Modulating Parameters Via the modulation block: LFO, ADSR, Envelope, MIDI, Pedals, and More. Eclipse Eclipse V4, CD8051
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Eclipse User Manual
Note that if you load an algorithm into effects block B (
FXB
), none of the newly loaded algorithm’s
HOT
KEYS
will be present.
In most cases, any two algorithms can be selected and loaded. However, a few algorithms are sufficiently large that they can only be paired with a small one. In such cases you may see a display like the one on the left. This tells you that a large algorithm is currently loaded in effects block A (
FXA
), and there is not enough room remaining to load the B effects block from the displayed program. To get around this, either choose a new algorithm for block A, or look for a smaller one to fit into block B.
Modulating Parameters Via the modulation block: LFO, ADSR, Envelope, MIDI, Pedals, and More
Up to sixteen parameters per program can be “patched” to the “modulation block” for some seriously dynamic effects. The modulation block can be found under
PARAMETER
page 2
<EDIT MOD>
.
Without worrying about how exactly we would do this yet, image that we load the program
Happy Delay and patch its delay time to the modulation block LFO. Imagine that said LFO is oscillating every whole note
. The delay will modulate every whole note
as well! Now imagine that we update
Happy Delay
and load some other program. Imagine we change the modulation block LFO’s rate to
1/4 note
and reload
Happy Delay
. Here’s the punch line: the modulation block LFO would still be oscillating once every
1/4 note
and the delay time would
still
be patched to it. So, now the delay time would modulate every
1/4 note
! Understanding this example is essential to understanding modulation!
First
we’re going to describe how you accomplish this “patching,”
then
we’re going to describe how you actually set up the modulation block. Because we’re first showing you how you can
use
the modulation block, and only then showing you how to set it up, some of what follows might not be crystal clear. Just take in the main points and ponder the creative possibilities.
Patching a Parameter to the Modulation Block’s “Modules”
To patch a parameter, press and hold the soft key associated with the parameter you’d like to patch. We can patch
(RING1)
by holding down its soft key. You can patch parameters from virtually anywhere in the
Eclipse.
A new screen pops up. The right side of the screen pertains to
HOT
KEYS
, a subject covered elsewhere in this manual
(page 33)
. The more pertinent left side of the screen reads
<MODULATE>
.
Press
<MODULATE>
to call up the screen to the right.
(SOURCE)
selects the module that will modulate the parameter. The modules we can choose are: off bpm
This “un-patches” the parameter: no modulation will occur! lfo#1 follower#1 adsr#1
The faster the tempo, the higher the value of modulation. Realize that if the tempo remains constant (e.g., 120bpm), so too will the value of the parameter being “modulated.”
see page
15
The modulation block LFO modulates the parameter.
see page 43
The modulation block envelope follower modulates the parameter.
see page 43
The modulation block ADSR modulates the parameter.
see page 43
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ext1
through ext16
Modules ext ernal to the Eclipse (such as MIDI controllers or foot pedals) modulate the parameter. You decide which external modules are associated with ext1
, ext2
, ext3
, and so on at
SETUP
page 3
EXTERNAL
.
see page 45 for more on External Controllers
hotkey_1 thru hotkey_16
The hot keys found under
HOT KEYS
can be used as a modulation source. If a hot key is present it will already be controlling a parameter; using it as a mod source allows it to control others at the same time. Suitable choices of scale values make this a very useful facility.
see page 33 to learn about Hot Keys
param1
see page 38 to learn about scaling
through param4
One of four “generic” parameters modules located at
PARAMETER
page 2
<EDIT MOD>
page
2
PARAMS
modulates the program parameter of interest. If you patch a bunch of program parameters to one of the generic parameters, you can alter all of the patched parameters in concert simply by adjusting the generic parameter. Pretty handy.
see page 43
Use
(MONITOR)
to view the current value of the module selected under
(SOURCE)
. To the right, we see a value of about
60%
. If the module is something very dynamic like lfo#1
or follower#1
, this
(MONITOR)
will jump around quite a bit.
Parameters with active modulations applied will have their names underlined on the softkey labels.
Scaling Modules and Selecting Modulation TYPE
Here’s the situation: let’s say you’ve selected lfo#1
to modulate a low pass filter cutoff frequency
(FREQ)
. When the LFO is at the bottom of its cycle, will the filter be at 0Hz? You wouldn’t hear anything. When the
LFO is at the top of its cycle, will the filter be at 20,000Hz? This might be what you want, but
maybe
you only want the filter to cycle between
2000Hz and 3000Hz. How can we make that happen?
