURATIONS

Click on a configuration to see a block diagram of that configuration.

High-gain Distortion – Chorus – Delay – Reverb
High-gain Distortion – Flange – Delay – Reverb
High-gain Distortion – Tremolo – Delay – Reverb
High-gain Distortion – Pitch Ship – Delay . Reverb
Wah – High-gain Distortion – Delay – Reverb
Phase Shift – High-gain Distortion – Delay – Reverb
Low-gain Distortion – Chorus – Delay – Reverb
Low-gain Distortion – Flange – Delay – Reverb
Low-gain Distortion . Tremolo . Delay – Reverb
Low-gain Distortion – Pitch Shift – Delay – Reverb
Wah – Low-gain Distortion – Delay – Reverb
Phase Shift – Low-gain Distortion – Delay – Reverb

Refer to section 5. “Operating Format” for Voodu Valve™ Functions and Parameter descriptions.
Back to CONTENTS

7. OPERATING THE VOODU VALVE
Selecting a preset

Step 1 Turn the PRESET control to the desired preset you wish to recall. The display will flash the
selected preset number and title and “PRESS RECALL FOR” alternately.
Step 2 Press the RECALL button to recall the preset you have selected.

Back to CONTENTS

Changing preset parameters

Step 1 Turn the FUNCTION SELECT control to select the function heading which contains the
parameter(s) you wish to change.
Step 2 Turn the PARAMETER SELECT control to the specific parameter you wish to change.
Step 3 Turn the PARAMETER ADJUST control to alter the parameter value. The LED above the
STORE button will light, indicating that the preset has had a parameter altered from its stored value.
Step 4 The COMPARE button may now be pressed to compare the sound of the stored parameter
value to the sound of the altered parameter value.

Back to CONTENTS

Storing changed preset parameters

Step 1 While viewing a function or parameter title, press the STORE button to start the store
procedure. The display will now alternatc between the destination preset number and title and
“STORE AT PRESET”.
Step 2 Turn the PRESET control to select the desired preset number to store the new parameter
values into. (If you wish to store the new parameter values into the current preset number, this
step is not necessary.) The display will now alternate between the new preset number and
“STORE AT PRESET”.
Note: Turning the FUNCTION SELECT control at this time will cancel the store procedure.
Step 3 Press the STORE button a second time to store the new values into the selected preset number.
The display will briefly flash “STORED” before displaying the new preset number and
title. (Note: Turning either the FUNCTION SELECT or PARAMETER SELECT controls
before completing this step will cancel the store procedure.)
NOTE: if a preset with altered parameters is exited before completing Step 3, all edited parameter
values will be lost. When saving altered parameters, make sure the display flashed “STORED” before
exiting the store procedure.
Step 4 After the parameter values have been stored, the Voodu Valve™ will display “COPY TITLE
TOO?”. This message is displayed only when storing into a new preset number and allows
you to copy the title from the altered preset into the new preset location. To copy the title
from the altered preset, press the STORE button a third time and the display will again flash
“STORED”.

If you do not wish to copy the title from the altered preset, skip Step 4 and turn the PRESET
or FUNCTION SELECT control to exit the store procedure.
Back to CONTENTS

Selecting a configuration

Step 1 To select a new configuration, turn the FUNCTION SELECT control clockwise until the
Voodu Valve™ displays “CONFIG SELECT”.
Step 2 Turn the PARAMETER SELLELCT control clockwise to display the current configuration.
Step 3 Use the PARAMETER ADJUST control to select the desired configuration.
(The STORE LED will light when the parameter is altered)
Note: The new configuration will not take effect until it is stored.
Step 4 Press the STORE button to initiate the store procedure. The Voodu Valve™ display will
alternate between the current preset number/title and “STORE AT PRESET”.
Step 5 Turn the PRESET control to select the preset you wish to store the new configuration into.(If
you want to store the selected configurution into the current preset, skip this step.)
Step 6 Press the STORE button a second time to store the selected configuration into the selected
preset. The Voodu Valve™ will display “STORED” briefly.

When a new configuration is stored into a preset, each of the parameters contained in
the new configuration that were contained in the previous configuration will retain the same
values. All new configuration parameters that were not contained in the old configuration
will be set to their default value (or their lowest value).
Back to CONTENTS

Editing a preset title

Step 1 To begin the Title Edit function, turn the FUNCTION SELECT control clockwise until the
Voodu Valve™ displays “TITLE EDIT”.
Step 2 Turn the PARAMETER SELECT control clockwise to initiate the Title Edit mode. Turning
this control will also select the character location to be edited. A flashing decimal will follow
the character currently selected.
Step 3 Use the PARAMETER ADJUST control to select the desired character for the current
position (flashing decimal).
Step 4 To edit the character in the next position, turn the PARAMETER SELECT control one step
clockwise. The flashing decimal will move to the next character.
Step 5 After all the characters have been edited as needed, press the STORE button to save the new
title memory. The Voodu Valve™ will flash “STORED” briefly.

Note: The STORE button must be pressed to save the new title. Exiting the Title Edit function before pressing the STORE button will erase any editing that was done in Title Edit.

Also, after flashing “STORED”, the Voodu Valve™ will remain in the Title Edit mode. you
may either (a) turn the PRESETcontrol to display and edit other preset titles without exiting
and re-entering Title Edit, or (b) turn the FUNCTION SELECT control to exit the Title Edit
mode.
Back to CONTENTS

Controller Assignments

The Controller Assignment function allows for specific Voodu Valve™ adjustable parameters to be
mapped (or assigned) to a MIDI controller for real-time control by an expression pedal.

The Controller Assignment option also lets you store an upper and lower parameter value limit which
the controller cannot exceed. For example, when using an expression pedal with a Rocktron All Access™
to send continuous control changes to control the “PITCH” parameter, an upper limit of +300 can be set
and a lower limit of -200 can be set – even though the actual parameter range is from +1200 to -2400.
When the expression pedal is at its heel position in this example, the “PITCH” parameter will be at -200,
while at its toe position it will be at +300.
Up to eight controllers can be assigned for each individual preset.

Step 1 To access the Controller Assign function, turn the FUNCTION SELECT control clockwise to
“CONTROLLER ASSIGN”.
Step 2 Turn the PARAMETER SELECT control for the first parameter of the Controller Assign
function. This parameter allows you to select a controller number for the NUMB 1 parameter
to respond to.

This parameter (NUMB 1 only) also gives you the option of selecting “ADJ”. When “ADJ” is
selected, the parameter assigned to the first controller (PARA 1) can be instantly accessed by
turning the PARAMETER ADJUST control when the preset title is displayed. This allows you
to access a parameter that you adjust frequently without paging through function headings
and parameters.

Step 3 Use the PARAMETER ADJUST control to select the controller number to be assigned to the
PARA 1 parameter. Any number from 0 to 120 may be selected, as well as OFF (will not
respond to MIDI control changes). Match the number selected for this parameter with the
controller number on the MIDI transmitter.
Step 4 After selecting the desired controller number, press the STORE button to save the number for
the NUMB 1 parameter. “STORED” will flash briefly on the display.
Step 5 Turn the PARAMETER SELECT control one step clockwise to display the parameter that is
currently mapped to the NUMB 1 control number.
Step 6 Turn the PARAMETER ADJUST control to scroll through the available parameters for the
current configuration.
Step 7 After selecting the parameter that you which to assign to a controller, press the STORE button
to save it. The Voodu Valve™ will flash “STORED” briefly.
NOTE: The Voodu Valve™ allows you to select an upper and lower value limit which the
parameter cannot exceed. For example, if a parameter has a value range from -oo to 0dB, yet
you would like the range of the parameter to vary from only -12dB to -2dB, you may set a
lower limit of -12 and an upper limit of -2 via the Upper and Lower Limit parameters. When a
parameter is stored in the Controller Assign function (Step 7), the maximum parameter value
is automatically stored as the upper limit, while the minimum value is stored as the lower
limit.
Step 8 Turn the PARAMETER SELECT control one step clockwise to display the Upper Limit
parameter (for PARA 1).
Step 9 Use the PARAMETER ADJUST control to choose the highest value that the parameter is not
to exceed through MIDI control changes.
Step 10 After selecting a value for the upper limit, press the STORE button to save it. “STORED” will
flash briefly on the display.
Step 11 Turn the PARAMETER SELECT control one step clockwise to access the Lower Limit
parameter (for PARA 1).
Step 12 Use the PARAMETER ADJUST control to select the lowest value which the parameter is not
to fall below through MIDI control changes.
Step 13 After selecting a value for the lower limit, press the STORE button to save it. “STORED” will
flash briefly on the display.

