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Eclipse User Manual
Parameters
Factory programs ship with their most salient parameters “linked” to the
HOT KEYS
area. So, if you’re only doing some “light tweaking,” stick to the
HOT KEYS
area - you need not venture into the
PARAMETER area at all.
The
PARAMETER
area gets you “inside” a program, so to speak. In it, you can change the underlying algorithms loaded into the effects blocks, the routing between the effects blocks, or the parameters of the underlying algorithms themselves.
Programs 100 through 199 comprise the Eclipse’s set of “algorithms”
(see the separately provided “Eclipse Algorithms” document for details)
. Programs 200 through 499 are “tweaks” and combinations of these elemental algorithms. Press the
PARAMETER
key to see what algorithm or algorithms a given program is “built” on. To the right, we see that the fm modfilter/pan
algorithm is running on effects block A (
FXA
), and that the dual modfilters
algorithm is running on effects block
B (
FXB
). Because the dual modfilters
algorithm is running on
FXB
, you would press
<EDIT FXB>
to access
all
of its parameters. However, as we’ve said before, the
HOT KEYS
area will “link” to a program’s most important parameters.
All of the changes that you make in the
HOT KEYS
or
PARAMETER
areas are saved and loaded with a program in the
PROGRAM
area. Well, almost all –
see Bypassing Effects Blocks on page 39
Hot Keys
OK, the Eclipse has a cute little screen and sometimes you have to dig to get to the parameter you want to adjust. That can be a drag, especially if the parameter is one that you access often. The
HOT KEYS
area was created to improve this situation. Here’s the idea - pick a program parameter that you want to access quickly and assign it to the
HOT KEYS
area. Then next time instead of digging, you just go to the
HOT
KEYS
area to access that parameter
(you can still dig if you want to, however, the parameter will always exist in its original position)
. You can assign any program parameter in the Eclipse to a hot key, and the factory presets ship with their most vital parameters linked to hot keys.
You can view
HOT KEYS
in the standard
1 Param eter per page mode or you can select
4 Param eter mode under
SETUP
MODES (DISPMODE)
as shown to the right.
Up to eight hot keys can be assigned for a given program, and the assignments will be saved or updated with the currently loaded program. When you load a new program, the assignments saved with the new program will populate the
HOT KEYS area; it doesn’t matter if the assignments are to program-specific parameters (such as
PARAMETER page 2
(ROUTING)
) or to “global” parameters (such as
SETUP
DISPLAY
(BRIGHT)
).
Assigning Hot Keys
Let’s assign a hot key to
{IN GAIN}
in the
LEVELS
area. Get to the first page of the
LEVELS
area by pressing the
LEVELS
key.
Next, press
and hold
the
{IN GAIN}
soft key.
Use
(HOT KEY)
to select the hot key “slot” to which you’d like to assign
{IN
GAIN}
.
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Press
<ASSIGN>
to actually assign it. If the hot keys “slot” you chose was unoccupied, the Eclipse will assign the hot key without hesitation.
However, if the slot you chose was occupied, the Eclipse will verify that you would like to replace the old hot key with the new one.
OK, while that was instructive, you probably won’t assign global parameters (such as
{IN GAIN}
) to the
HOT
KEYS
area too often. Instead, you’ll usually assign program parameters.
Renaming Hot Keys
To rename an existing hot key, press and hold the hot key you want to rename
in the
HOT KEYS
area
. A
<NAME>
soft key appears that, if pressed, allows you to change the name of the hot key. Hit the
HOT
KEYS key to finish. Blank spaces are not allowed in Hotkey names.
