User manual BOSS MICRO BR

[. . . ] Owner's Manual 201a Before using this unit, carefully read the sections entitled: "USING THE UNIT SAFELY" (p. These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner's Manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference. About the Symbols and icons in this manual · · Text in square brackets [ ] refers to buttons on the panel of the MICRO BR. [. . . ] Sens 0 ­ 100 Adjusts the manner in which the enhancer will be applied relative to the input signals. Freq 1. 0 ­ 10. 0 (kHz) Adjusts the frequency at which the enhancer effect will begin to be applied. The effect will be made apparent in the frequencies above the frequency set here. Mix Level 0 ­ 100 Adjusts the amount of phase-shifted sound of the range set by "Frequency" that is to be mixed with the input. Lo Mix Lvl 0 ­ 100 Adjusts the amount of phase-shifted sound of the lower range that is to be mixed with the input. Level 0 ­ 100 Adjusts the volume of the enhanced sound. Section 3 Dly Time SINGLE: 1 ­ 1000 (ms) TAP: 1 ­ 500 (ms) This parameter adjusts the delay time (i. e. , the interval for which sound is delayed). Changing the amount of feedback causes the number of time the delayed sound is repeated to change as well. E. Level 0 ­ 120 Adjusts the volume of the delay sound. FLANGER (FX) This produces a flanging effect that gives a sort of "twisting" character to the sound. * This effect can be used when the FX "Type" parameter is set to "FLANGER. " On/Off OFF, ON This parameter turns the flanger effect on/off. Manual 0 ­ 100 Adjusts the center frequency at which to apply the effect. Increasing the value will emphasize the effect, creating a more unusual sound. 69 Section 3. Using effects INPUT (IN) This divides the original sound into three frequency ranges: low, mid, and high. Gain -24 ­ +12 (dB) Sets the overall volume level before the signal passes through the compressor. Dly Time 0­10 (ms) This sets the amount of time by which the source input sound is delayed. SplitL 20 ­ 800 (Hz) This sets the frequency (in the lower range) at which the source sound is split into three separate ranges. SplitH 1. 6 ­ 16. 0 (kHz) This sets the frequency (in the upper range) at which the source sound is split into three separate ranges. MIXER (MIX) Adjusts the volume of each frequency band. Lo Level -80 ­ +6 (dB) Sets the volume level of the lower range after the signal passes through the compressor. Mid Level -80 ­ +6 (dB) Sets the volume level of the midrange after the signal passes through the compressor. Hi Level -80 ­ +6 (dB) Sets the volume level of the upper range after the signal passes through the compressor. NOISE SUPPRESSR (NS) This effect reduces the noise and hum. Since it suppresses the noise in synchronization with the envelope of the sound (the way in which the sound decays over time), it has very little effect on the sound, and does not harm the natural character of the sound. On/Off OFF, ON This parameter turns the noise suppressor effect on/off. Threshold 0 ­ 100 Adjust this parameter as appropriate for the volume of the noise. Adjust this value until the decay of the sound is as natural as possible. * High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down. LIMITER (LIM) This suppresses high-level signals to prevent distortion. [. . . ] 14 VO DRV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18, 71 V-track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11, 40 W Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100, 103 Write . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]