Here’s the solution: Scaling. Before holding down the
(FREQ)
soft key, enter a value of 2000Hz. We’ll call this value the “base” value below.
Now, hold down the soft key and press
<MODULATE>
as discussed above, and press HOTKEY to nagivate to page two where the Scale parameter is located. The total range of possible modulation ( parameter_range
) for a frequency parameter is 0 ~ 20,000, but we only want a modulation of
3,000 – 2,000 = 1,000. To
scale
, enter the value of 1000 in the
(SCALE) setting.
Great! Now we need to select the
(TYPE)
of modulation. We have four choices: unipolar unipolar
uses the base value (the value of the parameter before modulation) as a starting point and adds the modulation value to it.
In the example above, the parameter value will vary between 2,000 and 3,000 (it starts at the base value and modulates up).
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bipolar absolute
Eclipse User Manual
bipolar
uses the base value as a starting point and modulates above and below it.
In the example above, the parameter value will vary between 1,500 and 2,500 (centering on the base value). Note that for bipolar, the scale setting reflects the amount the parameter will vary above and below the base value. absolute
ignores
the base value and passes the modulation right through, going from minimum to maximum parameter for the swing of the modulation.
In the example above, the parameter value will vary between 20 and 2,000. min/max min/max
allows you to set the maximum and minimum values of the modulation range. To enable this, the
(SCALE) knob is replaced by a
(MAXIMUM/MINIMUM)
knob. Hit it once for
(MINIMUM) and again to get back to
(MAXIMUM)
.
So, continuing our example, we would select unipolar
under
(TYPE)
to get modulation between 2,000 and 4,000Hz.
Finally, select lfo#1
under
(SOURCE)
.
For a good time (or to troubleshoot), watch your parameter vary (
(FREQ)
in this case). Neat!
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Eclipse User Manual
Setting Up the Modulation Block
The Modulation Block
Let it be said: The modulation block is totally cool. It’s a collection of modules residing inside the Eclipse waiting to be patched to effects parameters. The modulation block exists at
PARAMETER
page 2
<EDIT MOD>
.
Changes made to the modulation block are normally saved or loaded with programs. This can be changed by going to
SETUP
page 1
<modes> and changing
(ModBlock)
from
Prog
to
Global
. If set to
Global
, the modulation block will not change as programs are loaded.
Below we’ll examine each menu page in the modulation block that isn’t described elsewhere in this manual.
TTIME and RETRIG are discussed on pages 35 and 36, respectively
LFO#1
accesses parameters for the modulation block LFO. The parameters are analogous to those found in program-specific LFOs as discussed on page 36.
FOLLOW#1
accesses parameters for the modulation block envelope follower. The parameters are analogous to those found in program-specific envelope followers as discussed on page 36.
PARAMETER
page 2
<EDIT MOD> ADSR#1
accesses parameters for the modulation block ADSR (attack, decay, sustain, and release). The
ADSR is triggered by the level of the input audio and generates an envelope determined by the
(ATTACK)
,
(DECAY)
,
(SUSTAIN)
,
(RELEASE)
,
(DLEVEL)
, and
(SLEVEL)
as shown in the picture. The SUSTAIN level is only held while the trigger is active (above the
SENS level).
(ADSR)
determines which input will trigger the ADSR.
(SENS)
determines how loud the trigger needs to be in order to “fire,” and
(RETRIG)
determines how long the trigger will wait after firing to fire again. Higher values of
(F ATTACK)
and
(F DECAY)
smooth out the trigger signal.
PARAMETER
page 2
<EDIT MOD>
page 2
PARAMS
accesses four “generic” parameters:
(VALUE1)
,
(VALUE2)
,
(VALUE3)
, and
(VALUE4)
. If you link several program-parameters to one of these “generic” parameters, you can alter all of the program-parameters at once just by altering the one “generic” parameter. All four values range from 0 to 100%, but
(VALUE3)
and
(VALUE4) offer greater “resolution” with two decimal spaces.
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More on modulation
On Eclipse, almost everything can be modulated, and almost everything can be a modulation source. For example, a hot key can be used to modulate other parameters, but it can itself be modulated. A powerful demonstration of this is to load or create a dual-effect program. Add a hotkey to control the Wet/Dry mix of FXA, and use this as a modulation source for the Wet/Dry mix of FxB. Set the scale of this modulation to -100%. Then you have a single knob that will blend the amount of each effect, giving a ‘morph’-like control. Then, modulate this knob with, say, an LFO...
