AdrenaLinn II Manual
User Manual
Written By Roger Linn
and Craig Anderton
Roger Linn Design • Berkeley, CA • www.rogerlinndesign.com
ATTENTION: Want to double
your warranty from 1 to 2 years?
Simply go to www.rogerlinndesign.com to
register your AdrenaLinn purchase with us.
That will also enable us to notify you about
upgrades, useful tips and special offers.
Don’t worry—we promise not to give your
information to anybody else and we won’t
bug you with frequent or trivial emails.
AdrenaLinn II Users Manual
© 2003 Roger Linn Design
Revision date: July 11, 2003
This device complies with Part 15 of the FCC Rules. Operation is subject to the
following two conditions: (1) This device may not cause harmful interference and (2)
this device must accept any interference received, including interference that may
cause undesired operation.
This Class B digital apparatus meets all requirements of the Canadian InterferenceCausing Equipment Regulations.
Cet appareil numerique de la classe B respecte toutes les exigences du Reglement sur le
materiel brouilleur du Canada.
Tested To Comply
With FCC Standards
FOR OFFICE USE
Table of Contents
Hello From Roger Linn.................................................. 4
Chapter 1: Quick Start .................................................... 5
I Wanna Play It Right Now! ........................................... 6
I Wanna Edit a Preset or Drumbeat Right Now!........... 7
How 4 Knobs Control 40 Settings ................................. 8
The 4 MAIN Settings..................................................... 9
The 4 Secondary MAIN Settings................................. 10
Playing Through a Guitar Amp.................................... 12
Chapter 2: Presets ......................................................... 13
Overview..................................................................... 14
Effect: The 8 Parameters ............................................ 16
Effect: The 4 Hidden Parameters................................ 19
Effect: Effect & Variation Details ................................. 23
Effect: The User Sequence......................................... 29
Clearing Sequence Data ......................................... 31
Amp: The 8 Parameters.............................................. 32
Delay: The 4 Parameters ............................................ 34
Saving and Copying Presets....................................... 36
Chapter 3: Drumbeats ................................................... 37
Overview..................................................................... 38
The 8 Drumbeat Parameters ...................................... 39
Making Your Own Drumbeats: The Sequencer ......... 41
Clearing Drumbeat Data.......................................... 43
Saving and Copying Drumbeats ................................. 44
Chapter 4: MIDI............................................................... 45
The 4 MIDI Parameters .............................................. 46
Appendix......................................................................... 47
Frequently Asked Questions....................................... 48
Inputs and Outputs ..................................................... 51
Support, Warranty and Repair .................................... 52
Credits ........................................................................ 53
Index........................................................................... 54
Presets and Drumbeats List.........................Back Cover
Hello From Roger Linn
Thank you for purchasing the AdrenaLinn II, the successor to my
company’s first product, the AdrenaLinn. You may know of me from
having invented the first digital drum machines years ago, or from
having designed the Akai MPC series of sampling drum machines. But
when I started this new company, I realized that I can design drum
boxes in my sleep, and wanted to do something new. For years as a
guitarist, I had been fascinated with the idea of synchronizing filtered
sequence effects to music and finally decided to create the AdrenaLinn
to do exactly that. But during the design process, it grew to do far more
than that, including a variety of beat-synch modulation effects, beatsynched delay, amp modeling and lots of classic filter effects.
What does all that mean to your music? In the same way that playing
along with a great drumbeat inspires you to play new ideas, playing
through beat-synced effects like the AdrenaLinn’s filter sequences can
inspire you to create new musical ideas you’d never have thought of
before. In short, AdrenaLinn will pull ideas out of your head you never
thought possible.
Read on, be inspired and have lots of fun.
P.S. If you like the AdrenaLinn, please do me a favor and tell
somebody. We’re a small company and don’t have the big advertising
bucks like the big companies, so every little recommendation helps.
Another thing we’d particularly appreciate is for you to add your
comments to the “user testimonials” page on our web site, or to let us
know if you’ve used the unit on any famous recordings. Thanks much.
Chapter 1:
Quick Start
5
Chapter 1: Quick Start
I Wanna Play It Right Now!
It’s easy to get great sounds right away with the AdrenaLinn II by
selecting the presets and drumbeats. Simply hook it up and use the
buttons and knobs as shown below.
Connect
your guitar
or other
instrument
here
Adjust INPUT
LEVEL so
that CLIP
lights only
when you
play very
hard.
To select a preset, tap
MAIN to select MAIN
mode, then turn the
PRESET knob. There
are 100 factory presets
(F 0 – F99) and 100
user presets (U 0 –
U99), shown in the 3digit display. The
preset’s assigned
drumbeat will be
selected automatically.
Connect the
outputs to your
mixer or guitar
amp. Use
LEFT/MONO for
mono or both for
stereo. Use
PHONES to
connect
headphones.
Tap START to
start or stop the
drumbeat. Beatsynched presets
will play in
perfect sync.
HOLD to select
the next lower
preset.
Tap BYPASS to bypass all
processing. (Soft bypass)
HOLD to select the next
higher preset.
TAP 4 TIMES to set the
tempo.
Tap BYPASS then START
to hear a 1-measure intro
before the drumbeat.
6
While MAIN is lit,
select a
drumbeat here.
There are 100
factory
drumbeats (F 0 –
F99) and 100
user drumbeats
(U 0 – F99).
Connect
AdrenaLinn’s
power supply
here.
While MAIN
is lit, use
these
controls to
adjust the
tempo or
output
volume.
Chapter 1: Quick Start
I Wanna Edit a Preset or
Drumbeat Right Now!
Do you like a preset but want to add delay, increase the amp drive, or
change the tremolo speed? Or do you like a drumbeat but want to hear
it with a different snare drum, change the drum mix or the swing
amount? Here’s how to edit a preset or drumbeat.
Press the UP and
DOWN arrow
buttons to select
the row containing
the desired
parameter, then
turn the knob
above it to change
its value.
The display
shows the value
of the parameter
at the lit row and
column. To select
an unlit column
without changing
any data, turn its
knob one ‘click’.
These 20 settings
make up a preset,
divided into Effect,
Amp and Delay
categories.
Once edited, the 5
lights blink to
warn you to save
your edits.
These 8
settings
make up a
drumbeat.
Once edited,
the 2 lights
blink to warn
you to save
your edits.
To save the edited preset:
1. Hold the UP ARROW button for ½ second.
2. (Optional) Turn PRESET to save to a different location.
3. Tap the UP ARROW button.
To save the edited drumbeat:
4. Hold the DOWN ARROW button for ½ second.
5. (Optional) Turn DRUMBEAT to save to a different location.
6. Tap the UP ARROW button.
7
Chapter 1: Quick Start
How 4 Knobs Control 40 Settings
There are 10 rows of 4 settings printed each on the AdrenaLinn II
panel, yet there are only 4 knobs to control them. You can select one of
these 10 rows at a time, and the 4 knobs will control the 4 settings in
that row. To select a row, use the MAIN and UP ARROW and DOWN
ARROW buttons as shown below:
Tap MAIN to select
the MAIN row. The
4 knobs now
control Preset,
Drumbeat, Tempo
& Volume.
This display shows the value of the
setting in the selected (lit) row and
column. Press MAIN or the UP/DOWN
arrows to select the row, then turn the
knob above the desired parameter to
change it. To select an unlit column
without changing any data, turn its
knob one ‘click’. Continuing to turn the
knob will change the setting’s value.
Hold MAIN to select
the secondary Main
row. The 4 knobs now
control Bypass Mode,
Preset Sets Drumbeat,
Gate and Mix / Sep
Outs.
Tap the UP ARROW or DOWN
ARROW buttons to select one
of these 8 rows. Rows 1-5
contain settings that make up
each preset, rows 6 & 7
contain settings that make up
each drumbeat, and row 8
contains MIDI settings.
8
Chapter 1: Quick Start
The 4 MAIN Settings
The 4 most frequently used settings in the AdrenaLinn II are the 4 Main
settings.
PRESET selects the active Preset. A preset is a unique combination of
all of the settings that affect your instrument signal: effect settings,
amp model settings, delay settings, and a user sequence.
Examples of presets are an amp sound, tremolo, flanging, a filter
sequence, a delay setting or any combination of these. There are
100 factory presets numbered F 0 through F99, and 100 user
presets numbered U 0 through U99.
DRUMBEAT selects the active Drumbeat. Each drumbeat contains 2
measures of either 1/16 notes, 1/8 notes or 1/8 note triplets, and
contains 4 simultaneous instruments: bass, snare, hihat and
percussion. Also, each drumbeat has unique values for drum mix,
sound selection, volume and other settings. There are 100 factory
presets numbered F 0 through F99, and 100 user presets
numbered U 0 through U99.
TEMPO varies the playing tempo from 30 to 250 Beats Per Minute
(BPM). When you select a new drumbeat, that drumbeat’s tempo
will become active. You can also set a mode in which the tempo
always remains the same until you manual change it. (See ‘The 4
Secondary Main Settings’.)
VOLUME adjusts the overall output level, from 0 (somewhat lower than
guitar levels) through 50 (approximately equal to guitar levels) to 99
(somewhat higher than line levels).