Eclipse will automatically replace all blank spaces with ‘_’ (underline) characters.
see page 32 to learn how to name things
Deleting Hot Keys
To delete a hot key assignment, either overwrite the assignment with a new hot key (as described above) or press and hold the hot key you want to delete
in the
HOT KEYS
area
. A
<REMOVE>
soft key appears that, if pressed, deletes the hot key in question. The Eclipse makes sure you really want to go through with it…
Altering Parameters in the PARAMETER Area
While most factory programs link to their most important parameters in the
HOT KEYS
area, those same parameters and many more are left to tinker with in the
PARAMETER
area. Press
PARAMETER
<EDIT FXA>
or
<EDIT
FXB>
depending on which effects block holds the parameters you wish to tweak.
Hey! Many programs only make use of one of effects block A (
FXA
), in which case you can only edit
PARAMETER
<EDIT FXA>
.
We’d like to take you through all of the myriad parameters you’ll encounter under
<EDIT FXA>
or
<EDIT FXB>
, but there are too many and they are too varied. Instead, we’ll make a few general comments. For more
“algorithm-specific” comments and algorithm flow charts, see the separately provided “Eclipse Algorithms” document.
Master Parameters: M_LEVEL, M_DELAY, M_FBACK, etc.
Many algorithms have multiple implementations of the same sort of parameter. For example, the algorithm dual filters
has two filters, one for each channel. While you can change each filter’s cutoff frequency and resonance independently, you’ll usually want to change them simultaneously.
Similarly, the algorithm m_pandelays
has four delays. You’ll often want to alter their delay times
relatively
by
scaling
each delay time by some amount.
The inconvenient alternative is to go into each delay and change its
absolute
delay time.
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In cases exemplified by dual filters
, a
MASTER
menu page exists that will alter parameters for both filters simultaneously. Its parameters are “unadorned,” for example
(GAIN)
,
(FREQ)
, and
(Q)
shown on the second screen to the right. Parameters that only pertain to filter 1 have “
1
” appended to their rears. For example, in the third screen to the right we see
(GAIN1)
,
(FREQ1)
, and
(Q1)
.
In cases exemplified by m_pandelays
, a
MASTER
menu page exists that will
scale
the “absolute” parameter values found under
DELAY#1
,
DELAY#2
, etc.
To the right, we see four menu pages, with the bottom three found under the soft keys of the top screen (
MASTERS
,
DELAY#1
, and
DELAY#2
). The
absolute
value of
(DELAY1)
is
200 ms
, and the
absolute
value of
(DELAY2)
is
400 ms
.
However, both of those values are
scaled
by
(M_DELAY)
, which is set to
50%
. Consequently, the
actual
delay times are 100ms and 200ms. By altering
(M_DELAY)
, you preserve the
relative
difference between the two delays (in this case, delay2 is always twice as long as delay1).
You will see other cases of
MASTER
menu pages that behave similarly to the ones we have described.
What’s more,
HOT KEYS
often link to these “master” controls.
Tempo-based Parameters: T_RATE, T_DELAY, T_TAP, etc.
The Eclipse’s little heart is
always
thumping to the beat of its “tempo.” The tempo can be keyed in, tapped in on the
TAP
key, derived from a sequencer connected to the Eclipse’s MIDI in, and so on
(see page
15)
. Most of the Eclipse’s delays and LFOs automatically synchronize to the tempo. It works like this
(we’ll use a delay as an example, but other “
T_
” parameters behave similarly)
:
A delay parameter will have
two
soft keys associated with it; one will say
(DELAY1)
or something like that, while the
other
will have a “
T_
” appended to its name:
(T_DELAY1)
. The “
T_
” stands for “tempo.”
(T_DELAY1)
is selected in rhythmic terms:
1/8 note
,
1/8 trip
,
1/16 note
, whole note
, etc. Assuming the tempo is synched to the music that is being effected, the delay shown to the right will repeat after a 1/8th note.
The
(DELAY1)
parameter does two things. First, if you press its soft key but
don’t
turn the knob, it “reports” the actual delay time in milliseconds as a function of the tempo and the value of
(T_DELAY1)
.