It is important to note the distinction between modulating a hot key and modulating the parameter to which the hot keys is assigned – this is not the same thing.
see page 33 to learn about Hot Keys
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External Controllers
SETUP
page 3
EXTERNAL
“connects” external controllers to the Eclipse. You can make up to sixteeen “connections,”
EXT#1
through
EXT#16
. Let’s see how one of these “connections” is made.
First, press
SETUP
page 3
EXTERNAL EXT#1
. Select the external controller you want to “connect” with
(SOURCE)
. Monitor its value with
(MONITOR)
.
Our choices are: off low,mid,high pedal 1, 2 tip 1, 2
No external controller will be connected.
Fixed values for testing ring 1, 2 tip & ring 1, 2 mod wheel breath con
The input from the pedals at the rear panel foot pedal jacks 1 & 2.
to set these up, see page 49 tip
is fully modulated when a switch connected between tip and sleeve of the rear foot pedal jack is closed. ring
is fully modulated when a switch connected between ring and sleeve of the rear foot pedal jack is closed.
tip & ring
are fully modulated when the tip and ring are electrically connected and a switch connected between them and the sleeve of the rear foot pedal jack is closed.
MIDI control message 1 - typically assigned to the mod wheel on a MIDI keyboard.
foot con damper
MIDI control message 2 - typically assigned to the breath controller on a MIDI keyboard.
MIDI control message 4 - typically assigned to the foot controller on a MIDI keyboard.
Triggers when a damper control message (MIDI control message 64) is received with damper = 1.
portamento
Triggers when a portamento control message (MIDI control message 65) is received with portamento = 1.
sostenuto
Triggers when a sostenuto control message (MIDI control message 66) is received with sostenuto = 1.
soft
Triggers when a soft control message (MIDI control message 67) is received with soft = 1.
hold 2 volume balance pan expression
Triggers when a “hold 2” control message (MIDI control message 69) is received with
“hold 2” = 1.
MIDI control message 7 - typically assigned to volume changes.
MIDI control message 8 - typically assigned to balance.
MIDI control message 10 - typically assigned to panning.
general 1 – 8
MIDI single
MIDI control message 11 - typically assigned to the expression controller on a MIDI keyboard.
MIDI control messages 16 through 23.
Allows selection of any MIDI control number with coarse quantization. Input range is 0 to 127. A third parameter appears,
(CNTRL)
, which selects the controller number to be used.
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MIDI double chan pressur pitch wheel note on
Note switch
MIDI program
MIDI clock
Allows selection of any MIDI control number with very fine quantization. Input range is 0 to 16,383. A third parameter appears,
(CNTRL)
, which selects the controller number to be used. Your choices for con are 0 to 31. The MIDI control number con will pass the “coarse” value for the modulation and the MIDI control number
(CNTRL)
+ 32 will pass the “fine” value for the modulation.
MIDI channel pressure message.
MIDI pitch bend message.
MIDI keyboard note number. Middle C on an 88-note keyboard gives a value of “60.”
Triggers when a MIDI note on event is received.
Triggers when a MIDI program change message is received.
Modulates as a function of the BPM (beats per minute) of a MIDI clock signal. The value of this external controller is input_BPM / 480 = value
MIDI start so 120BPM yields a value of 0.25, 96BPM yields a value of 0.2, and so on. This MIDI message is channel-independent.
Triggers when a MIDI start command is received. This MIDI command is channelindependent.
MIDI stop
Triggers when a MIDI stop command is received. This MIDI command is channelindependent.
For all of the above MIDI messages (except for those involving “MIDI clock”), if
SETUP
page 2
MIDI (CHANNEL)
is set to
Omni
, then the MIDI message will be accepted on any channel.
On the other hand, if
SETUP
page 2
MIDI (CHANNEL)
is set to a specific channel (e.g.,
6
), then you must select the channel that the external controller will be accepted on.
Jumping back to
SETUP
page 3
EXTERNAL EXT#1
, select
(CHANNEL)
. Your selection is made
relative
to the channel selected in the MIDI setup. In the example shown to the right, our base channel is
6
so
EXT#1
will respond to MIDI messages on channel
8 (6 + 2 = 8).
As opposed to “manually” selecting a MIDI controller along with its proper channel and control number, a feature exists that “captures” the first MIDI message sent to the Eclipse. Press
SETUP
page 3
EXTERNAL EXT#1
page 2
<CAPTURE>
, and then send the Eclipse the MIDI message you would like to use.