Note: This volume also controls the bypassed signal volume.
9
Chapter 1: Quick Start
The 4 Secondary MAIN Settings
In addition to the 4 MAIN settings, there are also 4 secondary MAIN
settings printed directly below the 4 knobs.
To access these settings, hold the MAIN button for ½ second instead of
tapping it. Here’s a description of these 4 settings.
BYPASS MODE sets the function of the Bypass footswitch. The
options are:
Display
If Bypass in on, then you hear:
byP
Eft
AMp
dLy
EAE-d
-Ad
Unprocessed input signal (default setting)
Only the effect
Only the amp model
Only the delay
Only the effect and amp
Only the effect and delay
Only the amp and delay
This feature can also be used to turn effect, amp or delay off for all
presets. For example, to defeat amp modeling on all presets set
Bypass Mode to “E-d”, then turn the BYPASS foot switch on.
PRESET SETS DRMBT controls whether or not selecting a preset
automatically selects a drumbeat.
ƒ
ƒ
OFF: When you select a preset, the drumbeat does not change.
ON: Selecting a preset automatically selects the preset’s assigned
drumbeat.
Note: To change the preset’s assigned drumbeat, select the
desired drumbeat then save the preset.
10
Chapter 1: Quick Start
GATE controls the AdrenaLinn’s noise gate. The options are:
•
•
OFF: The noise gate is off.
ON1 – ON9: The noise gate is on. ON1 is the most sensitive gate
level; even light playing will open the gate. ON9 is the least
sensitive gate threshold and you will need to play harder to open
the gate. Using lower settings will allow even your softest notes to
open the gate, but it may also be opened by pickup hum or
brushing your hand against the strings. Higher settings will prevent
the gate opening from pickup hum or your hand brushing against
the strings, but it also won’t open on softly played notes. A setting
of ON2 – ON3 works best for most situations.
Note: The gate is also engaged while Bypass is on.
MIX / SEP OUTS controls the mix of the instrument (Preset) signal and
the Drumbeat, and can also separate the instrument and drum signals
in the 2 outputs.
ƒ
ƒ
The range is from P50 (all Preset, no Drumbeat), through EQU
(equal Preset and Drumbeat volume), to d50 (all Drumbeat, no
Preset).
An additional step past d50, SEP (separate), routes the instrument
signal to the left output and the Drumbeat to the right output.
11
Chapter 1: Quick Start
Playing Through a Guitar Amp
Guitar amps are basically loud, distorted woofers. Guitars sound great
through them, but drumbeats and modeled guitar amps—both of which
the AdrenaLinn produces—don’t sound as good. We recommend
playing your AdrenaLinn through a high-fidelity sound system such as
powered monitors or an audio console with quality speakers. For live
use, you can even patch directly into the PA mixer. A high fidelity, flatresponse system will best reproduce both the modeled guitar amp
sounds and the drum sounds produced by the AdrenaLinn.
If you do use a guitar amp, the AdrenaLinn can compensate for the
increased upper midrange / lower high frequency boost of guitar amps.
This compensation affects only the AdrenaLinn’s amp models and
nothing more.
There are two settings:
ƒ
ƒ
Direct: For feeding a console or other flat-response, hi-fidelity
sound system. This is the default setting and produces the best
sound quality.
Amp: Select this when playing through a guitar amp to reduce the
upper midrange and lower treble frequencies. This compensates
for the fact that guitar amps typically boost these ranges.
When shipped from the factory, the AdrenaLinn comes set to Direct. To
change from the Direct to Amp or vice versa, hold MAIN while
connecting power. AdrenaLinn remembers the selected setting even
when the power is off. If set to Amp, the word “AMP” will appear in the
display for one second on power-up.
12
Chapter 2:
Presets
13
Chapter 2: Presets
Overview
A Preset is a unique combination of all the AdrenaLinn’s sound
processing elements. There are 3 main processing elements:
ƒ
ƒ
ƒ
Effect: Beat-synched modulation and filter effects. This can
produce classic effects such as tremolo, flanging, chorus, autowah, talk box, auto-pan, rotary speaker and vibrato, along with new
modulation effects like random filtering or flanging as well as
AdrenaLinn’s innovative filter, tremolo and arpeggio sequences,
and finally note-triggered effects like auto-wah, voice box and
guitar synth. All modulation effects can be in sync to the drumbeat
or to MIDI clock.
Amp: AdrenaLinn produces a variety of superb models of guitar
amplifiers and distortion boxes, plus a clean preamp.
Delay: A beat-synched audio delay processor. This produces audio
delays up to 2.8 seconds that can be in sync to the drumbeat or to
MIDI clock.
Although the 100 Factory Presets do a great job of showing off what
the AdrenaLinn can do, you can create up to 100 user Presets to
personalize your sound. Creating a Preset generally involves the
following steps:
1. Choose a Preset that's close to what you want.
2. Use the AdrenaLinn's editing options to modify various parameters,
thus changing the sound.
3. Save the modified Preset as one of the 100 User Presets.
The settings than make up a preset are printed in white in the 5 rows of
the Edit Preset section:
The upper 2 rows contain the Effect settings, the next 2 rows control
the Amp settings, and the 5th row controls the Delay settings. Also note
some numbers printed in black. These are the sequence settings,
explained further in this chapter.
To edit one of these 20 settings in the preset section:
1. Locate the row that contains the setting to be edited.
14
Chapter 2: Presets
2. Press either the UP or DOWN arrow buttons until the LED next to
the desired row lights.
3. Locate the column that contains the parameter to be edited.
4. Turn the knob associated with that column to change the
parameter value.
Example: You want to alter the Delay Volume, which is located in Edit
Preset Row 5. Press the UP or DOWN arrow buttons until Row 5's LED
lights. Delay Volume is in the first column, so the leftmost knob varies
the amount of Delay Volume.
There are a couple details:
ƒ
ƒ
Upon selecting a row, if the LED directly above the parameter
name is lit, the 3-digit display shows the current parameter value. If
the LED above the parameter is not lit, turn the knob above it one
“click” in either direction to select the column and view the
parameter value. (The parameter value won’t actually change until
a second click occurs.)
Upon editing a parameter, the five row LEDs will blink. This isn't
just to amuse you with a light show, it's to remind you to save your
edits. Edits are not saved until you use the Save Preset feature. If
you select a different Preset before saving, any edits will be lost!
The Effect, Amp and Delay sections are described in detail in the
following pages.
15
Chapter 2: Presets
Effect: The 8 Parameters
Of the 3 sections that make up a preset—Effect, Amp and Delay—the
Effect section controls the beat-synched modulation and filter effects.
You can produce classic effects such as tremolo, flanging, chorus,
auto-wah, talk box, auto-pan, rotary speaker and vibrato, but also new
effects like random filtering or flanging and AdrenaLinn’s innovative
filter, tremolo and arpeggio sequences. All modulation effects can play
in sync to the drumbeat or to MIDI clock.
8 parameters make up the Effects section.
Effect selects one of the 14 Effect types
printed at the left side of the panel. Each
of the effect types is described in detail in
the section entitled “Effect: Effect and
Variation Details”. Note that when the
Effect setting is changed, the Variation is
set to 1 and the other 6 parameters in
this section are set to the default settings
for variation 1.
Variation selects one of a number of preset variations for the selected
effect. For example, the Tremolo Effect has classic tremolo, pulse
tremolo, random tremolo and others. The next section describes the
specific variations for each effect. Note that when you change the
Variation setting, the other 6 parameters in this section return to the
default settings for the selected variation.
Effect-Dry Mix controls the mix between the unprocessed signal (0)
and the processed signal (99).
On/Off/Ster has 3 options:
Off: Bypasses effect
On: Effect in on in mono
Ste: Effect is on in stereo.
16
Chapter 2: Presets
Speed has one of two functions depending on the selected effect:
ƒ
If Effect is set to Tremolo/Pan, Filter Tremolo, Flanger/Chorus,
Rotary, Vibrato, Random Filter or Random Flanger, then Speed
controls the effect modulation speed in 2 ways: fixed settings and
tempo-based settings (these sync to the Drumbeat’s playing
tempo). The options are:
Display
Rate
0-99
8M
4M
2M
2Mt
Fixed rate, from 1 cycle / 30 seconds to 10 Hz
One cycle every 8 measures
One cycle every 4 measures
One cycle every 2 measures
One cycle every 2 whole note triplets (3 cycles
in 4 measures)
One cycle every measure
One cycle every whole note triplet (3 cycles in
2 measures)
One cycle every ½ note
One cycle every ½ note triplet
One cycle every ¼ note
One cycle every ¼ note triplet
One cycle every 1/8 note
One cycle every 1/8 note triplet
One cycle every 1/16 note
One cycle every 1/16 note triplet
One cycle every 1/32 note
One cycle every 1/32 note triplet
1M
1Mt
2n
2t
4n
4t
8n
8t
16n
16t
32n
32t
ƒ
If Effect is set to Tremolo Sequence,
Filter Sequence, Arpeggiator, Auto
Filter, Talk Box, Volume Envelope
and MIDI, Speed controls attack and
decay time (rise and fall time) of the
signal envelope as a 2-part display:
“0-0” through “9-9”. The left digit
selects one of 10 attack/rise times (09), and the right digit selects one of
10 decay times (0-9). For example, if
the Auto Filter effect is selected with variation 5 (slow-rise synth
filter), the left digit controls how quickly the filter frequency rises
and the right digit control how quickly it subsequently falls.