Selecting a lower limit value that is greater than the upper limit value will invert the response
of the controller – i.e. the toe position of the expression controller will provide the minimum
value, while the heel posilion will provide the maximum value.
NOTE: Steps 1-13 are repeated seven times for a total of eight controllers. To exit Controller
Assign at any time, turn either the PRESET or FUNCTION SELECT control. Only changes
that have been stored will be saved after exiting the Controller Assign function.
Back to CONTENTS

Tap Delay

The Voodu Valve™ allows you to change the current delay time settings for the Delay 1 and Delay 2
parameters while you are playing by connecting a momentary footswitch to the rear panel FOOTSWITCH
jack. When the Footswitch function is activated, tapping the footswitch will change the current delay time
based on the amount of time that passes between taps. The Voodu Valve™ will detect the amount of time
between any two taps that are less than one second apart (i.e., if more than one second passes after the
first tap, two more taps – less than one second apart – will be required to change the delay time again).

After the Voodu Valve™ detects the length of time between each tap, it then multiplies or divides that
time based on the type of note stored in each of the DELAY 1 and DELAY 2 parameters of the Footswitch
function. The resulting delay time can be:

one-fourth of the time between taps (SIXTEEN)
one-half of the time between taps (EIGHTH)
two-thirds of the time between taps (TRIPLET)
equal to the time between taps (QUARTER)
two times the amount of time between taps (HALF), or
four times the amount of time between taps (WHOLE)

The maximum delay time the Voodu Valve™ provides is 1000ms, therefore the Tap Delay feature
will default to a lower parameter value when the time between taps requires a delay time over 1000ms.
For example, if the WHOLE setting is stored for the Delay 1 parameter and the time between taps is
300ms, a delay time of 1200ms would be required (i.e. 300ms x 4). Because the maximum delay time is
1000ms, the Voodu Valve™ will default to the next lower multiplier (HALF) and provide a delay time two-
times the delay time detected (600ms). if the delay time was over 1000ms again, the unit would then
provide the QUARTER note equivalent.
NONE can also be selected for the Delay 1 and Delay 2 parameters so that they will not respond to
taps on the footswitch.

Step 1 Turn the FUNCTION SELECT control to “FOOTSWITCH”.
Step 2 Turn the PARAMETER SELECT control one step clockwise to display the current momentary
footswitch “TYPE” (normally open or normally closed).
The Footswitch TYPE parameter setting is global (i.e. the same for all presets).
Step 3 Turn the PARAMETER ADJUST control to select the footswitch type that you will be using
(normally “OPEN” or “CLOSED”).
Step 4 Press the STORE button to save the altered Footswitch Type setting. “STORED” will flash
briefly on the display.
Step 5 Turn the PARAMETER SELECT control to one step further clockwise to access the current
status for “DELAY 1”.
Step 6 The PARAMETER ADJUST control can be used to change the current DELAY 1 status.
Step 7 Press the STORE button to save the altered Delay 1 setting. “STORED” will flash briefly on
the display.
Step 8 Turn the PARAMETER SELECT control one step further clockwise to access the current
status for “DELAY 2”.
Step 9 Turn the PARAMETER ADJUST control to change the current DELAY 2 status.
Step 10 Press the STORE button to save the altered Delay 2 setting. “STORED” will flash briefly on
the display.

The DELAY 1 and DELAY 2 parameters can be stored differently for each preset.
Back to CONTENTS

Program Changes

Program Changes allow for different MIDI program numbers to be assigned to Voodu Valve™ preset
numbers. For example, MIDI program #58 can be mapped to Voodu Valve™ preset #34. Then, when
program #58 is selected from a MIDI transmitting device (such as a Rocktron All Access™ foot controller),
preset #34 will be recalled on the Voodu Valve™.
The Program Changes Map table is shipped from Rocktron at a one-to-one Correspondence (i.e. MIDI
program #1 is mapped to Voodu Valve™ preset #1, 2 to 2, 3 to 3, etc.).

Step 1 To access MIDI Program Mapping, turn the FUNCTION SISLISCT control clockwise until the
Voodu Valve™ displays “PROGRAM CHANGES”.
Step 2 Turn the PARAMETER SELECT control one step clockwise to display the current Program
Change On/Map/Off status.

Program Changes status options

ON – Execute MlDI program changes as received by a MIDI controller
MAP – Use mapping table when a program change is received
OFF – Do not execute MlDI program changes

Step 3 Turn the PARAMETER ADJUST control to select the desired Program Changes status
setting.
Step 4 Press the STORE button to save the status selection. “STORED” will flash briefly on the
display.
Step 5 Turn the PARAMETER SELECT control one step clockwise to display the current Program
Changes mapping assignments.
Step 6 The number on the left of the display is the MIDI program number (or the number sent via a
MIDI footswitch or other MIDI transmitter). Turn the PARAMETER SELECT control to
select the MIDI program number to map to a preset.
Step 7 The number on the right of the display is the preset number to map to (or the preset number
that will be recalled when the MIDI program number on the left is received). Turn the
PARAMETER adjust CONTROL to select the preset number to map to.
* The preset number to map to can also be set to “OFF” – thereby not responding to that
program change command.
Step 8 After selecting both the MIDI program number and the preset number, press the STORE
button to save the change for each altered mapping. “STORED” will flash briefly on the
display.

Back to CONTENTS

MIDI Channels

The Voodu Valve™ can receive MIDI commands from other MIDI transmitting devices, as well as
transmit MIDI program changes to other MlDI-based equipment when a preset is recalled on the Voodu
Valve™ via the front panel RECALL button. The MIDI Channels function allows you to select the MIDI
channels that the Voodu Valve™ will receive and transmit MIDI information on.

Step 1 Turn the FUNCTION SELECT control clockwise until the Voodu Valve™ displays “MIDI
CHANNELS”.
Step 2 Turn the PARAMETER SELECT control one step clockwise to display the current MIDI
Receive channel.
Step 3 Turn the PARAMETER ADJUST control to select the desired MIDI channel. You may select
channels 1-16, OMNI (all channels) or OFF (will not receive MIDI commands).
Step 4 Press the STORE button to save the new MIDI Receive channel. “STORED” will flash briefly
on the display.
Step 5 Turn the PARAMETER SELECT control one step further to access the MIDI Transmit
Channel status.
Step 6 Turn the PARAMETER ADJUST control to select the channel that the Voodu Valve™ will
transmit a MIDI program change on. you may select channels 1-16 or OFF (will not transmit
a MIDI program change).
Step 6 Press the STORE button to save the new MIDI Transmit channel. “STORED” will flash
briefly on the display.