If, however, you turn the knob to change the delay time in milliseconds,
(DELAY1)
will
override
the value derived from the tempo and
(T_DELAY1)
.
But get this: if you now update the tempo (by tapping the
TAP
key for example) or alter
(T_DELAY1)
, the delay time will once again be derived from the value of
(T_DELAY1)
in combination with the tempo.
Think of them as warring nations. On one side you have
(DELAY1)
(in terms of milliseconds). On the other side you have the tempo and
(T_DELAY1)
teamed up (in rhythmic terms).
The actual delay is determined by which side “moved” last.
If you alter
(DELAY1)
and leave the tempo and
(T_DELAY1)
alone, then
(DELAY1) determines the actual delay time. If you alter the tempo
or
(T_DELAY1)
and leave
(DELAY1)
alone, then the tempo and
(T_DELAY1)
determine the actual delay time.
However, if you set
(T_DELAY1)
to off
, then the actual delay time will be determined
solely
by
(DELAY1)
in terms of milliseconds. If you want
all
of
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the parameters in the Eclipse to ignore the tempo, set
SETUP
TEMPO (TAP
SRC)
to
Off
.
Now that you have that straight, lets continue. The Eclipse can calculate delay times in terms of the tempo, as described above,
or
it can calculate them as the absolute time between two taps of the
TAP
key (useful for live situations). Select
PARAMETER
page 2
<EDIT MOD> TTIME (MODE) to select between systemtempo
and longdelaytap
. With
(MODE)
set to systemtempo
, everything behaves as we’ve described so far.
On the other hand, with
(MODE)
set to longdelaytap
, every “
T_DELAY
” and
“
T_LOOP
” parameter derives its delay time from the interval between successive taps of the
TAP
key.
With
(TTYPE)
set to update
, the first of two taps marks the beginning of an interval, and the second tap defines the end of the interval. You can watch the interval grow between the taps at
(RUN)
and check out the resulting delay time at
(DELAY)
. A third tap starts the interval over at
0
and a fourth tap defines the end of the new interval.
With
(TTYPE)
set to climb
, the first of two taps begins increasing the
existing
interval from the point that it left off, and the second tap defines the end of the interval. Again, you can watch the interval grow between the taps at
(RUN)
and check out the resulting delay time at
(DELAY)
.
To reset the interval with
(TTYPE) climb
, select an external modulator such as pedal 1
under
EXT_RESE
. Turn to page 45 for details on setting up external controllers.
Envelope-following Parameters: SENS, ATTACK, and DECAY
Many algorithms involve parameter modulation via an “envelope follower.” An envelope follower tracks the level of the input audio and modulates some parameter according to that level. Envelope filters are a prime example of this sort of modulation: the envelope follower modulates the cutoff frequency of a resonant filter. In the Eclipse, envelope followers frequently modulate LFO rates, so that as the input signal gets louder, the LFO rate speeds up.
(SENS)
adjusts the sensitivity of the envelope follower. Use lower values for quieter input levels and higher values for louder input levels. Short values of
(ATTACK)
and
(DECAY)
track the envelope tightly, while longer values smooth out the response.
LFO Parameters
LFOs (low-frequency oscillators) abound! An LFO produces a slowly alternating signal that modulates some parameter or another.
(RATE)
and
(T_RATE)
determine how fast the signal oscillates.
(FMRATE)
and
(T_FMRATE) determine to what degree the speed of oscillation is affected by the envelope follower (i.e., the loudness of the input audio).
(SHAPE)
determines the shape of the alternating signal.
For shapes such as triangle
and square
the
(DUTY)
parameter “shifts” their shape. Via
(DUTY)
, triangle
waves can vary between sawtooth and ramp-shaped, and square
waves can change their pulse length relative to the
(RATE)
.
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If the
(RATE)
is changed either “manually” or via a tempo update, an LFO will (of course) alter its rate. The old rate is crossfaded to the new rate. The length of the crossfade is determined by
(RETRIG)
as a percentage of the old rate. Thus, a value of
100%
means that the crossfade will be complete in one cycle of the old rate, and 0% means a rate change will take effect immediately.