17
Chapter 2: Presets
Depth controls the amount of modulation (movement) of the effect. The
Range is from –99 (maximum negative modulation) through 0 (no
modulation) to 99 (full positive modulation).
Note: Negative modulation causes upward movements of the
modulation source to produce downward movements of the filter
frequency. When using the Auto Filter effect, for example, a negative
modulation setting will cause the filter frequency to sweep down
instead of up as you play harder.
Frequency/Key has one of 3 functions depending on the selected
Effect:
ƒ
If filter tremolo, random filter, filter sequence or auto filter is the
selected effect, this controls the filter frequency or brightness. The
range is 0 (lowest filter frequency for deep tone) to 99 (highest filter
frequency for bright tone).
ƒ
If flanger/chorus, vibrato, random flanger, or talk box is selected,
this controls the effect’s starting frequency. All of these effects are
produced by a very short audio delay of between 0 and 20
milliseconds mixed with the unprocessed signal. The resulting
sound is called a comb filter. In this case, this parameter controls
the initial delay time from 0 (24 ms delay) to 99 (instantaneous)
ƒ
If Effect is set to Arpeggiator, Frequency/Key transposes the
arpeggio sequence, in semitone steps. The lowest frequency
setting is E, the same pitch as the low E string on a guitar.
Resonance assumes one of two functions depending on the Effect
setting:
ƒ
If Effect is set to filter tremolo, random filter, filter sequence or auto
filter, this emphasizes the tones at the filter frequency. In guitar
effect terms, at higher resonance settings, you’ll get a wah pedal
effect and a low resonance setting you’ll get a more subtle effect.
The range is 0 (low resonance) to 99 (high resonance).
ƒ
If Effect is set to flanger/chorus, vibrato, random flanger,
arpeggiator or talk box, this increases the effect’s emphasis. (It
actually adds feedback to the delay.) The highest settings
emphasize specific notes; this produces the arpeggiator effect.
18
Chapter 2: Presets
Effect: The 4 Hidden Parameters
In addition to the 8 Effect parameters, there are 4 “hidden” parameters
that are not necessary but give enhanced control over the details of the
sound. When you select an effect or variation, these 4 parameters are
internally and automatically set to the optimum settings. Advanced
users, however, will appreciate the ability to fine-tune the effect by
manually changing these settings.
Of the 4 hidden parameters, the 4th parameter, Volume, is fairly
straightforward: it controls the volume of the effect signal compared to
the bypassed signal (when Effect Off/On is set to OFF).
However, the first 3 parameters (Modulation Source, LFO Wave and
Filter Type) are more complex functions taken from the world of music
synthesis. Although they will be described briefly in this section, a full
explanation is beyond the scope of this manual. For a more detailed
explanation, please visit our web site or consult other books on analog
synthesis functions.
These 3 parameters (Modulation Source, LFO Wave and Filter Type)
are the principal settings that define the sound of the selected
effect/variation. For example, if you select the Filter Tremolo effect and
choose variation 1 (synth filter tremolo), the AdrenaLinn internally sets
Modulation Source to LFO (low frequency oscillator), LFO Wave to
Sine, and Filter Type to 2PO (lowpass 2 pole filter).
To access the 4 hidden parameters:
1. Select the preset to be edited.
2. Using the UP or DOWN buttons, select one of the 5 Edit Preset
rows.
3. Simultaneously press both the UP and DOWN arrow buttons and
quickly release. The uppermost row of the Edit Preset section will
blink, as well as one of the 4 column LEDs. This acts as an
indication that “Hidden Parameter” mode is active.
4. Turn the 4 knobs. The 4 hidden parameters are hiding “under” the
following 4 parameters:
Hidden: (Mod Source) (LFO Wave)
(Filter Type)
5. To exit “hidden parameter” mode, press any button.
19
(Volume)
Chapter 2: Presets
Modulation Source (hidden under Effect, use knob 1)
The AdrenaLinn uses 10 different Modulation Sources to move the
filter frequency, flanger frequency or volume up and down. There are
also 7 available combinations of the 10 modulation sources.
Display
Modulation Source (X = multiply, + = add)
SEq
Sequencer (the AdrenaLinn’s internal 2 measure
sequencer)
Envelope Generator (with attack and decay;
triggered by guitar note, MIDI note, LFO random or
sequencer step, depending on selected variation)
LFO (low frequency oscillator with 5 waveforms)
Audio Envelope (tracks the level of the guitar
signal)
Hold Peak (holds the peak of each guitar note
played until next note)
MIDI Note Number (the number of the key played
on an external MIDI keyboard)
MIDI Velocity (how hard a key is played on a MIDI
keyboard)
MIDI Bend (the pitch bend wheel on a MIDI
keyboard)
MIDI Cont (any information sent from a MIDI
keyboard on any of the following controller
numbers: 1 [mod wheel], 11, 16, 70 or 74)
MIDI Pressure (how hard a key is pressed and held
on a MIDI keyboard)
Env Gen X LFO (useful for random envelope
height)
Env Gen X Hold Peak (scales height of envelope
depending on how hard guitar note is played)
Env Gen X MIDI Vel (scales height of envelope
depending on how hard MIDI key is pressed)
LFO X Seq (useful, for example, to slowly move a
sequence up and down over time)
LFO X MIDI Cont (scales LFO modulation by MIDI
controller amount such as mod wheel)
LFO X MIDI Pressure (varies LFO modulation by
how hard keys are pressed)
Sequencer + MIDI Note (allows real-time MIDI
transposition of sequence; E above middle C is
dividing line between low and high transposition.)
EG
LFO
AUd
HOL
nOt
VEL
bEn
COn
PrE
E-L
E-H
E-V
L-S
L-C
L-P
S-n
20
Chapter 2: Presets
LFO Wave (hidden under Variation, use knob 2)
This parameter is active only if Modulation Source contains a setting
that includes the LFO (low frequency oscillator). These setting are LFO,
E-L, L-S, L-C, or L-P. The LFO has 5 available waveforms:
Display
Waveform Shape
SIN
Sine wave (moves up and down, slowing as it
approaches the top and bottom of the cycle)
Triangle wave (moves up and down at a constant
rate, immediately reversing direction at the top
and bottom)
Pulse wave at 50% duty cycle (square wave)
Sawtooth wave
Stepped waveform with a new random value on
each cycle
TRI
PUL
SAT
RAN
Filter Mode (hidden under Effect-Dry Mix, use knob 3)
The AdrenaLinn’s filters shape the effect’s tone. The available
selections for this parameter differ depending on the selected Effect
and Variation. If effect is set to filter tremolo, random filter, filter
sequence, auto filter or certain MIDI variations, the available options
are:
Filter Mode
How the Filter Responds
2PO
A lowpass filter with a 2-pole (12 dB / octave)
cutoff slope. This is the filter type used in
vintage Oberheim keyboard synthesizers.
Gently attenuates frequencies above the
filter’s cutoff. Higher resonance settings give a
sharper sound like a wah pedal, whereas low
resonance gives a more subtle effect.
A lowpass filter with a 4-pole (24 dB / octave)
cutoff slope. This is the filter response used in
classic Moog keyboard synthesizers.
Produces a more drastic reduction of
frequencies above the filter’s cutoff frequency.
4PO
21
Chapter 2: Presets
BNP
NOT
HIP
Resonance behaves as with 2PO.
A bandpass filter with a 2-pole (12 dB /
octave) cutoff slope, attenuating frequencies
that are both below and above the filter
frequency. Wah pedals use this type of filter.
Resonance accentuates the filter frequency.
A notch filter with a 2-pole (12 dB / octave)
cutoff slope, attenuating frequencies close to
the filter frequency. This produces a sound
similar to a phaser effect. Resonance adds a
resonant peak at each edge of the notch area.
A hipass filter with a 2-pole (12 dB / octave)
cutoff slope, attenuating frequencies below
the filter frequency. Resonance accentuates
the filter’s cutoff frequency.
If Effect is set to flanger/chorus, random flanger, arpeggiator, talk box
or certain MIDI variations, then the available options are:
FL1 (Flanger)
FL2 (Flanger)
Flanging imparts a whooshing, “jet airplane”
effect by combining a signal with the same
signal delayed over a range of approximately
0 to 24 milliseconds. In flanger mode, the
Filter Frequency parameter controls delay
time. The Resonance parameter controls
delay feedback. Increasing Resonance
emphasizes a particular frequency, adding a
sense of pitch to the sound.
Same as FL1 but with an inverted delayed
signal. This removes more bass frequencies,
particularly at higher Filter Frequency
settings, to produce a more dramatic flanging
tonality. Resonance behaves as with FL1.
If effect is set to Vibrato or Volume, this parameter cannot be changed.
Volume (hidden under Off/On/Ster, use knob 4)
This controls the effected signal’s volume. Change this only when you
need to match the effected volume to the volume when the effect is
bypassed (Effect Off/On is set to OFF).