Back to CONTENTS

MIDI Dump/Load

Any or all of the Voodu Valve™ presets may be dumped to a sequencer or another Voodu Valve™
via system exclusive messages. The information exchanged when performing a MIDI Dump consists of
parameter values, title characters and controller assignment/limit information. When dumping a single
preset into another Voodu Valve™, the dumped preset may be loaded into any preset location on the
receiving Voodu Valve™.
To dump a single Voodu Valve™ preset into another Voodu Valve™:

Step 1 Connect a standard MIDI cable from the MIDI OUT of the transmitting Voodu Valve™ to the
MIDI IN on the receiving Voodu Valve™.

IMPORTANT: Do not allow a looping connection from the MIDI OUT/THRU of the receiving Voodu
Valve™ back to the MIDI IN of the transmitting Voodu Valve™.
Click here to see a graphic of the MIDI hook up.

Step 2 Turn the FUNCTION SELECT controls on both the transmitting and receiving Voodu Valves
until “MIDI DUMP/LOAD” is displayed on each.
Step 3 Turn the PARAMETER SELECT control on each unit one step clockwise to “PR DUMP/
LOAD”.
Step 4 Turn the PRESET control on the transmitting Voodu Valve™ to the preset that is to be
dumped into the receiving Voodu Valve™. As the PRESET control is turned, the preset
number will be displayed in the first three characters of the display.
Step 5 Use the PRESET control on the receiving Voodu Valve™ to select the preset location to store
the received preset. The preset currently stored at the selected location will be lost when the
new preset is received, therefore caution should be used when selecting a preset location.
Step 6 To initiate the dump, press the STORE button on the transmitting Voodu Valve™. The
transmitting Voodu Valve™ will display the preset number being dumped and “DUMPED”.
The receiving Voodu Valve™ will display the preset location being stored to and “RECEIVING…”
while it receives and stores the preset parameters and title.
After all the information for the dumped preset is stored, the receiving Voodu Valve™ will
display “LOADED”. The receiving Voodu Valve™ also recalls the loaded preset at this time
so that it may be verified.
Note: If there is an error in transmission, the unit will display “RECEIVE ERROR “. Should
this occur, check connections and try again. If other errors occur, check the Error
Messages chart in the Appendix.

To dump the Voodu Valve™ memory into a sequencer:

Step 1 Connect a standard MIDI cable from the MIDI OUT of the transmitting Voodu Valve™ to the
MIDI IN on the receiving sequencer.

Click here to see a graphic of the MIDI hook up.

Step 2 Turn the FUNCTION SELECT controls on the transmitting Voodu Valve™ until “MIDI
DUMP/LOAD” is displayed.
Step 3 Turn the PARAMETER SELECT control on the transmitting Voodu Valve™ until “BULK
DUMP/LOAD” is displayed.
Step 4 Start the sequencer recording.
Step 5 Press the STORE button on the Voodu Valve™ to initiate the data dump. As the Voodu
Valve™ performs the dump, it will display “XXX DUMPED” – where “XXX” = the number
of the data string currently transmitting (i.e. strings 1-254 are presets, titles, controller infor-
mation and 2-tap delay information; string 255 contains program mapping information; and
string 256 contains miscellaneous information.
Step 6 After the Voodu Valve™ displays “TRANS COMPLETE”, stop the sequencer. The sequencer
should have recorded all of the data that was dumped from the Voodu Valve™. Keep this data
stored on a disk in a safe place. Turn the PARAMETER SELECT control to continue.

To reload user data from a sequencer:

Step 1 Connect a standard MIDI cable from the MIDI OUT of the transmitting sequencer to the
MIDI IN on the receiving Voodu Valve™.

IMPORTANT: Do not allow a looping connection from the MIDI OUT/THRU of the receiving Voodu
Valve™ back to the MIDI IN of the transmitting sequencer.
Click here to see a graphic of the MIDI hook up.

Step 2 Turn the FUNCTION SELECT controls on both the receiving Voodu Valve™ until “MIDI
DUMP/LOAD” is displayed.
Step 3 Turn the PARAMETER SELECT controls on the receiving Voodu Valve™ until “BULK
DUMP/LOAD” is displayed.
Step 4 Play back the data stored on the sequencer. The Voodu Valve™ will display the data strings
as it is storing them. Each data string will appear with the word “LOADED”. After all the user
data has been loaded, the Voodu Valve™ will display “LOAD COMPLETE”. Do not play
back the data from the sequencer faster than it was loaded, as errors may occur (errors may
also occur if any knob is turned or any button is pressed before the message “LOAD COMPLETE” appears).
If errors occur during transmission, the unit will display “RECEIVE ERROR ” for transmission
errors and “XMEM ERROR” for internal hardware errors. Errors occurring in transmission
does not indicate that all of the received data is corrupted. Only the transmission string where
the error occurred is corrupted.
When receiving a Bulk Load, it is important that the data loaded to the Voodu
Valve™ is not transmitted faster than it was originally dumped from the Voodu
Valve™ If information is sent too fast to the Voodu Valve™, an error will occur.

When dumping information from a data storage device, such as an Alesis Data
Disk, it is necessary to perform the dump in sequence mode rather than sysx
mode. Sequence mode will dump the information back to the Voodu Valve™ at
the same rate as it was received from the Voodu Valve™. The Voodu Valve™
can receive a data dump at about 65Hz (or about 1 byte every 15 milliseconds).

Back to CONTENTS

Factory Restore

The Factory Restore function allows you to restore altered Voodu Valve™ presets to their original
condition as shipped from the factory. Either the entire Voodu Valve™ memory can be restored, a single
preset can be restored to any preset location, or the controller information alone can be restored.
Restoring a single factory preset:

Step 1 Turn the FUNCTION SELECT control clockwise to “FACTORY RESTORE”.
Step 2 Turn the PARAMETER SELECT control one step clockwise to “RESTR 1 TO 1”. The
number on the left is the original factory preset number to be restored. The number on the
right is the preset location that the preset will be stored into.
Step 3 Turn the PRESET control to select the factory preset to be restored.
Step 4 Turn the PARAMETER ADJUST control to select the preset location to store the restored
preset into.

!! CAUTION !!
Pressing the STORE button at this time will overwrite
the current preset with the displayed factory preset.

Step 5 Press the STORE button to begin restoring the selected preset into the selected location. After
the process is completed, the display should read “ERRORS 0”. This represents the number
of bytes that the Voodu Valve™ found did not initialize properly. Any number of errors other
than “0” means that the Voodu Valve™ may not have initialized properly and the process
should be repeated.
The Voodu Valve™ will remain in this condition until the FUNCTION SELECTcontrol
is turned to exit the Factory Restore function. The preset currently recalled will be the preset
most recently restored into the current location.

Restoring all factory presets:

!! CAUTION !!
This procedure will permanently erase all user presets (1-254) and replace
them with the original factory presets. If you have altered and stored presets
which you do not want to erase, do not perform the following procedure.

Step 1 Turn the FUNCTION SELECT control clockwise to “FACTORY RESTORE”.
Step 2 Turn the PARAMETER SELECT control two steps clockwise to “ALL RESTORE 0”.
Step 3 A specific code number must be entered to restore the Voodu Valve™ memory. Use the
PARAMETER ADJUST control to enter the number “220”.

! ! WARNING ! !
Pressing the STORE button at this time will permanently erase all
user presets and replace them with the original factory presets. If
you have altered and stored presets which you do not want to erase,
turn the FUNCTION SELECT control to exit this function.

Step 4 Press the STORE button at this time to initiate the All Restore procedure and erase all current
Voodu Valve™ presets, replacing them with the original factory presets. The Voodu Valve™
will display “INITIALIZING” as the Voodu Valve™ memory is restored.
Afler the All Restore process is completed, the display should read “ERRORS 0”. This is the
number of bytes that the Voodu Valve™ found that did not initialize properly. Any number of
errors other than “0” means that the Voodu Valve™ may not have initialized properly and the
process should be repeated.
The Voodu Valve™ will remain in this condition until the FUNCTION SELECCT control
is turned to exit the Factory Restore function. The preset currently recalled will be the preset
most recently restored into the current location.