When you tap in a new tempo with the
TAP
key or start an external sequence that’s connected to the
Eclipse, the LFOs will “start over.” You determine
where
in the waveform the LFO starts with the
(ANGLE) parameter. Your choices are
–180 deg
to
180 deg
. When the LFO starts over, it crossfades from the old position to the new position by an amount determined by
(RETRIG)
described above.
In addition to restarting when you tap in a new tempo with the
TAP
key or start an external sequence that’s connected to the Eclipse, you can cause the LFOs to re-synchronize every beat for perfectly timed effects.
Simply turn
PARAMETER
page 2
<EDIT MOD> RETRIG (TAP RETR)
to pulses
.
Note that this is under the “mod block” (
<EDIT MOD>
) and as such is “global” in scope (its status isn’t saved or loaded with programs).
Further, you can have the LFOs “start over” when the input audio crosses a given threshold. Select which input causes them to “start over” with off
, in1
, in2
,
1+2
under
PARAMETER
page 2
<EDIT MOD> RETRIG (AUDIO
RE)
. Adjust the threshold that causes them to retrigger under
(THRESH)
.
Sends and “Manual” Parameters
Littered throughout the parameter pages are
(SEND)
and
(MANUAL_P)
soft keys. Both affect the signal level sent into the algorithm. While handy in their own right, they truly shine when used in conjunction with MIDI foot controllers, MIDI sequencers, or the back panel foot pedal jacks.
Simply “patch” them to a handy external modulator (see page 40) and you can enjoy “un-zippered” send level control.
Want the last words of a desperate singer to delay off into oblivion? “Patch” a MIDI sequencer to the
(SEND)
of a fat delay and crank it from
0%
to
100%
on the phrase, “I’ll love you forever…” Works well in live situations, too.
If you investigate the separately provided “Eclipse Algorithms” document, you’ll notice most algorithms have an “S” somewhere in their signal path. That’s the point at which the
(SEND)
or
(MANUAL_P)
does its business.
Routing and Levels between Effects Blocks
You have control over the routing between the two effects blocks (
FXA
and
FXB
), the wet/dry ratio of each effects block, and the output level of each effects block. These parameters are located on the second page of the
PARAMETER
area. Any changes you make here will be saved when you save or update a program.
These parameters exist to tweak the levels and interaction between the effects blocks to achieve a desired overall effect.
Do not
use these parameters to adjust the level of the Eclipse relative to the rest of your studio or rack – instead use the parameters found in the
LEVELS
area
(page 21)
.
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Routing
Don’t confuse the routing between effects blocks that we’re discussing here with the input mode (
LEVELS page 2
{IN MODE}
). The routing between effects blocks is saved with a program. On the other hand, the input mode selects which input channels will be used (
Stereo
,
Mono 1
, or
Mono 2
)
for every single program you load!
Put another way, the routing between effects blocks that we’re discussing here will change from program to program depending on what you’re trying to achieve with the effect. For example, a pitch shifter
into
a reverb ( series
) sounds different from a pitch shifter
and
a reverb ( parallel
). On the other hand, the input mode will likely depend on your studio or rack setup. For example, if you’re using the Eclipse during a mixdown, you’ll probably want to have the input mode set to stereo
, but if you’re using it with a guitar, you’ll probably want it in
Mono (see page 22)
.
