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Insert Effect Parameter Functions
Pre Dly 0.5–50.0 ms
Adjusts the time needed for the effect sound to be output after the
direct sound has been output.
E.Level 0–100
Adjusts the volume of the effect sound.
Compressor
This corrects differences in input to create a steadier, more even
volume balance. This is used to extend the sustain of input sounds
and, conversely, to shorten sustain and emphasize the attack portion
of sounds.
Another use of compression is as a “limiter,” which prevents
distortion by suppressing only volume peaks.
On/Off OFF, ON
This parameter turns the compressor effect on/off.
Sustain 0–100
This adjusts the depth of the effect. Higher settings values result in
longer sustain times. Set this to a lower value when using
compression for the limiter effect.
Attack 0–100
Adjusts the strength of the attack. Larger values will result in a
sharper attack, creating a more clearly defined sound.
Level 0–100
Adjusts the volume.
COSM Comp (compressor)/Limiter
The compressor corrects differences in input to create a steadier, more
even volume balance. It is used to extend the sustain of input sounds
and, conversely, to shorten sustain and emphasize the attack portion
of sounds.
The limiter is an effect that prevents distortion by suppressing input
signals that exceed a set value (threshold). You can get the same effect
achieved with the compressor by setting the threshold at a low value.
The BR-864 uses COSM technology to model four types of
compressor/limiter in which the compressor and limiter functions are
combined.
On/Off OFF, ON
Sets the compressor/limiter to ON or OFF.
Type
Selects the compressor/limiter type.
BOSS-Cmp:
Models the BOSS CS-3 compact effects processor.
D-Comp: Models the MXR dyna comp.
Rack160: Models the dbx 160.
VtgRack: Models the UREI 1178.
Attack (with BOSS-Cmp, D-Comp) 0–100
Adjusts the strength of the picking attack when the strings are
played. Larger values will result in a sharper attack, creating a more
clearly defined sound.
Sustain (with BOSS-Cmp, D-Comp) 0–100
Boosts low-level signals, adjusting the time over which sounds are
sustained. Higher values deepen the effect, resulting in a longer
sustain.
Threshold (with Rack160) 0–100
Adjust this as appropriate for the input signal from your bass. The
compression effect is applied to input above the level set here. The
smaller the value set here, the lower the level at which the limiter
effect kicks in.
Input (with VtgRack) 0–100
Controls the input level. Increasing the value will produce a deeper
effect.
Ratio
(with Rack160)
1:1–20:1, INF:1
(with VtgRack)
4:1–20:1
Adjusts the limiter compression ratio. Higher ratio create a stronger
compression effect.
Attack Time (When set to VtgRack) 0–100
This adjusts the amount of time it takes for the compression ratio set
in Ratio to be reached once compression begins, as the input level
exceeds the set threshold level. The larger the value set here, the
more rapidly compression is applied.
Release Time (with VtgRack) 0–100
This adjusts the time from when the signal level drops below the
threshold until when the compression is removed. The lower the
values set, the more rapidly the compression is released, and the
more clearly the sound from the next string played is heard.
Tone (with BOSS-Cmp) -50–+50
Adjusts the tone. The higher the value set, the more the high
frequencies are boosted, resulting in a harder sound.
Level 0–100
Adjusts the volume.
De-esser
Useful for reducing ‘sibilant’ or ‘S’ sounds produced by a vocalist.
On/Off OFF, ON
This parameter turns the de-esser effect on/off.
Sibilant 0–100
Adjusts the sensitivity relative to the input volume, which controls
how the effect is applied.
Level 0–100
Adjusts the volume.
Defretter
This simulates a fretless bass.
On/Off OFF, ON
This parameter turns the defretter effect on/off.
Sens 0–100
This controls the input sensitivity of the Defretter. It should be
adjusted for the bass guitar you have until you get the harmonic
changes to sound natural.
Attack 0–100
This controls the attack of the Defretter. Increasing the value will
cause the harmonics to change more slowly, thus producing a
relatively attack-less sound, similar to a fretless bass.