Restoring the Voodu Valve™ controller assignments:

The controller assignments for the Voodu Valve™ can also be reinitialized without
affecting presets and other stored information. Reinitialization of the controller
assignments is necessary when setting up the Voodu Valve™ to operate in remote mode with
a Rocktron All Access™ footswitch.

To reinitialize only the controller assignments, enter a code number of “221” at
Step 3 above.

Back to CONTENTS

Selecting a Power on Preset:

The Voodu Valve™ allows you to store a Power On preset which will always be recalled when the
unit is turned on.

Step 1 Turn the PRESET control to the preset number you wish to be recalled each time the unit is
turned on.
Step 2 Recall the selected preset by pressing the RECALL button.
Step 3 Press the STORE button while viewing the preset number and title to save it as the Power On preset.

Back to CONTENTS

Using the Voodu Valve™ with a Rocktron All Access™ in REMOTE mode

A Rocktron All Access™ MIDI footswitch can act as a dedicated remote control for the Voodu
Valve™ – allowing direct access to specific Voodu Valve™ features and parameters from the footswitch at
any time.

Step 1 To use an All Access™ footswitch as a dedicated remote, connect the MIDI OUT of the All
Access™ to the REMOTE jack of the Voodu Valve™ using a 7-pin MIDI cable.

Click here to see a graphic of the MIDI hook up.
To set up the Voodu Valve™ for remote operations do the following:

Step 2 Reinitialize the controller assignments as shown earlier in this section under the heading
“Restoring the Voodu Valve™ Controller Assignments”. This will match up the Voodu
Valve’s controller assignments to the All Access™. A code of “221 ” must be entered to
initialize only the controller information.
Step 3 Turn the FUNCTION SELECT control clockwise to “REMOTE CONTROL”.
Step 4 Turn the PARAMETER SELECT control one step clockwise to display “REMOTE”.
Step 5 Turn the PARAMETER ADJUST control to select “ON”.
Step 6 If the Voodu Valve™ titles are to be displayed on the All Access™, turn the PARAMETER
SELECT control to “TITLE XFER”.
Step 7 Turn the PARAMETER ADJUST control to “ON” to enable title transfers from the Voodu
Valve™ to the All Access™ display.

To set up the All Access™ for remote operation perform these steps from the All Access™ SETUP program:

(See the All Access™ user’s manual for detailed information on editing the All Access™)

Step 8 Set the Operating Mode to “REMOTE”.
Step 9 Set the Bank Size to “10”.
Step 10 Reinitialize only the controller information for the instant access switches and pedals using a
code of “231”.
Step 11 If the preset titles from the Voodu Valve™ are to be displayed on the All Access™
automatically, set the Remote Title Number to match the Unit ID Number parameter on the
Voodu Valve™.

When operating in Remote mode with a Voodu Valve™, switches 1-10 act as normal preset switches, while switches
11-15 each perform a special function.

Switch 11 switches in or out the first effect of the current configuration (not including HUSH®). This can be
either chorus, flange, tremolo, pitch shift, wah or phase shift.
Switch 12 switches in or out the delay effect.
Switch 13 switches in or out the reverb effect.
Switch 14 can be pressed and held to mute the output of the Voodu Valve™ for as long as the switch is held
down. This is especially useful when switching guitars during a live set.
Switch 15 provides instant access to the Tap Delay feature of the Voodu Valve™ Switch 15 can be used
instead of connecting a momentary footswitch to the FOOTSWlTCH jack on the rear of the Voodu Valve™.
For more information on the Tap Delay Feature, see Tap Delay in this section.

Click here to see a graphic of the All Access™ switch set up.

Upon proper setup and connection of the units, the All Access™
will provide the functions shown in the graphic.
Back to CONTENTS

8. APPENDIX
ERROR MESSAGES

Message Possible Reason Corrective Action

MEMORY ERROR CODE BYTE IS NOT CORRECT IN MAKE SURE EEPROM IS TIGHT IN
EEPROM MEMORY. SOCKET

MAKE SURE WITHIN CORRECT
OPERATING TEMPERATURE.

DUMP ERROR MIDI INFORMATION IS BEING DISCONNECT MIDI CORD AT MIDI
RECIEVED AT THE MIDI IN AS IN OR TRANSMITING VOODU VALVE.
THE SAME INFORMATION IS
BEING DUMPED.

RECIEVE ERROR MIDI EXCLUSIVE INFORMATION BULK LOAD WAS TRANSMITTED
WAS NOT RECIEVED CORRECTLY. TOO FAST.

CHECK SUM BYTE WAS NOT
CORRECT.

DATA STRINGS NOT CORRECT
LENGTH.

DATA STRINGS OUT OF ORDER.

XMEM ERROR EEPROM MEMORY IS NOT BEING MAKE SURE EEPROM IS TIGHT
STORED TO CORRECTLY. IN THE SOCKET.

MAKE SURE WITHIN THE CORRECT
OPERATING TEMPERATURE.

LOAD ERRORS MIDI SYSTEM EXCLUSIVE CHECK RECIEVE ERROR AND
INFORMATION WAS NOT XMEM ERROR
RECIEVED CORRECTLY OR
STORED CORRECTLY.

Back to CONTENTS

MIDI IMPLEMENTATION
Voodu Valve™Date: December 12, 1994 Version: 1.0
0=YESX=NO

FUNCTION TRANSMITTED RECOGNIZED REMARKS

BASIC DEFAULT 1-16 1-16 May be saved in
CHANNEL CHANGED 1-16 1-16 non-volatile memory

MODE DEFAULT X X
MESSAGES X X
ALTERED X X

NOTE
NUMBER TRUE VOICE X X

AFTER TOUCH KEY’S X X
CHANNEL X X

PITCH BEND X X

CONTROL CHANGE** X 0

PROGRAM CHANGE* 0 0

SYSTEM EXCLUSIVE 0 0 For Bulk Dump/Load
and Preset Dump/Load
SYSTEM COMMON SONG POSITION X X
SONG SELECT X X
TRUE REQUEST X X

SYSTEM CLOCK X X
REAL TIME COMMANDS X X

AUXILIARY LOCAL ON/OFF X X
MESSAGES ALL NOTES OFF X X
ACTIVE SENSING X X
SYSTEM RESET X X

* Actual MIDI program value sent is 0-253, corresponding to presets 1-254. Optional
implementation of program mapping also available.

** The control number may be from 0-120, or OFF. An upper and lower range may also
be specified for most parameters.
Back to CONTENTS

TECHNICAL DATA

INPUT IMPEDANCE 470Kohms

MAXIMUM INPUT LEVEL + 20dBu

INPUT JACK 1/4″ mono

OUTPUT IMPEDANCE less than 150ohms

MAXIMUM OUTPUT LEVEL +20dBu

OUTPUT JACKS 1/4″ unbalanced Left and Right.
Left jack can drive stereo
headphones of 600ohms or more
(AKG studio phones, for example).

XLR balanced Left and Right.

TUBE REPLACEMENT 12AX7

MIDI IN 7-pin DIN

MIDI THRU/OUT 5-pin DIN

POWER REQUIREMENTS 9VAC/3.4A

DIMENSIONS 19″ X 7″ X 1 3/4″

Back to CONTENTS

VOODU VALVE FACTORY PRESETS
Note: Presets 1-127 are repeated in locations 128-254 with the speaker simulator tumed ON. Presets 128-254 share
the same titles as presets 1-127, and may have slight EQ modifications to best accommodate full range speaker systems.