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Dedicated External Controllers
As well as the sixteen general-purpose controllers described above, there are also a number of single-purpose External Controllers.
(PGM +)
(PGM -)
(FXA BYP)
(FXB BYP)
(BYPASS)
Allows you to select a foot pedal or a MIDI source to load the next highest program. This can be useful in a live performance. Of course, this can be set to
Off
as well.
Allows you to select a foot pedal or a MIDI source to load the next lowest program. Of course, this can be set to
Off
as well.
Allows you to bypass effect block A.
Allows you to bypass effect block B if it is being used.
Allows you to bypass the Eclipse from a foot switch or MIDI source. Using this controller is the same as hitting the
BYPASS
switch on the front panel.
see pages 8 and 24 for more on Bypass
Setting the Trigger Switch Mode
The dedicated external controllers are
trigger
type controls – that is, they do not have a value themselves, but instead cause an event to occur when the appropriate criteria is satisfied by the modulation source’s value.
Normally, trigger events occur when the modulation source transitions from a value less than 50% to a value more than 50%. This works very well for remote controllers with
momentary
type switches.
However, for a remote controller with a
latching
(on/off) switch, it is desireable for a trigger event to occur when the modulation source transitions 50% in either direction.
The
(TRIGMODE)
parameter accommodates both of these switch types using one of two settings:
Momentary
Causes the trigger event (i.e. Bypass, PGM+, or PGM-) to occur each time the modulation sources transitions from a value below 50% to a value at or above 50%. Useful for remote sources that use momentary switches.
On/Off
Causes the trigger event to occur each time the modulation source transitions through 50% from either direction. Recommended for modulation sources that use latching (on/off) type switches.
Reversing a controller
These bypass-type controllers normally cause a bypass when triggered.
At times, limitations of the control source may cause the opposite to be desirable – the controller should cause the unit to come out of bypass when triggered. This can be achieved by using the
(SENSE)
parameter.
Normal
Normal operation of the controller
Reversed
Causes the operation of the controller to be reversed, for example a “bypass” controller becomes a “not-bypass” controller.
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MIDI Setup
In the Eclipse, MIDI can be used:
• with programs that explicitly call for some sort of “external” controller. For example, a program called “
MidiHarmony
” might call for MIDI notes to adjust the amount of pitch shifting that is applied to an audio signal.
• to remote control almost any parameter in the Eclipse (including input and output levels) via external controllers.
see page 40
• to change programs via MIDI program change messages.
see page 29
• to “dump” information from one Eclipse to another or to an external storage device.
see page 51
Several MIDI
global
parameters bear on all of the above uses of MIDI function. These parameters are found under
SETUP page 2
MIDI
. Let’s look at each parameter in turn, shall we?
If
SETUP page 2
MIDI CHANNEL
is set to
Off
, all received MIDI commands are ignored. Settings of
1
to
16
select one of 16 MIDI channels to be the base channel from which MIDI channel numbers will be calculated elsewhere in the Eclipse. Finally, if set to
Omni
, a MIDI message on any channel is accepted and dutifully obeyed by every MIDI message recipient in the Eclipse. This keeps things simple for simple setups.
SETUP page 2
MIDI MIDIMODE
(PGM CHNG)
This determines whether the Eclipse will accept and obey
MIDI program change messages.
(NOTE)
The Eclipse allows selection of
Mono
or
Poly
mode.
(e.g., keyboards).
Mono
means each channel plays only one note, but you have multiple channels (e.g., MIDI guitars, wind controllers).
Poly
means one channel has all the notes
(PRES)
If this parameter is set to channel
, then the last changed MIDI aftertouch message on a given channel affects all the notes played on that channel. If it’s set to key
, then a MIDI aftertouch message on a given channel affects only the note with which it is associated.
(PBEND)
When using a MIDI keyboard to play a synthesizer program in the Eclipse, this parameter controls how many semitones (
0
to
24
) a maximum MIDI pitchbend message shifts the original pitch.
SETUP page 2
MIDI SYSEX
(SYS EXC)
Setting this parameter to
Off
will disable system exclusive messages. Settings between
1 and
127
select a Device ID. All system exclusive messages to and from
this
Eclipse will have
this
Device ID. If you’re using more than one Eclipse, you can set each one’s Device
ID to a different value. Doing so would let them share a common MIDI chain, while allowing system exclusive messages to be sent to each specific Eclipse. Normally, the Device ID is left at
1
, the factory default. You can control one Eclipse from another by matching their
Device IDs.
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