FXpansion BFD Eco - Manual (Page 30)

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Ch.10 FX devices
Gain
This effect is a simple tool for increasing or decreasing a channel’s gain. The Gain control sets the channel’s gain between -inf dB and +18 dB.
Comp Chan
This is a DCAM circuit-modelled channel compressor, based on a classic ‘limiting amplifier’ design. Increase the Input control to make the
sound more compressed, and adjust the Output level as required. Use the Ratio, Attack and Release controls to affect the compression
characteristics.
Comp Bus
The Comp Bus is a DCAM circuit model of a classic British console bus compressor design, and features Threshold, Ratio, Makeup, Attack
and Release controls.
The Key HP control allows you to highpass-filter the signal used for the amplitude-detection circuit, while the Analog Limit control applies non-
linearities to the detection circuit, resulting in a compression characteristic that is more transparent on attacks.
Delay
This is a classic stereo delay line. As well as Time and Feedback controls, it features a Swing control for achieving a variety of delay feels, and
adjustable LowCut and HighCut filters in the feedback chain.
The Sync control switches between time-based (Sec) and tempo-synced (BPM) delay times. The SumInput control (available on stereo
channels only) sums the left and right inputs to a single mono signal and feeds one delay line instead of two.
Filter
The Filter effect provides simple 1-pole high-pass and low-pass filters. Each filter features power ( LPin and HPin) and frequency (LPFreq and
HPFreq) controls.
Flanger
The Flanger effect is a short modulated delay line with feedback to the input. It is used for a sense of movement and for psychedelic effects.
The
Freq control sets the frequency of the sine LFO used to modulate the flanger’s delay time, while the Depth control adjusts the amount of
modulation. The Pos (Position) control adds up to 10ms to the flanger’s delay time. The needle display in the Flanger effect represents the delay
time modulation.
The
Feedback control adjusts the amount of the processed signal that is fed back into the input. Higher settings result in a more pronounced
flanging effect, with settings over 50% leading to extreme comb filter type effects.
The
Mode button dictates the phase relationship between the input and processed signals. With the button disabled, the two signals are in phase
(resulting in a more pronounced flanging effect); with it enabled, the signals are out of phase.
The
Spread and Phase controls are only available on stereo channels. Spread adjusts the panning of the left and right channel processed
signals, while Phase offsets the phase of the internal LFOs for the left and right channels.
Filter Mod
This is a DCAM circuit-modelled multimode resonant filter with modulation and drive. As well as the Pitch (cutoff frequency) and Res
(resonance) controls, the filter features a Mode control to switch between low-pass, band-pass, high-pass, peak and notch modes. There is even
an audio-rate FMDepth control which sets the amount of cutoff modulation derived from the input signal’s waveform. The Drive function features
controls for input ( Drive) and output (OutDrive) drive stages.
The effect contains a built-in envelope follower for modulating the cutoff frequency with the amplitude of the input signal. It features controls for
Attack, Release and Env Depth.
Drive
Drive is a versatile, DCAM-modelled overdrive/distortion effect. The HPFreq and LPFreq controls allow you to filter the signal before the
distortion stage, while the Mode control switches between 4 different distortion models – ‘Diode’, ‘OTA’, ‘OpAmp’ and ‘HalfRect’.
The Dirty control sets the amount of the distorted signal that is heard at the output, while the Clean control sets the amount of the signal that
was filtered out before the bitcrushing stage by the high-pass and low-pass filters. The Tone control is a simple 1-pole low-pass filter to remove
unwanted high-frequencies from the Dirty signal.