1/128 WITCH DOCTOR 43/170 BLACKTAILS 85/212 MEDICINE MAN
2/129 FIRST CLASS 44/171 SPACERS 86/213 SHAKE – N – BAKE
3/130 DETUNE 45/172 CLOUD 87/214 CRUNCH CRUNCH
4/131 SRV 1 46/173 DRY CLEAN 88/215 RETUNED
5/132 PHASER ONE 47/174 HOW IS NOW 89/216 PLAIN GRIT
6/133 MAJOR THIRD 48/175 WARM LEAD 90/217 POISON IVY
7/134 SINGLE COILS 49/176 CLEAN SLUDGE 91/218 FEEDUM FUZZ
8/135 HOCUS POCUS 50/177 SMOOTHING 92/219 WARM \ SMOOTH
9/136 SLOW TREMOLO 51/178 MR CLEAN 93/220 DRY HEAT
10/137 DRY TUBE 52/179 SLICK PAN 94/221 WARMING UP
11/138 WARM ROOM 53/180 CRYSTALIZE 95/222 DEEP SPACE 9
12/139 SMOOTH ECHO 54/181 HEAVY BLUES 96/223 POLY ECHO
13/140 MELLOW FLANGE 55/182 SWEEPING ME 97/224 BELLY FLOPPER
14/141 DRY CRUNCH 56/183 ACCEPT THIS 98/225 WATERFALL
15/142 SWIRLY PHASE 57/184 ODYSSEY 99/226 PRIDE/GLORY
16/143 TUBE SLAP 58/185 CLEAN/BREAK 100/227 LEFT RIGHT
17/144 ACOUSTIC 59/186 BEN-D-NOTE 101/228 RHYTHM/BLUES
18/145 UNDER WATER 60/187 GAMMA DELTA 102/229 DREAMLAND
19/146 I’M BROKEN 61/188 THE CAVE 103/230 CRUNCHY ECHO
20/147 TUB TONE 62/189 RIG RHYTHM 104/231 SATCH
21/148 ERUPTION 63/190 CLEAN CHORUS 105/232 BUZZ CLIP
22/149 ROTATE IT 64/191 MACHINE GUN 106/233 SRV 2
23/150 GODZILLA 65/192 CLEAN FLANGE 107/234 SIGHS
24/151 FAT STRAT 66/193 DOUBLED SLAP 108/235 DOCTOR-NO
25/152 FUZZFACE 67/194 MACH 5 109/236 RHODES AHOY
26/153 RUBBER ROOM 68/195 VOODU 110/237 ZOMBIE ZONE
27/154 PROCESSING 69/196 LOFTY VERB 111/238 SHARK BITE
28/155 PRIEST 70/197 MONOLITH 112/239 LIGHT CRUNCH
29/156 MO BIGGER 71/198 PHASER TWO 113/240 FLANGOSIS
30/157 DROPPED 3RD 72/199 POKEY 114/241 LEAD VERB
31/158 SUPERREVERB 73/200 LOW RIDER 115/242 VERBSCAPE
32/159 HYPER-DRIVE 74/201 GREASE ALERT 116/243 CHORUS DELAY
33/160 WA WA WA WA 75/202 SLAP IT 117/244 ARMED/READY
34/161 SNAPPER HEAD 76/203 MONSTERS 118/245 FAT-N-CHUNKY
35/162 TOKE ZONE 77/204 EDGE/SHIFT 119/246 LEAD ROOM
36/163 STRAY CATS 78/205 BOSTON 120/247 HAM BONE
37/164 LITE RHYTHM 79/206 VOODU FUNK 121/248 DRAGON QUEST
38/165 BIG EASY 80/207 SHARP CUT 122/249 MEAT
39/166 SAUCEY JACK 81/208 VALLEYS 123/250 DARK SHADOWS
40/167 CLEAN WAH WAH 82/209 BEAT ME 124/251 JUNGLE
41/168 PIEZO FUZZ 83/210 CLEAN \ VERB 125/252 LONE JAMMER
42/169 GLIMMER TWIN 84/211 HALF STACK 126/253 MARSHALL LAW
127/254 TEST PRESET

Back to CONTENTS

Rocktron News: ROCK NOTES

Rocktron News: ROCK NOTES

Rocktron News: ROCK NOTES

Click here to see news items from 1996
6/25/97

Watch for this new ad to appear in the August 1997 issue of Guitar World magazine and the September issue of Guitar Player magazine. The ad features Nick Hexum, vocalist and lead guitarist of the band 311. Nick recently joined the ranks of Rocktron endorsers (see story below) and is now using Rocktron gear exclusively on tour and in the studio. Nicks rig is detailed in the ad and includes the Rocktron VooDu Valve guitar preamp, the Intellifex LTD and Replifex effects processors, the Velocity 250 power amp, 4 Rocktron S112 speaker cabinets, and the All Access MIDI foot controller.

Nick says of his Rocktron gear, “Rocktron totally kicks ass. The tones on the processors are amazing. The units have easy-to-use features and the overall research and development is a step ahead of all the suckers. Rocktron tones have become a staple of my guitar sound on our new album…”

Be sure to catch 311 on tour this summer and fall!

5/23/97

Joy Basu is Rocktron’s new clinician and will be doing several up-coming Rocktron clinics. Joy will perform at the Mad About Music show in the U.K. at Marshall Amplification’s Rocktron display. (Marshall is the U.K. distributor for Rocktron products). Joy will play throughout the day June 20th, 21st, and 22nd. U.K. musicians should really hear his great sound at this show and his knockout style! See you there!

Rocktron has just learned that Dave Mustaine and Marty Friedman of Megadeth are big-time Rocktron fans. Vinnie Sansevere, Dave’s tech, called up to say thanks for the great gear! Dave and Marty used the Rocktron Chameleon and Piranha preamps to record the majority of their latest CD entitled “Cryptic Writings”.

Hometown boys Mike Cross and Joey Mazzola of Sponge stopped by the Rocktron factory on Tuesday, 5/13/97 to check out the Rocktron Patchmate and All Access MIDI control pedal. Seems that they’ve been getting tired of all the “mucky-muck” of running their stomp boxes out to the edge of the stage. Sponge technicians Dave, Adam, and Jimmy spent the following two days here at Rocktron to set up their new racks and to get aquainted with using MIDI. That weekend, Sponge performed two shows – one in Nashville and one in Washington D.C. Joey and Mike both said they were extreemely happy with their new Rocktron gear!! Also, Mike replaced his old Heil talkbox with Rocktron’s new Banshee Amplified Talkbox, which has not only simplified his setup, but also gives him “rockin’ talkbox tone”. Catch Sponge this summer on the R.O.A.R. Tour with Iggy Pop.

Watch for these new ads to appear in up-coming guitar publications. These ads are dedicated to Rocktron’s ever expanding line of Stomp Boxes! The Banshee rates with an ad all it’s own and the Banshee itself has already become a big hit and a top seller. Check out this most recent review on the Banshee from Guitar Shop magazine.

3/24/97

The April 1997 issue of Musician magazine features a lengthy article on
The Artist formerly known as Prince and his new band members, whom
include Rocktron endorser, guitarist/vocalist Kat Dyson. The top of the
article describes the scene during a recording session in Paisley Park’s
Studio C: “…while Kat Dyson uses her Tele to shower the room with samples
from her Rocktron Chameleon.” Kat has been using her Chameleon for recording and live performance for over 2 years now and obviously, she still loves
it!!

