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ULTRAROC GX110
05-06 Chamber: You can clearly hear the sound as it bounces back from the walls of this “room”. The
program is particularly suited for diffuse types of reverb or to make a dry guitar sound more natural.
07-08 Stage: A fine reverb e.g. to liven up and widen a clean guitar.
09-10 Concert: Here, you can choose from a small theater (preset 9) or a large concert hall (preset 10).
Compared to the STUDIO reverb program, these algorithms sound more lively and have more treble
frequencies.
11-12 Plate: The sound of an ancient plate reverb. A classic algorithm that makes your guitar sound wonderful
and enchanting.
13-14 Gated Reverb: This reverb is cut off abruptly and became famous through Phil Collins’ “In the air
tonight”.
15-16 Ambience: The reverb of any room consists of so-called “early reflections” and the reverb “tail”. This
algorithm emulates the first 15 of these early reflections. Since our ears use these reflections to determine
the room size, they can be employed to create subtle and impressive reverb densities, without clouding
the overall signal with long reverb tails. This effect is particularly impressive when played through a pair
of headphones.
17-19 Wah/Delay/Distortion: In general, filters are used to provide some static equalization of a signal’s
frequency response. The wah effect-combined with delay and distortion in this preset-allows the mid-
range frequencies to pass, while it more or less suppresses the remaining frequency ranges. Guitarists
such as Jimi Hendrix and Eric Clapton made this effect popular, and it still hasn’t gone out of fashion.
Using MIDI controller #15 you can edit the operating range of the wah effect, e.g. via a MIDI foot controller.
In this way, it is possible to use the wah effect like an analog wah foot pedal. Adjustable parameter:
delay intensity.
20 Delay/Reverb: This effect produces a normal delay that passes a reverb whose mix ratio can be edited.
21-29 Delay: This algorithm delays the input signal and generates several repeats. The presets produce
various delays with different lengths and repeats. Adjustable parameter: effect mix.
30-33 Phaser: From a technical point of view, phasing is a modulation effect producing a multi-stage phase
shift between direct and effect signals. As the frequency-dependent phase shift is controlled by an
LFO (low-frequency oscillator), the various frequency ranges of the signal are raised or lowered in
their amplitudes. Depending on the setting you choose, the resulting phasing effect is either slightly
modulating in character or produces heavy sound coloration reminiscent of a continuously modulated
filter.
34-37 Chorus: Imagine a string quartet, with each musician playing the same notes. As a matter of fact
though, no musician is able to play with an intonation accuracy of 100%. Consequently, slightly
detuned signal portions are produced which overlap in the time domain. To emulate this effect, chorusing
uses copies of the original signal, which are then delayed by 20 to 40 msec, detuned slightly and
modulated by the LFO. The result is a detune effect that is very pleasant in character. As this effect is
used so frequently and in such a variety of signal-widening applications, any recommendation given here
would mean a restriction of its uses.
3. EFFECTS PROCESSOR