22
Chapter 2: Presets
Effect: Effect & Variation Details
The following is a description of each of the 14 settings of the Effect
parameter, and the settings of the Variation parameter that are
available for each.
TRE: Tremolo/Pan
Tremolo is the classic effect available on lots of guitar amps over the
years in which the volume pulses up and down. However, if you set the
Effect Off/On/Ster parameter to STE, the effect switches to Auto-Pan,
an effect in which the signal automatically pans left and right. The
variations are:
1.
2.
3.
4.
Classic tremolo (Stereo: auto-pan gradually between left and right)
Pulse tremolo (Stereo: hard switch between left and right)
Sawtooth tremolo (Stereo: pan from left to right repeatedly)
Random tremolo (Stereo: randomly select a new pan position for
each new pulse of the tremolo)
FTR: Filter Tremolo
Similar to standard tremolo except that instead of the volume pulsing,
the filter frequency (tone) pulses similar to a wah pedal automatically
rocking forward and back. The variations are:
1.
2.
3.
4.
5.
6.
7.
Synth filter tremolo, 1/8 notes
Wah tremolo, 1/8 notes
Slowly swept synth filter
Slowly swept wah
1/8 note Sawtooth down synth filter
1/8 note sawtooth up wah
Hi-low filter switch
FCH: Flanger/Chorus
Flanging imparts a whooshing, “jet airplane” effect that slowly travels
up and down over time. Chorus creates a sound similar to 2 or more
instruments playing the same part. The variations are:
1. 4 bar flanger
2. 1 bar flanger
23
Chapter 2: Presets
3.
4.
5.
6.
7.
¼ note flanger
Chorus
Deep chorus
Swept notch filter
Phaser
ROT: Rotary
Rotary speaker is a classic effect in which the speaker actually spins
around in a circle, sending the signal continuously around the room.
Originally used with electronic organs, it also works very well with
guitar. The variations are:
1. Slow rotation (1/4 note synch)
2. Fast rotation (1/16 note synch)
VIB: Vibrato
Vibrato is a mild up and down variation in the pitch over time. The
variations are:
1. Slow (1/4 note synch)
2. Fast (1/8 note synch)
3. Note-triggered Pitch bend
RFI: Random filter
In this effect, the instrument tone changes to a randomly chosen filter
frequency at every new 1/8 or 1/16 note (or any other note duration). In
the past, this effect has sometimes been called “sample and hold filter.”
The variations are:
1.
2.
3.
4.
Random 1/8 note wah
Random 1/16 note synth filter
Random 1/8 note down-swept filter
Random 1/8 note soft-swept filter
RFL: Random flanger
This effect is similar to the classic flanger effect except that instead of
slowly sweeping up and down, it generates a new, random flanger tone
at every new 1/8 note, 1/16 note or other note duration. Try this while
24
Chapter 2: Presets
softly arpeggiating chords. The variations are:
1. Random 1/8 note flanger
2. Random 1/16 note flanger
3. Random ¼ note flanger
TSE: Tremolo sequence
Similar to classic tremolo, in this case the volume pulses in 2 measure
looping rhythmic patterns. You can either choose one of 20 preset
tremolo sequence variations or create your own. Try playing sustained
chords at first in order to get a feel for how the rhythm of the tremolo
sequences best fit with your playing. The variations are:
1-20. A variety of preset tremolo sequences
USR: A user programmable sequence. (See the next section, “Effect:
The User Sequence” to learn how to program your own sequence.)
FSE: Filter sequence
This is a very powerful feature and can lead you in creative directions
you’d otherwise not thought of. In this effect, your instrument tone
changes in 2 measure looping rhythmic patterns of filter tones. As with
tremolo sequences, try playing sustained chords at first in order get a
feel for how the rhythm of the sequences best compliment your playing.
You can choose one of 20 preset filter sequences or create your own.
The variations are:
1-20. A variety of pre-programmed filter sequences
USR: A user programmable sequence. (See the next section, “Effect:
The User Sequence” to learn how to program your own sequence.)
ARP: Arpeggiator
This effect definitely pushes the weird/cool lever to the limit. It
accentuates specific musical notes in 2 measure patterns. Even if you
play muted strings on the guitar, you’ll still hear the generated note
sequence because the sequence’s notes are actually generated in
response to your playing. The note sequence is fixed and does not
change depending on what you play. You can choose one of 20 preset
arpeggiator sequences—a variety of major, minor, seventh and other
patterns—or create your own. The variations are:
25
Chapter 2: Presets
1-20. A variety of pre-programmed arpeggiator sequences
USR: A user programmable sequence. (See the next section, “Effect:
The User Sequence” to learn how to program your own sequence.)
For consistency, all of the 20 preset sequences are in the key of E. To
transpose the key, edit the Frequency/Key parameter, which
transposes numerically in semitones. For example, to lower a
sequence from E to D, reduce the Frequency/Key value by 2.
If you have a MIDI keyboard, you can use it to transpose the
arpeggiator sequences in real time. Simply connect your keyboard’s
MIDI OUT to the AdrenaLinn’s MIDI IN and as the arpeggiator
sequence plays, press any key on the keyboard to instantly transpose.
Press E above middle C for no transposition, press any lower key to
transpose down; or press any higher key to transpose up.
Important information about tremolo sequences, filter sequences and
arpeggiator sequences:
While playing tremolo, filter or arpeggiator sequences, you may notice
that a specific sequence will play 1/8 notes when one drumbeat is
selected and 1/16 notes with another, or may play at a different swing
level depending on the selected drumbeat. This is because the
sequence’s timebase (1/8 notes, 1/8 triplets, 1/16 notes, or 1/16 swing)
is always the same as the drumbeat’s Timebase setting. For example,
if a sequence is playing with swing timing and you’d prefer to hear it
with straight 1/16 notes, change the drumbeat’s Timebase setting to
the desired value.
AFI: Auto filter
Also called auto-wah or envelope wah, this effect simulates, for
example, a wah pedal that automatically rocks forward and back each
time a new note is played. The variations are:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
Auto synth filter
Auto wah
Auto-wah, down sweep
Auto synth filter, soft tone
Slow rise synth filter with resonance (Speed controls rise and fall)
Slow rise, synth filter soft (Speed controls rise and fall)
Slow rise wah (Speed controls rise and fall)
Sharp attack synth filter with resonance (Speed controls rise/fall)
Sharp attack wah (Speed controls rise/fall)
Peak hold synth filter
Peak hold wah
Peak hold wah, inverted
26
Chapter 2: Presets
TAL: Talk box
This simulates the classic talk box effect, originally generated by a
device that pipes the instrument signal into your mouth via a plastic
tube. Moving your mouth as you play adds vocal characteristics to the
signal, which is then picked up by a mic. This simulation doesn’t
generate specific words, but does replicate the sound of a variety of
mouth movements. The variations are:
1.
2.
3.
4.
5.
6.
7.
Classic talk box
Talk box, down sweep
Slow rise talk box
Sharp attack box
Note-triggered flanger
Touch flanger
Ascending minor 3rds
VOL: Volume envelope
This causes the signal’s volume to swell with each new note played,
simulating the sound of bowed strings. Also, other volume effects are
available. The variations are:
1. Slow rise
2. Sharp attack, slow fall
MID: Midi control
With this setting, external MIDI keyboards or other MIDI sources may
control the AdrenaLinn’s filter frequency. Certain variations also permit
an external MIDI keyboard to trigger the AdrenaLinn’s attack/decay
envelope generator.
Variations:
1. MIDI-triggered slow attack filter
(MIDI velocity modulates the filter frequency and MIDI Note On
triggers the attack/decay envelope. The Speed parameter is set to
slow attack; change it to alter attack/decay times.)
2. MIDI-triggered fast attack filter
(MIDI velocity modulates the filter frequency and MIDI Note On
triggers the attack/decay envelope. The Speed parameter is set to
fast attack and medium decay; change it to alter attack/decay
times.)
3. MIDI velocity modulates filter frequency
27
Chapter 2: Presets
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
MIDI note number modulates filter frequency
MIDI bend modulates filter frequency
MIDI controllers 1, 11, 16, 70, & 74 modulate filter frequency
MIDI pressure modulates filter frequency
MIDI-triggered slow attack flanger
(MIDI velocity modulates the flanger frequency and MIDI Note On
triggers the attack/decay envelope. The Speed parameter is set to
slow attack; change it to alter attack/decay times.)
MIDI-triggered fast attack flanger
(MIDI velocity modulates the flanger frequency and MIDI Note On
triggers the attack/decay envelope. The Speed parameter is set to
fast attack and medium decay; change it to alter attack/decay
times.)
MIDI velocity modulates flanger frequency
MIDI note number modulates flanger frequency
MIDI bend modulates flanger frequency
MIDI controllers 1, 11, 16, 70, & 74 modulate flanger frequency
MIDI pressure modulates flanger frequency
28
Chapter 2: Presets
Effect: The User Sequence
Among the most powerful features of the AdrenaLinn II is its
sequencer, providing tremolo sequences, filter sequences and
arpeggio sequences. Although you can choose from 20
preprogrammed sequences of each type, you can also program a
unique User Sequence for each of the 100 user presets.