Seems like you can’t turn around today without finding yet
another professional using Rocktron effects processors. Musician
magazine reports in their March 1997 issue that Danzig guitar
slinger Tommy Victor (formerly of Prong) uses the Rocktron Intellifex as his main effects processor. Tommy Victor is new to Danzig, and Musician reports that “Victor’s assault is helping recreate live the dark
charge of the album”, referring to Danzigs newly released work
titled Blackacidevil.

Tommy also recently recorded a song with Rob Zombie and Howard Stern for
the “Private Parts” movie soundtrack, in which he used his Rocktron gear.
If you look closely at the video clips from the Stern-Zombie live concert
in New York, Tommy Victor is the guitar player with a “ghoul” mask on…

The May 1997 issue of Guitar Shop (USA) includes an interview with Rocktron
clinician, Neil Zaza. Neil dicusses home recording. “For the direct stuff,
I plugged my Ernie Ball Van Halen guitar into a Rocktron VooDu Valve and a Chameleon. Both have great speaker emulation, which afforded me a lot of overdub possibilities.” Check out Neil’s new CD, Sing!

Also, the March 1997 issue of EQ magazine features an interview with Neil,
entitled “Making A Six String Sing” – How guitarist Neil Zaza used his
project studio to record his latest release, Sing. Neil States: “I did do
some direct recording, which worked out really well. I went through either
a Rocktron VooDu Valve or a Rocktron Chameleon, depending on the sound I
was going for. When you’re recording direct, you have to have a good speaker
emulator. If you don’t, it’s going to sound like a square wave – really
fuzzy. The Rocktron gear has a real good speaker emulator in that it allows
you to choose the size of the speaker you want to emulate. So when I did
go direct, I went right from the back of the Rocktron units into the
D-80.” If you look closely at the photo’s, you’ll also see the Rocktron
Intellifex LTD and the RSP Saturator in his setup.

In the May issue of Guitar Shop, there is an electric blueprint for the rig
that belongs to that “psycho shredder” known as Buckethead. Note that his
rig includes the ever popular Rocktron Intellifex!! We knew there were
great brains under the bucket!

2/5/97

Nick Hexum and Tim Mahoney, guitarists of the band 311, recently joined the ranks of Rocktron endorsers. Nicks touring rig, detailed in the March issue of Musician magazine, is a complete and exclusive Rocktron setup, and consists of:
Amplification: Rocktron Velocity 250 power amp through Rocktron S112 and SE112 cabinets.
Effects: Rocktron Replifex, Intellifex and VooDu Valve.
Tim is using the Replifex and Intellifex in his rack. Both Nick and Tim are using the Rocktron All Access MIDI Controller for ultimate control of their rigs during live performance. In addition, Nick and Tim have both expressed that they are extremely happy with their Rocktron gear! Also, be listening for Nick’s new Banshee Amplified Talkbox on the upcoming 311 CD which the band is currently rehearsing for. Nick “fell in love” with the Banshee while visiting the Rocktron booth at the 1997 NAMM show.

Also recently added to the Rocktron endorser list are guitarist Stephan Carpenter and bassist Chi Cheng of the Deftones. Stephan is using the Rocktron Patchmate, Replifex, Guitar Silencer and All Access, and Chi is using the Rocktron 300G Compressor in their touring rigs. Stephan told us that he intends to use his Replifex to enhance his guitar tracks during the recording of their up-coming CD!

The January issue of Germany’s Guitar magazine has just arrived at Rocktron. Page 118 shows the rack setups for Jeff Hanneman and Kerry King of the band Slayer. Hanneman’s rig utilizes Rocktron’s HUSH noise reduction, as well as a Rocktron/Bradshaw RSB-12 controller unit. Kerry King’s setup includes the Rocktron HUSH noise reduction as well. We keep saying that more pros choose Rocktron for their professional setups. Seems they just can’t do without us!! Thanks guys!

1/29/97

Noted in the latest issue of Germany’s Guitar magazine to arrive here
at Rocktron, Jeff Ament of Pearl Jam using the Rocktron Rack Interface
unit. This specialized product has become an integral part of many
professional rack setups. Ament’s rig is diagrammed on page 104.

The March issue of Guitar Shop (USA) has already arrived. Always one
of our favorite magazines because of all the emphasis placed on gear,
Shop has done a great job over the past few years detailing gear in
use by the pros. The March issue details James Murphy’s (Testament)
rig. Seems James is using a Rocktron Intellifex for his effects
processing. Also noted in his studio setup is the RSP Saturator.
The Saturator has become a favorite for guitarists laying down tracks.
You’ll find James Murphy’s full studio setup detailed on page 31.

1/27/97

Rocktron recently celebrated our 15th Anniversary with a birthday bash held in Anaheim, California at the 1997 Winter NAMM Show. It was a hugely successful evening at the Hilton Ballroom where
thousands of guests filled the place to capacity. The 15th Year of Great Gear birthday celebration was billed as “The Six-String Adventure” by co-sponsor Guitar Player Magazine. VIPs were
in attendance to watch The Allan Holdsworth Group, with Dave Carpenter on bass guitar and Peter Erskine on drums. Opening act was the Andy Summers Group featuring Greg Bissonette on drums.
Guitar wizard Larry Coryell also played a dazzling set with Bunny Brunel and Kenwood Dennard. Holdsworth used several Rocktron Intellifex units as well as Rocktron Velocity amplifiers.
Coryell’s incredible tone that evening was produced by Rocktron’s Piranha preamp and his effects unit of choice was the Intellifex LTD. The event was so popular that hundreds of people were turned
away at the door because the ballroom was jammed! Some of the hottest guitar players in the business attended the show, including the legendary Jeff Beck who thanked Rocktron VP Bob Waller
for the company’s cordiality upon departure. Other players in attendance included Lyle Workman and Gary Hoey. This show was a guitar player’s heaven! Thanks to all the great players who
made Rocktron’s birthday celebration extra special!!

Yes, Virginia, Metallica does use Rocktron. January’s Gitarre & Bass from Germany displays Kirk Hammett’s tour rack, clearly showing a Rocktron unit as the controller, or “brains” of the
rig. We’ve been saying for years that more professional players use Rocktron than any other brand, and we continue to prove it! We also wonder why some music dealers want you to believe that
rack products are not popular, when indeed, artists such as Metallica are loaded with plenty of rack gear. Pages 66 – 68 of this magazine show plenty of photos of rack items in use on the
Mettalica tour. So, who’s kidding whom? If you’re gonna go pro, you’re gonna utilize plenty of rack gear. Ask Kirk Hammett!

1/7/97

NAMM UPDATE! Rocktron Corporation proudly celebrates the 15th Year of Great Gear during 1997. A special logo appearing on Rocktron’s 1997 catalogs, and NAMM Show advertising (pictured) to highlight our Birthday Celebration! A very special event will take place during the 1997 Winter NAMM (National Association of Music Merchants) Show in Anaheim, California during January: a birthday concert. Saturday night, January 18, An Evening With the Allan Holdsworth Group, Larry Coryell and Andy Summers will take place at the Anaheim Marriott. This event, which commemorates Rocktron’s 15 years, is sure to be one of the outstanding concerts at NAMM for 1997. Over the years, Rocktron beleives that more professional artists have chosen Rocktron guitar rack gear than any other brand. The company has a long history with Allan Holdsworth, who will utilize Rocktron’s Velocity power amps during the concert, along with Rocktron signal processing and effects. Larry Coryell will utilize Rocktron’s Piranha preamp and Replifex effects processor. Andy Summers has used Rocktron over the years as well.

Also appearing for Rocktron at the Rocktron NAMM trade show booth (booth# 4241, Hall C) will be guitar wizards, Neil Zaza and Gary Hoey. Zaza will perform and demonstrate gear daily, each hour on the hour, while Hoey will appear on Saturday, January 18.

