There are nine different reverb modules in the Reverb FX Module category. You get ExaVerb, VeraVerb, GigaVerb, GigaVerb+, BigVerb, MFX Reverb, Stereo GigaVerb, Stereo Big Reverb, and Gated Reverb. Some of these reverbs are of higher quality than others, and the best quality reverbs take up most of the "algorithm" memory available. So, if you just want to build a good reverb program, use the best reverb module. If you're building a multi-effect algorithm, select a lesser quality reverb in order to have enough algorithm memory left for other modules. The TSR-24S uses 24-bit processing, and the reverbs sound great. You get the usual multitude of parameters you'd expect from a high quality digital reverb box.

There are seventeen Delay FX Modules. Four Mono Delay modules provide a Mono in/out 1-tap delay with delay ranges of .5, 1, 2, and 5 seconds. Again, the greater delay range used, the more algorithm memory used; so, when creating an algorithm, select the module that most efficiently uses memory while providing the desired effect. There are three Stereo Delay modules with delay ranges of .5, 1, and 2 seconds. Four 2-tap Delay modules and four 4-tap Delay modules provide delay ranges of .5, 1, 2, and 5 seconds. There is a Modulated Delay - Mono input/output 1-tap delay, and a Stereo Modulated Delay - stereo input/output 1-tap delay.

There are five Chorus FX Modules: 1) Mono Chorus - 1-input/1-out chorus; 2) Dual Chorus - 1-input/2-output dual chorus; 3) 4 Phase Chorus - 1-input/4-output 4-phase chorus; 4) Stereo Chorus - Stereo input/output chorus; and 5) Stereo Dual Chorus - Stereo input/quad output dual chorus.

There are twelve Pitch Shifter FX Modules. You get a 1-voice pitch shifter, a dual-voice pitch shifter, and a stereo 1-voice pitch shifter. There are five "detune" modules more useable as effects for a musical instrument. You get a mono and stereo arpeggiator which is nothing more than a pitch shifter in the feedback loop of a delay. Finally, there are two "Whammy" modules. These offer pitch shifting with the pitch being controlled in real time using a pedal, modulation wheel on a synthesizer, or some other controller. In radio production, it seems the pitch shifters in effects boxes are used most to pitch a voice either up or down to create a variety of character voices and voice effects. The pitch shift range on the TSR-24S is plus or minus two octaves and is as clean a pitch shifter as I've heard.

There are five Sampler FX Modules providing a variety of mono and stereo configurations with sampling times ranging from one second to five seconds.

There are ten Equalizer FX Modules. You get a high-pass filter and a low-pass filter, a 6-band, 10-band, and 15-band graphic equalizer, a 1-band and 3-band parametric equalizer, a 5-band parametric equalizer with shelving high and low EQ, a band-pass filter, and a notch filter. This is really all the EQ you could ask for in a multi-effects box!

There are four Flange FX Modules. Mono Flange is 1-input/1-output. Dual Flange is 1-input/2-output. 4 Phase Flange is 1-input/4-output, and Stereo Flange is stereo input/stereo output.

The seven Modulation FX Modules include a Mono Tremolo, Stereo Tremolo, Auto Panner, Mono Phaser, Stereo Phaser, 4-voice Phaser, and the 4-Way Auto Panner which is a 1-in/4-out panner.

The "More" FX Modules category provides mono and stereo noise gates, mono and stereo "S-DISC Silencer" noise reduction modules, mono and stereo "ducker" modules, two "wah-wah" effect modules, and a phase invertor module.

On the Soundstage

Her VERY FIRST commercial...ever!
Ashley Pierce, Kaden Hawkins


December 01, 2005 12806
Yaman Coskun, Creative Director/Sales, Clear Channel, Washington, D.C./Baltimore By Jerry Vigil When you’re truly passionate about this business, it seems there’s no limit to what you can do. Yaman Coskun is a prime example....