As with the preprogrammed sequences, the user sequence contains 2
measures of 1/16 notes. (However, it may be played as either 1/8
notes, 1/8 note triplets or 1/16 notes, depending on the setting of the
drumbeat’s Timebase parameter.) Each of the steps in the sequence
has a level value from 0 to 99, used either for the volume level (if a
tremolo sequence), the filter frequency (if a filter sequence) or the
arpeggiator pitch (if an arpeggiator sequence). Here’s how this
sequencer might look if it used hardware sliders and switches:
Note that in addition to a level control, each step has an Envelope
On/Off switch. If set to OFF, the step level is held constant throughout
the entire step; if set to ON, then the sequence’s output ramps up from
zero to the programmed level value at the start of the step, then
immediately ramps back down to zero, as shown below:
The rate of envelope rise (attack) and fall (decay) depends on the
Speed control, which has the format “x-y” (“x” is an attack time of 0 to 9
and “y” is the decay time of 0 to 9).
29
Chapter 2: Presets
To edit the user sequence, the AdrenaLinn uses an alternate mode of
the 8 x 4 parameter matrix in the center of the panel, where the 32
steps printed in black (“Bar 1, 1-16” and “Bar 2, 1-16”) are used instead
of the 32 parameter names printed in white.
To edit the active present’s user sequence:
1
Select (or create) a Preset in which the Effect parameter is set to
TSE (tremolo sequence), FSE (filter sequence) or ARP
(arpeggiator sequence).
2
Using the UP and DOWN arrow buttons, select one of the 5 rows of
the Edit Preset section.
3
Press the SEQUENCER button once. The User Sequence LED
lights and the variation internally changes to ‘USR’. The
AdrenaLinn is now in User Sequence editing mode.
4
To edit the level value for a particular step in the sequence, visually
locate the desired step number (1 through 16 in either bar 1 or 2) in
the 8 x 4 matrix, then press the UP and DOWN buttons until the
LED to the left of the row containing the step number lights. Then
turn the control directly above the step number. The 3-digit display
shows the current level value of the step at the intersection of the lit
row and column LEDs, shown preceded by an “L”. As with
parameter editing, to light a particular column LED, turn the control
above it one ‘click’ in either direction. Subsequent clicks will edit the
displayed value. The range is L 0 to L99.
5
Each step can optionally trigger the attack/decay envelope as the
AdrenaLinn steps through the sequence. To edit the Envelope
On/Off status for each step, press the SEQUENCER button again
once. Now the 3-digit display shows either “E 0” or “E 1,” indicating
that the envelope is off (“E 0”) or on (“E 1”). As with editing Level
information, locate the desired step, then view or edit the value.
6
To exit Sequencer mode and return to normal parameter editing,
press SEQUENCER again. The Filter Sequence light will turn off.
Or press MAIN, then either the UP or DOWN button.
30
Chapter 2: Presets
In summary, pressing SEQUENCER while one of the 5 Edit Preset
rows is selected rotates between 3 states:
1. Editing sequence step level data (L 0 to L99)
2. Editing sequence step envelope on/off status (E 0 or E 1)
3. Normal editing of Preset parameters (no sequence editing)
The User Sequence LED will be on for states 1 and 2 above.
If you play the drumbeat while in User Sequence mode, the row and
column LEDs will animate to show the currently playing step within the
sequence.
Although the user sequence contains 2 bars of 1/16 notes, it may also
play as 2 bars of either 1/8 notes or 1/8 note triplets depending on the
setting of the selected drumbeat’s Timebase parameter:
ƒ
ƒ
ƒ
If Timebase is ‘16n’ (1/16 note), ‘16h’ (half swing), or ‘16S’ (swing),
then all 32 steps in the sequence are available for editing.
If Timebase is ‘8n’ (1/8 notes), then the sequence will consist of 2
measures of eighth notes, and the steps in columns 2 and 4 (every
other 1/16 note) are disabled.
If the Timebase is ‘8t’ (1/8 note triplets), then the sequence will
consist of 2 measures of eighth note triplets, and the steps in
column 4 (after each group of 3 triplets) are disabled.
Note: If Variation is set to 1-20 (not USR) when SEQUENCE is
pressed, the selected variation’s sequence is copied over the user
sequence, allowing you to use a variation sequence as a starting point
in creating your user sequence. If Variation is set to ‘USR’, the contents
of the preset’s user sequence are presented unchanged.
Note: There is only one user sequence per preset, used for the user
tremolo sequence, user filter sequence and user arpeggiator sequence.
For example, if you create a user tremolo sequence then create a user
filter sequence in the same preset, you will be editing the same data.
Note: If a sequence step has the envelope turned on (E 1), normally
the envelope’s decay terminates when the next step plays. However, if
the next step’s level is set to L 0 and its envelope status is set to E 0,
the envelope will continue to decay into the next step.
Clearing Sequence Data
To clear level or envelope data for an entire sequence:
1. Press SEQUENCER repeatedly until either Level (“L”) or Envelope
on/off data (“E”) is displayed.
2. Press and hold the SEQUENCER button for 1/2 second. If Level is
selected, all steps will be reset to “L 0”. If Envelope is selected, all
steps will be reset to “E 0”.
31
Chapter 2: Presets
Amp: The 8 Parameters
The Amp section controls the selection and settings of the AdrenaLinn
guitar amplifier models:
Amp selects an amplifier model from the following list:
Model
AM1
AM2
AM3
AM4
BR1
BR2
BR3
HIW
BCA
BSM
CAB
MCA
JAZ
SST
REC
HIG
RTH
RBL
RDE
RBR
RRE
FUZ
OCT
CLE
Description
American 1: Fender Bassman
American 2: Fender Black Deluxe Reverb
American 3: Early Fender Tweed Deluxe
American 4: Fender Twin Reverb
British stack 1: Marshall JTM-45
British stack 2: Marshall JTM-50
British stack 3: Marshall JTM 800
High wattage: Hiwatt DR103
British class A: Vox AC-30 Top Boost
British small: Vox AC-15
Class AB: Budda Twinmaster
Modern Class A: Matchless Chieftain
Jazz clean: Roland Jazz Chorus JC-120
Small studio amp: Boogie Mark IV
Rectified: Boogie Dual Rectifier Solo Head
High Gain: Soldano SLO-100
Roger Linn Design thin
Roger Linn Design blues
Roger Linn Design deep
Roger Linn Design bright
Roger Linn Design rectified
Fuzz
Octave fuzz
Clean console preamp EQ
Note: The above amp names are trademarks of their respective
manufacturers. No claim is made that the AdrenaLinn duplicates these
32
Chapter 2: Presets
sounds exactly, but rather, that it produces tones inspired by these
classic amps.
Amp-Fx Order determines the order of the Effect and Amp processors.
There are 2 options:
ƒ
ƒ
E-A: The effect occurs before the amp in the signal chain. In this
case, the effect’s filters alter which frequencies will distort more
than others, like a wah pedal before an amp.
A-E: The amp occurs before the effect in the signal chain. In this
case, the effect’s filters alter the enriched output frequencies of the
amp model, like a wah pedal after a distortion box.
Volume sets the amp modeling processor’s output volume. Compare
this level to the bypassed level (with On/Off set to Off). Depending on
the amp model, a setting of 40 to 60 is usually equal to the bypassed
volume.
Off/On determines whether the amp model is on (“On”) or bypassed
(“Off”) in the signal chain.
Drive sets the amount of amplifier overdrive, from 0 (lowest, no
distortion for most models) to 99 (maximum, over 1600 times gain, far
higher than the modeled amp’s original overdrive gain).
Bass sets the level of bass frequencies, and models the selected
amp’s range and frequency response. Depending on the selected
model, this may come before or after the distortion.
Mid sets the level of midrange frequencies, and models the selected
amp’s range and frequency response. Depending on the selected
model, this may come before or after the distortion.
Treble sets the level of treble frequencies, and models the selected
amp’s range and frequency response. Depending on the selected
model, this may come before or after the distortion.
33
Chapter 2: Presets
Delay: The 4 Parameters
The third element that makes up a preset is the audio delay; its delay
time can sync to the drumbeat or to MIDI.
Delay Volume sets the delay signal volume from 0 (off) to 99 (equal to
dry signal).
Delay Time controls the time separating each repeat. Options 0 to 99
provide fixed delay times; the others reference delay times to the
Drumbeat or MIDI tempo. Therefore, the delay shortens at faster
tempos, and lengthens at slower tempos.
Display
Delay Time
0-10
Fixed rates from 0 (no delay) to 10 (100 ms) in 10 ms
increments)
Fixed rates from 11 (130 ms) to 99 (2.8 seconds) in
30 ms increments.
