Digitech DSP Pdf User Manuals. View online or download Digitech DSP Owner’s Manual. Digitech DSP Plus, Music Technology, May The manual claims the abbreviations are printed on the top of the unit – but they weren’t on the review. Digitech DSP Plus, Sound On Sound, Apr There’s no indication in the DSP Plus manual of just how the signal is routed from one effects section .

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The gated and reverse reverb effects provided by two dedicated algorithms are dgitech good, and allow for considerable control to be exercised over effects that can all too easily sound a little cliched.

In the multi-effects processor wars, Digitech’s Mankal Plus distinguishes itself with comprehensive facilities and little sound colouration. It seems that at each stage of the effects chain, where a level for any section is set, what is actually being specified is a mix balance between the signal at the input and output of that section: Further parameters determine the characteristics of both the early and subsequent parts of the reverb, with pre Delay and Diffusion parameters available for both.

I do, however, wish there had been a Store function and perhaps a Compare function, too to allow you to 18 an alteration to a program without committing it to memory. Delay time is up to ms, and the EQ is a simple lowpass filter.


However, after delving deep into the facilities of the machine, its xigitech character and unique features became apparent, demonstrating that it is without doubt a worthy addition to the growing range of affordable professional effects processors.

They are an assorted bunch, although many are simply variations on dxp theme and I don’t think they show off the unit to the best of its ability; odd, but then some synths come with poor factory presets. When you switch on you go back to program one, not the last program used, so you’d have to reselect the desired program again.

The Delay simply delays the start of that part of the reverb sound by up to 80 milliseconds, and it is best to set the Early Delay parameter to a lower value than the Subsequent Delay parameter to produce a natural effect. Ian Waugh treats himself. In true LED style, “v”s look like “u”s, and “t” looks like a capital “E” with the top line missing.


You can send us a note about this article, or let us know of a problem – select the type from the menu above. Other software features include a self-test mode what happens when self-test procedures go wrong? Searchable archive of old, out-of-print music production magazines. Interestingly, a large number of the programs seemed especially suitable for guitar – lots of slapback echo and reverb.

The original version is mznual of producing three high quality effects at the same time, applied in series to the input signal. If you’re enjoying the site, please consider supporting me to help build this archive If you value digihech resource, you can support this project – it really helps! Other possibilities include more obviously panned repeats, or programs with echoes ricocheting back and forth in the stereo picture.

I cranked this up to maximum all the time, and I imagine most other users will too, to give as much depth as possible to the sound.

I do feel that a few areas of the Plus’ implementation could be tidied up, however – although what you lose on the swings you gain on the roundabouts I hate that expression.

The principal front panel controls are a power switch and three rotary pots which set Input, Output and Mix levels. The DSP has a digitwch sound – it’s clean, it has an excellent range of effects – some are superb, others are, perhaps, average and programming is relatively easy taking the LED display into account.

Its predecessor, the DSP without the Plusis capable of producing three effects simultaneously.

Previous article in this issue: The Ultimate Reverb With four separate delay times to play with, some intriguing effects can be obtained. Unlike so many other units, however, 1128 case is brushed aluminium not matt black – a refreshing change. It has three rotary dials on the front to set input and output levels and the mix between the dry signal and the processed signal. Long live progress, I say. If the perfect signal processor should do its job without adding any colouration to the sound, the DSP comes pretty close to perfection.

High values tend to produce a metallic, ringing sound, ddigitech low values produce a grainy, fluttery sound: Its quoted frequency response is 20Hz to 20kHz with a signal-to-noise ratio of around 85dB. Interestingly, low values 3 or below seemed to create a kind of flanging or phasing effect. Gear in this article: Scrolling is neat but it takes time and after the novelty wears off you’ll probably plumb for pop up display.


I knew you were going to ask that – go back and read the rest of the review.

Download digitech dsp manual | Diigo Groups

With the delay feedback parameter, infinite hold is enabled when the parameter is raised to its maximum value by a remote controller. You can obviously colour a sound with chorusing, flanging and so on, but the quality of the output vis-a-vis the input is pretty pure. The Chorus and Flanging effects range from the sublime to the ridiculous. If you value this resource, you can support this project – it really helps!

DIGITECH DSP-128 Manuals

Gear in this article: If it is set to Wet you won’t hear a thing. Thus, the level or mankal time of reverb say can be modulated with a synthesizer’s mod wheel, or anything else that can generate Continuous Controller information.

Parametric EQ, Chorus, Delay These are global assignments allowing you to control pre-delay, reverb time or any of the other parameters – there are 44 in all – in real time from a master keyboard or from a sequencer, for example, by recording the controller data onto a spare track. However, it’s quite easy to create your own effects once you get the hang of the parameter abbreviations. With the unit patched into a mixer and instruments DI’d into it, there were no problems operating the 28 Plus at the dB level.

Music Technology – May By carefully choosing the parameters you can determine the size and absorbency of the reverb environment as well as the position of the listener in relation to the sound. Any of the algorithm parameters can be assigned to MIDI continuous controllers.

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