Click here to see news items from 1996

| What’s New? | Rocktron Notes | Product Reviews | Manual Library | Patch Bay! | Customer Support |

BACK TO THE TOP OF THE PAGE

Home

Rocktron CHAMELEON®

Rocktron CHAMELEON®

The CHAMELEON® On-Line

(Programmable 24-Bit DSP Guitar Preamp With Effects)

Since its introduction over 5 years ago, many preamps have come and gone, but the Chameleon® has stood the test of time to become one of the most widely used preamps in the world. No other preamp walks the line from sweet country to industrial metal with so much ease. Guitar World magazine’s E.D. Menasche raves: “No doubt about it, the Chameleon is a breakthrough piece of technology. I never thought I’d like digital distortion, but my long standing prejudice has just been shattered. This box has grit, power and plenty of heart.” The new Chameleon On-Line takes this classic to a new level. While some other companies are selling preamps with “artist” presets from notable guitar players who may never use the preamp to begin with, Rocktron boldly takes a new approach. Presets in the Chameleon On-Line were created by true working, “REAL” musicians like you , and not by some renowned axlslinger’s guitar tech.

These Internet Access Presets are easily updated by simply downloading new presets from Rocktron’s Web Page “Patch Bay”. Have you ever wondered what sounds guitarists are using in Italy, Germany, Norway, or Greece? You may find out if you check out the Chameleon On-Line. The way we see it, the real musicians are what make it happen. The On-Line starts you on a worldwide preset quest. Who knows, your own presets may become the favorite of guitarists in Japan, or somewhere else! What has made the Chameleon a rack staple worldwide is its attention to detail. No other preamp offers the tone shaping tools like pre and post distortion EQ capabilities, Variac, High and Low Gain modes, and slick extras like Pentode, Triode, and Solid State preamp voicings. Ask anyone who has used the Chameleon in the studio and they will rave about the untouchable Speaker Simulator. Instead of a limited graphic EQ (or even no EQ) like most preamps, the Chameleon offers: Speaker Size (8″, 10″, 12″, 15″, and full range settings). Mic Placement allows a good cut

without the “buzziness”, while the patented Reactance parameter renders serious chunk and low frequency options that are not available on any other preamp or mixing board EQ section. Using the stereo XLR outputs makes it a natural for live direct-to-P.A. applications as well. Of course, the Chameleon On-Line also has a healthy serving of Rocktron’s world-famous effects, like Delay (1 second) with tap tempo, Reverb, Chorus, two-voice Phaser, Wah Wah, Flanger, Pitch Shift, Tremolo, compression and also HUSH® noise reduction. All effects were created with the much sought-after warmth of the “retro” analog stompers, but in the ultra convenient package of a one-space rack unit. You may have already heard the Chameleon live and in the studio playing with the likes of J. from White Zombie on their double platinum release “Astro-Creep 2000″, Gary Hoey, Nine Inch Nails (live), Kat Dyson with the artist formerly known as Prince, or with country acts Reba McEntire and Tim McGraw. Now is your chance to add your own unique twist to the list of Chameleon users. Get On-Line and get with the program. The world awaits!

SPECIFICATIONS:
Input impedance 470K ohms, output impedance <150 ohms, maximum input/output level +20dBu,

MIDI in 7pin DIN, power requirements 9VAC/2000mA, dimentions 19″x 1.75″ x 7”, UL and CSA approved
operation

Chameleon® and HUSH® are registered trademarks of Rocktron Corporation.

Would you like to know more about the Chameleon’s functions and features?

Click the button below to view the on-line version of the Chameleon User’s Manual!

Note: The manuals are large documents and may take a few moments to load.
It is may be best to let the document and it’s graphics finish loading before scrolling.

You may also visit the Manual Library to view other Rocktron product manuals.
Click here to check out a Product Review on this and other Rocktron products.

Take a look at the Piranha and the VooDu Valve™ Too!

| Preamps | Effects | Power Amps | Processing & Specialty | Midi Controllers |

Home

Prophesy Guitar Preamp with effects

Prophesy Guitar Preamp with effects

The PROPHESY TM

(Programmable Digital / Tube Guitar Preamp
with assignable effects.)

Effectively comprising three complete processors
in a single package, the Prophesy™ is the single most powerful and
sophisticated guitar system available today. With dual 24-bit, 66MHz DSP processors
providing 130mips of processing power, the Prophesy is over 12 times as powerful as the
original Rocktron Intellifex!
The preamp section
features four channels – Clean American, Texas Blues, Vintage British and Mega
Drive, each with their own distinct “voicing’s” to provide a vast
array of tube amp sounds to the player.  Each voicing may be thought of as a
“channel” and each channel has it’s own basic gain and master controls with
bass, mid, treble and presence controls, all easily accessible with knobs, just like a
regular amp head.  In addition, every Prophesy preset offers a parametric pre-EQ
(just before the preamp stage), a parametric post-EQ (after the preamp for extra tone
control if needed), and a parametric global EQ which effects ALL presets at the same time,
which is useful for adjusting the over-all tone in different environments.

The pre-effects section features wah, compression, HUSH®, EQ, and an
assignable pre-effect of your choice.  The highly-configurable post-effects
section provides ultra-transparent, high quality effects which completely
preserve the tone of the preamp—thick reverbs and lush choruses can be used without
coloring the sound of the preamp’s tone.  Four assignable “effect blocks”
allow you to assign 1 pre preamp effect and 3 post preamp effects in any order you choose,
including phaser, flanger, chorus, pitch shift, rotary speaker, delay and ADSR! 
Advanced mixer functions allow you to direct the desired amount of direct and effect sound
through each block.  Tremolo and reverb are fixed at the end of the chain where they
belong and the tremolo can be placed pre or post reverb.   The stereo effect loop may
be assigned as an “effect” in the pre-effect block or any of the 3 post-effect
blocks – this means that any other outboard effect unit can also be placed anywhere in the
effect chain!!!

The ADSR (Attack/Decay/Sustain/Release) function features Rocktron’s
patent-pending pluck detection, and allows you to configure any of the 
Prophesy parameters to be controlled dynamically by each pluck of a guitar string. 
An obvious application of the ADSR would be to control the wah wah effect to create an
auto-wah!

While designing the Prophesy, we tried to include as many of our customers wish
list features as we could! 
These features include:

An assignable effect loop

A bypassable preamp section
(which allows you to use the Prophesy as a stand-alone effect unit with the possibility of
placing effects in your amp head before the input and in the effect loop)
Assignable order of effects
A built-in TUNER which
is engaged by the MUTE button
A Tap button which can
set the tremolo speed and delay time in perfect sinc with each other
Dynamic control of all
Prophesy parameters with the ADSR
Stereo XLR Recording outputs
with adjustable speaker simulation (may be used with the stereo 1/4″ amp outputs
without speaker simulation simultaneously in stereo)
True delay spillover
which allows delay tails to continue after switching to a new preset and delay time
MIDI volume control
that can remain constant from preset to preset
A new larger display
with multiple parameters displayed simultaneously
Quick access to common parameter
pages with the 16 button matrix
Front and rear instrument input
jacks

Other features include a visual
representation of the assigned effects signal chain,  preset title, the voicing
(channel) being used, all displayed on the first preset page.  The buttons in the 16
button matrix show the status (in or out) of the fixed effects as well as some of the
assignable effects and allow you to instantly jump to those effects’ parameter pages.
Of course, the Prophesy maintains the
high quality operational features that Rocktron processors are well known for, such as
glitch-free preset switching with no signal drop out or lag time and natural sounding
effects. 