2 measures (Uses ‘1M’ below 172 BPM, ‘2n’ below 86
BPM and ‘4n’ below 43 BPM)
2 ‘measure triplets’ (3 delays in 4 measures. Uses
‘1Mt’ below 115 BPM and ‘2t’ below 58 BPM)
Dotted whole note (1.5 measures. Uses ‘2d’ below
129 BPM and 4d below 65 BPM)
1 measure (Uses ‘2n’ below 86 BPM and ‘4n’ below
43 BPM)
1 ‘measure triplet’ (3 delays in 2 measures. Uses ‘2t’
below 58 BPM)
Dotted ½ note (1/2 note + 50%. Uses ‘4d’ below 65
BPM)
½ note (Uses ‘4n’ below 43 BPM)
½ note triplet (3 delays in 1 measure)
Dotted ¼ note (1/4 note + 50%)
¼ note
¼ note triplet (3 delays in a ½ note)
Dotted 1/8 note (1/8 note + 50%)
11-99
2M
2Mt
1Md
1M
1Mt
2d
2n
2t
4d
4n
4t
8d
34
Chapter 2: Presets
8n
8t
16d
16n
16t
32n
32t
1/8 note
1/8 note triplet (3 delays in a ¼ note)
Dotted 1/16 note (1/16 note + 50%)
1/16 note
1/16 note triplet (3 delays in an 1/8 note)
1/32 note
1/32 note triplet (3 delays in a 1/16 note)
Notice that for tempo-based settings of 2M, 2Mt, 1Md, 1M, 1Mt and 2n,
the delay time internally switches to a shorter tempo-based setting
when the tempo falls below specific values. If not, the required delay
time would exceed the AdrenaLinn’s maximum 2.8 seconds of
available delay.
Delay Repeats
Sets the number of delay repeats (feedback) from 0 (none) to 99 (near
infinite).
Off/On/Ster
•
•
•
OFF—no delay
ON—delay on in mono.
Note: If the effect’s Off/On/Ster parameter is set to STE (stereo),
then the delay’s pan position will follow the effect.
STE—Delay on with dry signal panned left and delayed signal
panned right.
Note: If the effect’s Off/On/Ster parameter is set to STE (stereo),
then the delay’s pan position will always be the opposite of the dry
signal.
35
Chapter 2: Presets
Saving and Copying Presets
Upon editing any Preset parameter, the 5 Preset LEDs blink
periodically to indicate that the Preset must be saved to preserve any
changes. Changing Presets without saving changes loses any edits
you made prior to changing Presets.
To save edits to the active Preset to the same or a different Preset:
1. Press and hold the UP button for ½ second. The column 1 and
Main LEDs will blink, prompting you to select the destination user
preset if you wish to copy to a different preset. If the preset you are
saving is a user preset, its number appears in the display. If it is a
factory preset, then the same numbered preset in the user bank will
appear (because you can’t save to a factory preset).
2. (Optional) To copy to a different preset than the displayed preset,
select it with the PRESET knob.
3. To complete the save, briefly press UP again. Or, to cancel the
save, press any other button.
36
Chapter 3:
Drumbeats
37
Chapter 3: Drumbeats
Overview
The AdrenaLinn contains 100 Factory Drumbeats (F00-F99) and 100
User Drumbeats (U00-U99). Here’s the basic info:
ƒ
ƒ
ƒ
ƒ
Each Drumbeat contains 2 measures of either 1/16 notes, 1/8
notes or 1/8 note triplets (depending on the setting of the Timebase
parameter).
Each step contains bass, snare, hihat and percussion voices. At
each step, the bass, snare, and hi-hat voices can each play at one
of three volume levels and the percussion voice can play one of
three percussion instruments at a single volume level.
For each Drumbeat, a selection of alternate sounds is available for
the bass, snare, hi-hat and percussion instruments.
The instrument mix, tempo, volume, and send level to AdrenaLinn’s
processing are editable.
38
Chapter 3: Drumbeats
The 8 Drumbeat Parameters
Each drumbeat has 8 parameters, contained in the 2 rows of the Edit
Drumbeat section:
Volume controls the overall Drumbeat volume (00 to 99). Use this to
match the volumes of different Drumbeats.
To Delay/Filter allows routing the drum signal to either the delay input
or filter input. The options are D00 – D99 (amount to delay), followed
by F00-F99 (amount to filter input).
Note: Sending to the filter actually sends the drumbeat signal to the
main input, allowing the drumbeat to be processed by the filter, amp
models and delay – the same as the instrument signal. By processing
the drumbeats in this way, you can create some very interesting
processed drumbeats.
Use Drumbeat Tempo controls whether or not the drumbeat uses its
assigned tempo. There are 2 options:
ƒ
ƒ
Off: The tempo never changes unless changed manually.
On: Upon selecting a new drumbeat, the tempo changes to the
newly selected drumbeat’s assigned tempo.
Note: Unlike the other 7 parameters in this section, this setting is not
stored with the drumbeat but rather is a global parameter. It remains
the same until manually changed, even after selecting a new drumbeat.
Timebase controls both the Drumbeat’s note duration and the amount
of swing. There are 5 settings:
Display
Option
8n
Each step of the sequence is an 1/8 note. Every
alternate step in the sequence is skipped for a total
of 16 steps, or 2 bars of 1/8 notes.
39
Chapter 3: Drumbeats
8t
16n
16h
16S
Each step of the sequence is an 1/8 note triplet. If
selected, the 4th step of each group of 4 is skipped
for a total of 24 steps, or 2 bars of 1/8 note triplets.
Each step of the sequence is an even 1/16 note, for
a total of 32 steps, or 2 bars of 1/16 notes.
Same as 16n, except that the 1/16 notes are played
halfway between even timing and swing timing.
Same as 16n, except that the 1/16 notes are played
in swing timing.
Note: If a preset is selected that contains a tremolo sequence, filter
sequence or arpeggiator sequence, that sequence’s timebase will be
the same as the drumbeat’s timebase. For example, if a drumbeat is
selected that has a 1/16 swing timebase, any sequence preset that you
select will play with 1/16 swing timing. To change a sequence preset’s
timebase, you must change the drumbeat’s timebase.
Bass Sound-Volume controls, for any selected Drumbeat, the bass
mix volume and bass drum sample. The display shows 2 digits
separated by a dash (-). The left digit (1-9) shows which of 9 bass drum
sounds is selected. The right digit (0-9) displays the bass drum volume
within the drum mix. Turning the control moves through the 10 volume
levels for the first bass sound, then the 10 volume levels for the second
bass sound, and so on through all 9 sounds.
Snare Sound-Volume works identically to the Bass Sound-Volume
parameter, except that it affects the snare sound.
Hihat Sound-Volume works identically to the Bass Sound-Volume
parameter, except that it affects the hi-hat sound.
Percussion Sound-Volume works similarly to the Bass Sound-Volume
parameter, except that it affects the percussion sound. However, for
this parameter, each sound selection (the leftmost digit) changes the
entire set of 3 percussion sounds used in the percussion part of the
Drumbeat. Also, there are only 5 sound selections available (1-5), each
containing 3 percussion sounds.
40
Chapter 3: Drumbeats
Making Your Own Drumbeats:
The Sequencer
The AdrenaLinn II has 100 factory drumbeats that cannot be changed,
but also 100 editable user drumbeats. To make your own drumbeats,
you’ll use the sequencer.
Each drumbeat is comprised of 2 measures of either 1/8 notes, 1/8
triplets or 1/16 notes, depending on the setting of the drumbeat’s
Timebase parameter. Each note is called a step. Each step contains:
ƒ
ƒ
ƒ
ƒ
A Bass drum at one of 3 volume levels or off
A Snare drum at one of 3 volume levels or off
A Hihat note at one of one of 3 volume levels or off
One of 3 percussion instruments at the same volume.
Here’s how the drumbeat sequencer might look if it used real hardware
sliders:
Editing the drumbeat sequence uses an alternate mode of the 8 x 4
parameter matrix in the center of the panel, where the 32 steps printed
41
Chapter 3: Drumbeats
in gray (“Bar 1, 1-16” and “Bar 2, 1-16”) replace the 32 parameter
names printed in white:
To edit the active Drumbeat’s note sequence:
1
Select the Drumbeat to be edited.
2
Using the UP and/or DOWN arrow keys, select one of the 2 Edit
Drumbeat rows.
3
Press the SEQUENCER button once. The Drum Sequence LED
lights. The function of the 8 X 4 edit matrix now changes from the
32 parameter names printed in white to the 32 sequence step
numbers (two sets of 16) printed in gray. The leftmost display
character shows “b,” indicating that you can now edit bass drum
data.
4
To edit the Bass drum level at a particular step, locate the desired
step number (1 through 16 in either bar 1 or 2), then press the UP
and DOWN buttons until the LED to the left of the desired step
number lights.
5
Turn the control directly above the step number. The display shows
the value of the current step at the intersection of the lit row and
column LEDs. As with parameter editing, to light a particular
column LED, turn the control directly above it one ‘click’ in either
direction. Subsequent clicks will edit the displayed value. The
range is “bA0” (off) to “bA3” (loudest bass drum).
6
There are four available drums for each sequence: bass, snare, hihat and percussion. Press the SEQUENCER button again to edit
snare data, again for hi-hat data, and again for percussion data.
The display’s leftmost character shows bA for bass, Sn for snare,
Hi for hihat and PE for percussion.
7
To exit sequencer mode and return to normal parameter editing,
press SEQUENCER once more so that the Drumbeat LED turns
off. Or press MAIN, then either the UP or DOWN button.
42
Chapter 3: Drumbeats
In summary, pressing SEQUENCER while one of the 2 Drumbeat rows
is selected rotates between 5 states:
1.
