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Roland BK-7M BACKING MODULE Manual

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MFX types and parameters
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Backing Module BK-7m
64. VS Overdrive
This is an overdrive that provides heavy distortion.
●
Drive (0~127)—Degree of distortion. Also changes the volume.
●
Tone (0~127)—Sound quality of the Overdrive effect.
●
Amplifier Sw (Off, On)—Turns the Amp Simulator on/off.
●
Amplifier Type (Small, Built-In, 2-Stack, 3-Stack)—Type of guitar
amp. SMALL: small amp, BUILT-IN: single-unit type amp, 2-
STACK: large double stack amp, 3-STACK: large triple stack amp.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency
range.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high frequency
range.
●
Panpot (L64~0~63R)—Stereo location of the output sound. This
is a mono effect that combines incoming signals. You can, how-
ever, place the processed signal anywhere between the left and
right channels.
●
Level (0~127)—Output level.
65. VS Distortion
Produces a more intense distortion than the above. The param-
eters are the same as for “64. VS Overdrive”.
66. GT Amp Simul
This is an effect that simulates the sound of a guitar amplifier.
●
Pre Amp Sw (Off, On)—Turns the amp switch on/off.
●
Pre Amp Type (JC-120, Clean Twin, Match Drive, BG Lead,
MS1959I, MS1959II, MS1959I+II, Sldn Lead, Metal 5150, Metal Lead,
OD-1, OD-2 Turbo, Distortion, Fuzz)—Type of guitar amp
●
Pre Amp Volume (0~127)—Volume and amount of distortion of
the amp.
●
Pre Amp Master (0~127)—Volume of the entire pre-amp.
●
Pre Amp Gain (Low, Middle, High)—Amount of pre-amp distor-
tion.
●
Pre Amp Bass (0~127)
●
Pre Amp Middle (0~127)
●
Pre Amp Treble (0~127)—Tone of the bass/mid/treble frequency
range.
* Middle cannot be set if “Match Drive” is selected as the Pre
Amp Type.
●
Pre Amp Presence (0~127 [Match Drive: –127~0])—
Tone for the ultra-high frequency range.
●
Pre Amp Bright (Off, On)—Turning this “On” produces a sharper
and brighter sound.
* This parameter applies to the “JC-120”, “Clean Twin”, and “BG
Lead” Pre Amp Types.
●
Speaker Sw (Off, On)—Determines whether the signal passes
through the speaker (ON) or not (OFF).
●
Speaker Type—Select the type of speaker. The specifications of
each type are as follows. The speaker column indicates the
diameter of each speaker unit (in inches) and the number of
units.
●
Mic Setting (1, 2, 3)—Adjusts the location of the mic that’s cap-
turing the sound of the speaker. This can be adjusted in three
steps, from 1~3, with the mic becoming more distant as the
value increases.
●
Mic Level (0~127)—Volume of the microphone.
●
Direct Level (0~127)—Volume of the direct sound.
●
Panpot (L64~0~63R)—Stereo location of the output sound. This
is a mono effect that combines incoming signals. You can, how-
ever, place the processed signal anywhere between the left and
right channels.
●
Level (0~127)—Output level.
67. Gate
Cuts the reverb’s decay according to the volume of the sound
sent into the effect. Use this when you want to create an artifi-
cial-sounding decrease in the reverb’s decay.
●
Threshold (0~127)—Volume level at which the gate begins to
close
●
Mode (Gate, Duck)—Type of gate. GATE: The gate will close
when the volume of the original sound decreases, cutting the
original sound. DUCK (Ducking): The gate will close when the
volume of the original sound increases, cutting the original
sound.
●
Attack (0~127)—Adjusts the time it takes for the gate to fully
open after being triggered.
●
Hold (0~127)—Adjusts the time it takes for the gate to start clos-
ing after the source sound falls beneath the Threshold.
●
Release (0~127)—Adjusts the time it takes the gate to fully close
after the hold time.
●
Balance (D100:0W, D50:50W, D0:100W)—Volume balance
between the direct (D) and the effect sound (W).
●
Level (0~127)—Output level.
68. Long Delay
A delay that provides a long delay time.
●
Delay Time [sync] (msec, Note)—Use this parameter to specify
whether (“Note”) or not (“msec”) the delay time should be syn-
chronized to the Arranger or Recorder tempo. Depending on
your choice, the setting range of the following parameter refers
to a time or a note value.
●
Delay Time [msec] (0~2600ms)—Adjusts the time until the delay
is heard.
●
Delay Time [note] (Musical Notes)—Delay times can be set as a
note-value of a tempo, if you set the “Sync” parameter above to
“Note”. Specify the value of the desired note.
●
Phase (Normal, Inverse)—Phase of the delay (NORMAL: normal
phase, INVERT: inverted).
●
Feedback (–98%~0~+98%)—Adjusts the amount of the delay
sound that’s fed back into the effect. Negative (–) settings invert
the phase.
●
Delay HF Damp (200~8000Hz, Bypass)—Adjusts the frequency
above which sound fed back to the effect is filtered out. If you
don’t want to filter out any high frequencies, set this parameter
to BYPASS.
●
Panpot (L64~0~63R)—Stereo location of the output sound. This
is a mono effect that combines incoming signals. You can, how-
ever, place the processed signal anywhere between the left and
right channels.
●
EQ Low Gain (–15dB~0~15dB)—Gain of the low frequency
range.
●
EQ High Gain (–15dB~0~15dB)—Gain of the high frequency
range.
●
Balance (D100:0W, D50:50W, D0:100W)—Volume balance
between the direct (D) and the effect sound (W).
●
Level (0~127)—Output level.
69. Serial Delay
This delay connects two delay units in series. Feedback can be
applied independently to each delay unit, allowing you to pro-
duce complex delay sounds.
●
Delay 1 Time [sync] (msec, Note)—Use this parameter to specify
whether (“Note”) or not (“msec”) the delay 1 time should be
synchronized to the Arranger or Recorder tempo. Depending on
your choice, the setting range of the following parameter refers
to a time (msec) or a note value.
Type Cabinet Speaker Microphone
Small 1 small open-back enclosure 10 dynamic mic
Small 2 small open-back enclosure 10 dynamic mic
Middle open back enclosure 12 x 1 dynamic mic
JC-120 open back enclosure 12 x 2 dynamic mic
Built In 1 open back enclosure 12 x 2 dynamic mic
Built In 2 open back enclosure 12 x 2 condenser mic
Built In 3 open back enclosure 12 x 2 condenser mic
Built In 4 open back enclosure 12 x 2 condenser mic
Built In 5 open back enclosure 12 x 2 condenser mic
BG Stack 1 sealed enclosure 12 x 4 condenser mic
BG Stack 2 large sealed enclosure 12 x 4 condenser mic
MS Stack 1 large sealed enclosure 12 x 4 condenser mic
MS Stack 2 large sealed enclosure 12 x 4 condenser mic
Metal Stk large double stack 12 x 4 condenser mic
2-Stack large sealed enclosure 12 x 4 condenser mic
3-Stack large sealed enclosure 12 x 4 condenser mic
BK-7m_UK.book Page 118 Tuesday, January 4, 2011 9:25 AM
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Roland BK-7M BACKING MODULE Additional guide - English - 10 pages

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