User manual TRACE ELLIOT SMX DUAL

[. . . ] Fast attack for the High frequencies and Slow attack for the Low frequencies. Two input filters are used to split the signal into its High and Low frequency components, the output from these feed the High and Low compressors. The EQ BALANCE control sets a crossfade between the output of the two compressors and provides an extremely versatile and entirely new form of powerful tone control. See BLOCK DIAGRAM below:HIGH COMPRESSION INPUT INPUT LEVEL HIGH PASS FILTER FAST ATTACK COMPRESSION EQ BALANCE OUTPUT LEVEL INPUT LOW PASS FILTER LEVEL LED SLOW ATTACK COMPRESSION LOW COMPRESSION The SMX PEDAL can increase sustain on any note or harmonic, smooth out playing dynamics, add definition to fast runs, provide a switchable volume boost, provide a wide range of EQ's that are easily and instantly adjustable, provide HIGH or LOW compression or any combination of the two and can function in the effects loop or on the front end of any amplification system. 3 We at TRACE ELLIOT consider that one battery of 9 volts does not give sufficient headroom in the circuitry for the peaks in the signal from your instrument, so as not to compromise the signal integrity the SMX PEDAL uses two 9 volt batteries to give an internal power supply of 18 volts. Connections and controls Power to the unit is supplied from the two internal 9 volt batteries or from the D. C. [. . . ] If the slower attack is used on the high frequencies any initial transient will get through unchecked and subsequent transients will disappear as the low bass compression would not have had time to recover, i. e. the release is too slow for the high frequencies. 5 Low compression The LOW frequency compressor acts upon the low pass signal only. Applying the compression to the LOW PASS gives a fat bottom end to the sound without losing the upper frequency attack characteristics of the note. It is somewhat of a less processed sounding effect than full range compression but works extremely well in smoothing out bass signal peaks allowing a far greater volume of amplification to be used without the risk of speakers flapping. You will also find a degree of LOW compression will add definition to your playing, bringing out the notes within a run without loss of the upper dynamics. As the compression control is advanced and compression is applied to the signal the overall level of volume is compensated for, if this were not done then adding compression would have the effect of reducing the volume of the sound as the available dynamics are reduced. The compression within the SMX PEDAL has been added as a means of creatively modifying your bass sound and as such becomes part and parcel of the overall sound character that you create, and not merely as an effect. By turning either compression control to its fully anticlockwise position removes all compression from the sound without significantly altering the overall volume. High compression The HIGH frequency compressor acts upon the high pass signal only. The HIGH COMPRESSION should be used with care as it is directly affecting the attack portion of the bass sound, this can be used to good effect but moderation should always be exercised when applying the high compression. As the compression control is advanced and compression is applied to the signal the overall level of volume is compensated for, if this were not done then adding compression would have the effect of reducing the volume of the sound as the available dynamics are reduced. However in the case of the HIGH compression circuit this means that when no signal is present then additional gain is added at high frequencies. The more the compression control is advanced the more additional gain. This in itself presents no problem as the electronics within the SMX produce very little noise. However if 6 you are using an active bass you may well find that adding high compression adds significant levels of HISS to the sound, this HISS is coming from the active electronics within your bass, this can be proved by unplugging the instrument from the SMX input socket, and the HISS goes away. Using a passive bass with the SMX will produce none of these problems. The two compression circuits can be set individually to produce some useful sounds, i. e. with LOW set to about half to tighten up the bottom end of the sound, the HIGH can be varied in conjunction with the EQ BALANCE control to produce a variety of different attacks to the note to suit many different styles of playing. EQ balance This is an entirely new concept in terms of a means of EQ adjustment. The signal entering the SMX PEDAL is a full range mono signal, this is then split into two with one part containing the HIGH PASS (upper frequency) content of the signal and the other part containing the LOW PASS (lower frequency) content of the signal. Both parts pass through their own separate compression circuitry and then on to the EQ BALANCE control. Here they are re-combined into a single full range signal once again that contains a mix of the HIGH and LOW frequencies in proportion to the setting of the EQ BALANCE control. [. . . ] Lift the battery body from the outside edge of the unit to remove either battery. Always replace both batteries at the same time and when inserting the new batteries observe the polarity of each one by referring to the diagram printed on the bottom of the unit just above the battery compartment. For maximum life always use high power type batteries, this should then give you useful working life of approximately 75 hours. Remember to always unplug the INPUT jack to the unit when not in use to conserve battery life. [. . . ]