2.
3.
4.
5.
Editing bass drum level data (bA0 – bA3)
Editing snare drum level data (Sn0 – Sn3)
Editing hihat level data (Hi0 – Hi3)
Editing percussion data (PE0 – PE3)
Normal editing of Drumbeat parameters (no drumbeat sequence
editing)
The Drum Sequence LED will be on for selections 1 through 4 above.
While editing the Drumbeat sequence, the AdrenaLinn may be either
playing or stopped. If playing, the row and column LEDs will flash to
show the currently playing step within the sequence.
Note that the drumbeat’s Timebase parameter influences the total
number of steps:
ƒ
ƒ
ƒ
If the timebase is 16n (1/16 notes), 16h (half swing), or 16S
(swing), then all 32 steps in the drumbeat are used.
If the timebase is set to 1/8n (1/8 notes), then the drumbeat will
consist of 16 eighth notes, which disables the steps in columns 2
and 4 (every other 1/16 note).
If the timebase is set to 1/8t (1/8 note triplets), then the drumbeat
will consist of 24 eighth note triplets, which disables the steps in
column 4.
Note: To get both open and closed hihat sounds in the same drumbeat,
use a closed hihat sound from the hihat bank and one of the open hihat
sounds from the percussion bank. When an open hihat from the
percussion bank is followed closely in the drumbeat by a closed hihat
from the hihat bank, the open hihat will stop playing when the closed
hihat plays.
Clearing Drumbeat Data
To clear all notes of a specific drum within the sequence:
1. Press the SEQUENCER button repeatedly to step through each
drum type until you see the drum you want to erase (bA = bas, Sn
= snare, Hi = hi-hat, PE = percussion).
2. Press and hold the SEQUENCER button for 1/2 second. The
selected drum will be cleared throughout the drumbeat.
43
Chapter 3: Drumbeats
Saving and Copying Drumbeats
Upon editing any parameter in the Drumbeat subsection of the Edit
section, the two Edit Drumbeat row LEDs blink periodically to remind
you that the Drumbeat must be saved to preserve any changes.
Changing Drumbeats without saving changes loses any edits you
made prior to changing Drumbeats.
To save edits to the active Drumbeat to the same or a different
Drumbeat:
1. Press and hold the DOWN button for ½ second. The column 2 and
Main LEDs will blink, prompting you to select the destination user
drumbeat if you wish to copy to a different drumbeat. If the
drumbeat you are saving is a user drumbeat, its number appears in
the display. If it is a factory drumbeat, then the same numbered
drumbeat in the user bank appears (because you can’t save to a
factory drumbeat).
2. (Optional) To copy to a different drumbeat than the displayed
drumbeat, select it with the DRUMBEAT knob.
3. To complete the save, briefly press DOWN again. Or, to cancel the
save, press any other button.
44
Chapter 4:
MIDI
45
Chapter 4: MIDI
The 4 MIDI Parameters
Channel selects the MIDI channel (1-16 or ALL) over which the
AdrenaLinn receives MIDI Channel Voice messages (MIDI note,
velocity, bend, controller, pressure and program change). The default
setting is ALL (Omni mode).
Clock In selects whether or not the AdrenaLinn responds to incoming
MIDI Clock synchronization messages. The options are On and Off. If
on, the AdrenaLinn also responds to song position pointer messages,
so no matter where your external audio sequencer starts, the
AdrenaLinn will start at the appropriate point within its 2-measure
drumbeat and sequence. Note: the AdrenaLinn always outputs MIDI
Clock messages.
Prog Chng selects whether or not the AdrenaLinn responds to
incoming MIDI Program Change commands. The options are On and
Off. If On, incoming MIDI Program Change messages are used to
select user presets U 0 though U99. Incoming Program Change
messages specifying programs above 99 are ignored.
Dump selects which of three types of MIDI dumps will be performed
when the Bypass footswitch is pressed:
Display
PST
DBT
ALL
Option
(Preset) Sends the currently selected preset
(Drumbeat) Sends the currently selected drumbeat
Sends all user presets and drumbeats
While this parameter is selected, the Bypass LED blinks to indicate that
pressing the Bypass footswitch will initiate the MIDI dump.
Note: The AdrenaLinn is always ready to receive an external MIDI data
dump:
1. Receiving an “ALL” dump replaces all user presets and drumbeats.
2. Receiving a “PST” dump will overwrite the selected user preset. (If
a factory preset is selected, then the incoming preset dump is
ignored.)
3. Receiving a “DBT” dump will overwrite the selected user drumbeat.
(If a factory drumbeat is selected, then the incoming drumbeat
dump is ignored.)
46
Appendix
47
Appendix
Frequently Asked Questions
Q: What is the resolution of the internal digital processing?
A: A-D and D-A conversion is 24 bits at 40kHz sampling rate. Internal
processing is 32 bit. All internal processing is digital.
Q: Can I separate the drum sound from the guitar sound?
A: Yes. Press and hold the main button to access the secondary Main
functions. Turn the fourth knob all the way to the right to select "SEP"
This will route the drumbeat to the right output and the instrument
(preset) to the left.
Q: Can I turn off either the effects, amp models or delay for all
presets in one step?
A: Yes. The Bypass foot switch can be set to turn off any combination
of effect, amp and delay for all presets. Set the Bypass Mode
parameter to “-Ad” to turn off effect, to “E-d” to turn off amp models, or
to “EA-“ to turn off delay, then press the BYPASS foot switch so that
the light is ON.
Q: I like a particular preset, but want to turn off only the effect,
amp or delay. How do I do it?
A: To turn off the effect only, set the Off/On/Ster parameter in the Effect
section to Off. To turn off the amp modeling only, set the Off/On
parameter in the Amp section to Off. To turn off the Delay only, set the
Off/On/Ster parameter in the Delay section to Off.
Q: A particular sequence preset will sometimes play 1/8 notes and
sometimes 1/16s, or sometimes swing and sometimes straight
time. What gives?
A: The timebase of the preset’s sequences (tremolo, filter or arpeggio)
is determined by the selected drumbeat’s Timebase setting. For
example, if you select a drumbeat that has an 1/8 note Timebase, then
the preset’s sequence will play 1/8 notes. The same rule applies to
swing: if you select a drumbeat with 1/16 swing timebase, then the
preset’s sequence will also play in 1/16 swing timing. To change the
timing of the preset’s sequence, you must change the drumbeat’s
Timebase setting.
48
Appendix
Q: Is there a way to quickly turn the effect on or off during
performance without affecting the amp or delay settings?
A: Yes. Set the Bypass Mode parameter to “-Ad.” Then, when you
press BYPASS only the effect will be turned off.
Q: Why doesn’t the drumbeat start playing exactly when I hit the
Start footswitch?
A: The Start footswitch actually starts the drumbeat when you release
it. This is the only way the AdrenaLinn can know the difference
between tapping and holding the switch (for decrementing the preset).
To get around this, press the foot switch one 1/8 note before you intend
to start, then release it on the downbeat. Be careful not to hold it too
long, because holding it ½ second causes the preset to decrement.
Q: How to I initialize all settings in the AdrenaLinn to factory
status?
A: While holding both foot switches, connect power. Continue to hold
both until you see “ini” in the display, then release. Warning: this will
erase all user data.
Q: The drumbeat changes whenever I select a preset. How do I
stop this?
A: Hold the MAIN button for ½ second so that the lower MAIN light
goes on. Then turn the second knob (Preset Sets Drumbeat) to the left
so that it shows “Off”.
Q: The tempo changes whenever I select a drumbeat. How do I
stop this?
A: Press the up and down buttons repeatedly until the upper of the 2
Edit Drumbeat lights goes on. Then turn the third knob (Use Drumbeat
Tempo) to the left so that it shows “Off”.
Q: How do I change the amount of 1/16 note swing on a
drumbeat?
A: Press the up and down buttons repeatedly until the upper of the 2
Edit Drumbeat lights goes on. Then turn the fourth knob (Timebase) to
select either “16n” (straight 1/16 notes), “16h” (halfway between
straight and swing 1/16 notes) or “16S” (swing 1/16 notes).
49
Appendix
Q: How do I send the drumbeat through the AdrenaLinn’s filter,
amp and delay processing?
A: Press the up and down buttons repeatedly until the upper of the 2
Edit Drumbeat lights goes on. Then turn the second knob (To
Delay/Filter). Settings of D00-D99 send the drums to the delay.
Settings of F00-F99 send the drums to the AdrenaLinn’s input, to be
processed in the same way as the instrument signal.
Q: The display says “AMP” whenever I turn it on. What does this
mean?
A: The AdrenaLinn’s guitar amp tone compensation is on, which
reduces the treble level of the amp models to compensate for the
added treble boost of guitar amps. To return to normal treble level for
recording, hold MAIN while connecting power.
Q: How do I get more than 2 outputs? I want to send both the
drums in stereo and the instrument signal in stereo.
A: Buy another AdrenaLinn and synch them together via MIDI, using
one for the instrument signal and the other for the drums. Or, record
the drums in stereo in one recording pass and the instrument in stereo
in the next, synched with MIDI clock.