The 4 voicing’s, or digital “amp
channel” algorithms produce Rocktron’s latest and state-of-the-art distortion tones
which are very “tube amp like” in their feel and dynamics.  The low end
jumps out of the cabinet and the feel on the fret board is just like playing through your
favorite tube amp head!
Hearing is believing, so call or visit
your nearest Rocktron dealer today to check out what is destined to become the finest
digital guitar preamp in the world today!

SPECIFICATIONS: Input impedance 470K ohms, output
impedance <150 ohms, maximum input/output level +20dBu, MIDI
in 7 pin DIN, MIDI out/thru 5 pin DIN, input jack
1/4″ mono, output jacks 1/4″ left and right, recording output
jacks XLR left and right, power requirements 9VAC / 3.4 amps, dimensions
19″ x 3.5″ x 8″, UL, CSA and CE approved operation
HUSH® is a registered trademark of Rocktron Corporation.
Take a look at the Gainiac, Chameleon® On-line, VooDu Valve™
On-line, Piranha
and the PC Preamp too!

Preamps
Effects
Velocity
Amplification
Processing &
Specialty
Midi
Controllers
Stomp
Boxes
Taboo
Amplification
Speaker
Cabs

Home

Rocktron Product Reviews – TABOO TWIN from Guitar Player magazine

Rocktron Product Reviews – TABOO TWIN from Guitar Player magazine

Rocktron
PC Preamp
PRODUCT REVIEW
from Music & Computers Magazine,
July/August 1998, by Brett Ratner

The
PC Preamp provides a quick way to plug your guitar or microphone into your PC’s audio
inputs.  Front-panel controls let you dial in EQ, noise reduction, and reverberation.
  The Aux Input knob mixes in an external source, such as a CD player, drum machine
or keyboard.  The button and right switches between clean and distortion modes.

When I first heard about the Rocktron PC Preamp,
my imagination soared. 
     The PC Preamp is a fairly inexpensive device that allows you to
send a guitar, bass, or microphone signal straight into your PC’s 1/8″ stereo
“line” input (usually located on the soundcard). More important, the tone can be
massaged with light compression, reverb, and distortion, plus whatever out-board effects
you choose to feed through the the preamp’s stereo effects loop.
     The advantage  of the PC Preamp  is that it’s a
compact, easy-to-use box that enables you to quickly connect a variety of instruments to a
typical soundcard for hard disk recording. Since it can produce high-quality clean and
distorted guitar sounds, it saves the hassle of micing an amp or cobbling together a shish
kebab of stomp boxes and adapters.  This is Nice when all you want is to do is
experiment with a few riffs in the middle of the night without waking your roommate.
     Out of the Box.  The first thing you notice
about the PC Preamp is that it’s encased in a sturdy metal housing  with the same
vanilla color your computer wears.  This doesn’t exactly inspire the frenetic riffing
that, say, a tweed “59 Bassman would.  On the other hand, it blends nicely with
a desktop setup.  According to the manual, the case is sturdy enough to support a
computer monitor.  A strip of Velcro is also provided in case you want to stick the
unit to the side of your tower.
     Setting up is simple: Plug your guitar or microphone into the
front and use the provided stereo 1/8” molded cable to feed the output into your
soundcard or your Mac’s line-in jack.  Take the included PowerTracks Pro Audio CD-ROM
(PC only; Mac users will have to provide their own software) and follow the installation
instructions.  The software allows you to record up to 48 tracks of digital audio on
your hard drive, so you’ll be rockin’ in no time.
     The control knobs are straightforward as well: gain, shape (EQ
curve), HUSH threshold (Rocktron’s proprietary noise reduction), preamp level, reverb
level, aux. input level, and a clean/distortion switch.  Anyone familiar with more
complicated guitar or studio equipment already knows by this point that the sounds you’ll
get out of the box are basically preset.  The tradeoff is that you turn the thing on
and a perfectly acceptable tone emanates from your computer speakers (and of course,
adjusting your guitars tone controls, selecting different pickups, and using your volume
control to lighten distortion adds quite a bit of tone versatility).
     Sounds.  The distortion is a saturated,
compressed lead guitar sound with so much sensitivity that you can play and entire solo
using only your left hand.  Twisting the “shape” knob anywhere past 12:00
yielded a “scooped” sound with my humbucking pickups.  Conversely, the 7:00
setting (all the way counter-clockwise) added a really cool midrange whine to leads.
     The clean electric guitar sound was much more refined.  
While I’m not about to toss my ’65 Deluxe Reverb, the Rocktron was surprisingly Fenderish
and bouncy with a nice, light, preset compression.  Foot-switching between clean and
dirty is not an option.  Even while practicing, it’s nice to change sounds without
removing your hands from the guitar.  To avoid this pitfall, I’d suggest plugging in
your favorite stomp box-style distortion, especially if you want a bluesier tone.
     By patching the preamp’s effects send into my Alesis QuadraVerb
and then patching the QuadraVerb’s outputs into the preamp’s 1/4″ stereo
effects-return jack, I effortlessly coaxed some lush textures. 

The preamp’s rear panel sports (left
to right): 1/4″ and 1/8″ stereo outputs for direct connection to a soundcard’s
“line in” jack, left and right RCA Auxiliary audio inputs, a stereo effects
return, and a mono effects send.  The effects loop lets you add additional effects to
the signal by connecting an outboard effects processor between the send and return jacks.

The preamp’s HUSH noise reduction circuit is another highlight.  According to the
manual, in clean mode it provides compression, and in distortion mode it reduces noise.
  My guitar has buzzy pickups, and with the extreme distortion setting provided by
the PC Preamp, my computer speakers sounded like a beehive before I dialed in some HUSH.
  It’s surprisingly transparent:When I held out a note, the noise reduction gradually
kicked in, and when the note naturally ended, there was dead silence.  This is an
especially useful feature if you experience interference from your computer screen.
     Interfacing Options.  I also tested the mic
input with a microphone and the XLR output from an acoustic/electric guitar.  The
response for both seemed even and smooth.  Needless to say, EQ options don’t abound
here, but the didn’t seem overly necessary, either.  Oddly enough, you can engage the
distortion when the microphone is in use, lending to some Nine Inch Nails-esque vocal
distortion.
     The manual says nothing about running the mic input and electric
guitar input simultaneously, but I tried anyway and found that the mic input is bypassed
when the 1/4″ input is in use.  In other words, PC Preamp can’t also act as a
“PC P.A.”
     since the auxiliary inputs have their own separate volume
control, however, I could simultaneously play guitar while running my CD player through
the aux. ins.  I then tried feeding the output to a pair of headphones (instead of to
my soundcard).  This seemed to work; I quickly dialed up a private mix that allowed
me to jam along with my favorite tunes.
     Adding the computer and included software yielded the full
potential of the unit.  Once I overcame a small user error, I had no trouble making
groovy little multi-track recordings.  The programmable click track kept me in time
and a series of prerecorded .WAV files provided even more opportunities to jam.
     Conclusions.  The PC Preamp’s packaging
reads, “Record your performance in cyberspace!” and “Turn your computer
into a practice amp!”  In other words, this product is clearly designed to be a
practice tool that’s also useful for homespun recordings.  But I’d add that a
songwriter could also make fine demos with it.
     The PC Preamp hits the nail on the head for its intended purpose.
  If you want a wider variety of guitar tones, check out Rocktron’s excellent
rack-mount preamps.  But if you want a convenient, compact, easy-to-use, relatively
inexpensive, all-in-one device that delivers usable – albeit limited – sounds, the PC
Preamp is hard to beat.Brett Ratner (Ratocaster@mindspring.com)
is a Nashville-based Freelance writer and musician.

Find out more about the PC Preamp!
Article
Copyright © 1998 Music & Computers Magazine.
Article edited for the web.

BACK TO THE PRODUCT REVIEW PAGE

Home