You can route signals between the two effects blocks in five different ways. Press
PARAMETER
page 2
(ROUTING)
to choose between them. series
The effects of block A are effected by block B. Effecting an effect, if you will. If you wanted a filtered delay, you’d load a filter into block A, a delay into block B, and then route the effects blocks in series
. parallel
Each effects block takes a signal from both inputs, and the output of each effects block is summed. If you wanted a phaser and a delay placed on a signal as if they were coming from two different units
(i.e.,
not
a phased delay!), you’d load a phaser onto one effects block and a delay onto the other, and then route the effects blocks in parallel
. dual dual mono xfade
Each effects block takes its signals from a single input, and the output of each effects block is summed. This is useful if you want to effect two different signals. Send a vocal in channel 1 and load
VOXPROC
onto effects block A. Send a guitar in channel 2 and load
OVERPRE
onto effects block B. Use
PARAMETER
page 2
LEVELS {FX LVL}
to control the relative volume between the vocal effect and the guitar effect.
Each effects block takes its signals from a single input, and each effects block sends its signals to a single output.
This is similar to dual
described above, except that the outputs of each effects block are
not
mixed!
Only one effects block runs at a given time. However, by setting
SETUP
MODES
page 2
(XFADE)
to some nonzero value, when you load a program, the old program and the new program will smoothly crossfade. In addition to creating unique effects in its own right, xfade
is useful for smooth onstage transitions. Note that crossfades are not possible between all programs.
see page 29 to learn how to load programs with crossfades
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Wet/Dry Ratio
With the Wet/Dry ratio you can make an effects block pass its input signal
unaltered
(
0% wet
) or have none of the original signal present – all effect (
100% wet
). Or you can have half original signal, half effect (
50% wet
). And so on. Press
PARAMETER
page 2
LEVELS {FXA MIX}
or
{FXB MIX}
to alter this parameter.
Be aware that there is also a “global” wet/dry control in the
LEVELS
area that controls how much of the dry input signal will mix with the signal coming out of the
DSP chip (the output of both effects blocks via their routing). The global wet/dry control will not change from program to program and might be more suited to a guitarist’s needs than those described here.
see page 22
Output Level
The output of each effects block can be attenuated to achieve just the right blend of effects. Press
PARAMETER
page 2
LEVELS {FXA LVL}
or
{FXB
LVL}
to alter this parameter.
the
LEVELS
area.
see page 22
Be aware that there is also “global” level attenuation in
Bypassing Effects Blocks
You can bypass an effects block by toggling
PARAMETER
<FXA: ON>
to
<FXA: OFF>
. The same thing works for effects block B (
FXB
). The bypass status of an effects block is saved and loaded with the program.
To avoid confusion, if either FXA or FXB has been explicitly bypassed by these controls, the red
BYPASS light will flash. Of course, if the system as a whole is bypassed, you’ll not be able to see it …..
Loading Different Algorithms into Effects Blocks
You load different algorithms into an effects block of the currently loaded program by selecting a program that already contains the algorithm you want. Think of it as stealing the algorithm and its parameter values. Since programs 100 to 199 represent the raw algorithms themselves, loading a “raw algorithm” is just a special case of the more general procedure. See the separate “Eclipse Algorithms” document for more information about the Eclipse’s algorithms.
First things first: if you want to load an algorithm into effects block B
(
FXB
) make sure
PARAMETER
page 2
(ROUTING)
is something
other
than xfade
, as this routing restricts a program to only one effects block.
To load a new algorithm, first go to
PARAMETER
page 3.
Use
PARAMETER
page 3
(PROGRAM)
to select the program that you would like to “steal” the algorithm from. In this case, we’re going to steal from
RingPongRoom
.
If the program you’re stealing from uses
both
of its effects blocks (many don’t), you can use
PARAMETER
page 3
(BLOCK)
to select which block contains the algorithm you’d like to steal. Here we can steal m_ringtaps from effects block A, or we can turn the knob to steal reverb 8
from effects block B.
Finally, press
PARAMETER
page 3
<LOAD FXA>
to load the above-selected algorithm into effects block A
(
FXA
) of
the currently loaded program,
or press
PARAMETER
page 3
<LOAD FXB>
to load the above-selected algorithm into effects block B (
FXB
) of
the currently loaded program
.
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