Q: Can I chain drumbeats together to make a song?
A: Sorry, no. However, you can synch your favorite drum machine with
drumbeat chaining to the AdrenaLinn via MIDI clock.
50
Appendix
Inputs and Outputs
Input is a mono unbalanced ¼” phone jack. Using the Input Level
control, you can vary the input sensitivity from guitar pickup levels to
-10dB line levels.
Left/Mono and Right Outputs are two mono unbalanced ¼” phone
jacks. Using the Volume control, you can vary the output level from less
than guitar pickup levels to greater than -10dB line levels. Using the
Left output exclusively will mix the stereo output signal to mono.
Phones Output can drive standard stereo headphones.
MIDI input and output receive and send standard MIDI messages.
9VDC is the power input, intended for the included AdrenaLinn power
supply. The connector is center positive and can work with any
regulated or unregulated DC power supply that produces 500 milliamps
at between 7.5 and 10 volts DC.
51
Appendix
Support, Warranty and Repair
Technical Support
Before contacting us with questions, please read the manual, which will
likely answer your question.
For common questions in English, try the Frequently Asked Questions
section of our web site’s SUPPORT section.
For email support in English, send an email to
[email protected] or use the support form on our web site.
For other languages, check the SUPPORT section of our web site.
There may be a support email address in your language.
For phone support in the U.S., call 510 898-4878. In other countries,
check the SUPPORT section of our web site. There may be a local
support number.
Warranty
Roger Linn Design warrants this product, when purchased directly from
us or from one of our authorized dealers, to be free of defects in
materials and workmanship for a period of one year from the date of
original purchase. (Or two years if you register your purchase on our
web site.) During the warranty period, Roger Linn Design shall repair
the product for free if we determine it to be defective. If purchased from
an authorized dealer, we may require proof of purchase either by
registration of your product on our web site or by a copy of the original
sales receipt.
Repair
If you think your product needs repair and you live in the U.S., contact
us at [email protected] or 510 898-4878. If we determine
that your product needs to be sent back to us for repair, we will give
you an RA (return authorization) number in order to send it back to us.
(Products returned without a RA number on the outside of the box will
be refused.) Warranty repairs are free, but you must pay for shipping to
us and we’ll pay for the return shipping. Be sure to include your name,
return shipping address (duh) and phone number.
In other countries, check the SUPPORT section of our web site for a
service center near you.
52
Appendix
Credits
Roger Linn would like to express his gratitude for a job well done to the
fine engineers and companies who worked on the AdrenaLinn’s
development:
Primary engineers:
• Dan Ash, primary DSP and microcontroller software engineer.
Software engineering extradinaire!
• Dave Smith, microcontroller software. (Yes, the Dave Smith who
founded Sequential Circuits, invented the Prophet 5 synthesizer,
and invented MIDI.)
• Darius Mostowfi, hardware design, microcontroller software, DSP
algorithm design and coding.
Additional engineers, sound designers and companies:
• Tom Oberheim, initial hardware design. (Yes, the Tom Oberheim
who founded Oberheim Electronics and invented all the wonderful
Oberheim synthesizers.)
• Gints Klimanis, DSP software simulator and additional DSP
software
• Interform Design, industrial design assistance
• Jay Walker, presets and drumbeats
• Joe Encarnacion, drumbeats
Additional thanks goes to our office manager Tati Argue, for keeping
everything running smoothly while we all made noise in the lab.
53
Appendix
Index
9VDC, 51
Amp, 14, 32
Amp Parameters, 32
Amp-Fx Order, 33
Arpeggiator, 25
Auto filter, 26
Bass, 33
Bass Sound-Volume, 40
BYPASS MODE, 10
Clearing Sequence Data, 31
Credits, 53, 54
Delay, 14
Delay Parameters, 34
Delay Repeats, 35
Delay Time, 34
Delay Volume, 34
Depth, 18
Drive, 33
Drumbeat Parameters, 39
Drumbeat Sequences, 41
Drumbeats, 9, 37, 38
Effect, 14, 16
Effect & Variation Details, 23
Effect: The 8 Parameters, 16
Effect-Dry Mix, 16
Filter Frequency, 18
Filter Mode, 21
Filter sequence, 25
Filter Tremolo, 23
Flanger/Chorus, 23
Frequency/Key, 18
GATE, 11
Guitar Amp, 12
Hidden Parameters, 19
Hihat Sound-Volume, 40
Input, 51
Left/Mono, 51
LFO Wave, 21
Mid, 33
MIDI, 45, 46
MIDI Channel, 46
MIDI Clock In, 46
Midi control, 27
MIDI Dump, 46
MIDI input, 51
MIDI Output, 51
MIX / SEP OUTS, 11
Modulation Source, 20
Off/On, Amp, 33
Off/On/Ster, Delay, 35
On/Off/Ster, Effect, 16
Percussion Sound-Volume, 40
Phones, 51
PRESET SETS DRMBT, 10
Presets, 9, 13
processed drumbeats, 39
Prog Chng, 46
Random filter, 24
Random flanger, 24
Repair, 52
Resonance, 18
Right Outputs, 51
Rotary, 24
Saving and Copying Drumbeats,
43, 44
Saving and Copying Presets, 36
Snare Sound-Volume, 40
Support, 52
Talk box, 27
Tempo, 9
Timebase, 39
To Delay/Filter, 39
Treble, 33
Tremolo sequence, 25
Tremolo/Pan, 23
Use Drumbeat Tempo, 39
User Sequence, 29
Variation, 16
Vibrato, 24
Volume, 9, 22
Volume envelope, 27
Volume, Amp, 33
Volume, Drumbeat, 39
Volume, Effect, 22
Warranty, 52
54
Appendix
55
Presets
Assortment
Sequences
Amp models
Filter effects
Amp models:
00: Boogie Dual Rectifier
01: Marshall JTM-50
02: Fender Bassman
03: Boogie Mark IV
04: Hendrix tone
Beat-synch modulation:
05: Beat-synched Tremolo, amp
06: Beat-synched Flanging, amp
07: Beat-synched filter sweep, amp
08: Beat-synched Rotary, amp
09: Beat-synched Random Filter, amp
Sequence presets:
10: Rock filter sequence
11: Lo-fi trash sequence
12: ReggaeTremolo sequence
13: Random Flanger
14: Arpeggiator sequence
Filter effects, loop delay, processed drums:
15: Auto-wah
16: Auto-wah, amp
17: Talk box
18: One bar overdub delay
19: Processed drumbeat
20: Deluxe Reverb
21: Tweed Deluxe
22: Twin Reverb
23: Marshall JTM-45
24: Marshall JTM 800
25: Hiwatt DR103
26: Vox AC-30 Top Boost
27: Vox AC-15
28: Budda Twinmaster
29: Matchless Cheiftain
30: Roland Jazz Chorus
31: Soldano SLO 100
32: Roger Linn Design thin
33: Roger Linn Design blues
34: Roger Linn Design deep
35: Roger Linn Design bright
36: Roger Linn Design rectified
37: Classic Fuzz
38: Ocrtave Fuzz
39: Clean preamp
Beat-synched modulation
40: Tremolo, 1/8s
41: Tremolo, 1/16s
42: Gated tremolo
43: Wah tremolo
44: Downsweep filter tremolo
45: Flanger, 4 measure
46: Flanger, 1 measure
47: Rotary speaker, slow
48: Rotary speaker, fast
49 Chorus
50: Auto pan, 1/8s
51: Slow filter sweep
52: Phaser
53: Sample & hold filter
54: Random flanger, 1/8s
55: Uni-Vibe
56: Vibrato, amp and delay
57: Gently weeping guitar
58: 2 bar synch delay
59: You, too, can use synch delay
Filter sequences:
60: Power rock
61: Synchopated rock
62: Rubber band
63: Dreamy filter
64: Lo-fi space guy
65: Reso-house
66: Rock sweep
67: Rock bubbles
68: Sweep the four
69: Sample & hold filter
Arpeggiator: (all in E, use Frequency/Key
or MIDI keyboard to transpose):
70: Rock Island (bass) Line
71: 70s synth line
72: Step flanger
73: Harmonic Minor
74: Take Five (and flatten it)
75: Augmented
76: Octaves
Tremolo sequences:
77: Trem-o-rock
78: Synchro-trem
79: Ping-pong tremolo
80: Envelope wah
81: Inverted wah
82: Auto wah, soft
83: Cars filter
84: Guitar synth
85: Talk box
86: Envelope talk box
87: Peak hold filter
88: Peak hold flanger
89: Volume swell, amp
90: Volume swell
91: Hammer-on
92: Rubber strings
93: Ascending 3rds
Processed beats & blank
94: Trip hop
95: Rockeggio
96: Warehouse
97: Industrial
98: Rock fours
99: Blank preset (initialized)
Drumbeats
00-19: Assortment
20-39: Rock
40-49: Hard rock / punk / metal
50-59: Light beats
60-69: Busy beats
70-91: Dance / hiphop
92-97: Processed beats
98: Metronome
99: Blank
The above amp names are trademarks of their respective manufacturers. No claim is made that the
AdrenaLinn duplicates these sounds exactly, but rather, that it produces tones inspired by these classic amps.
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertisement