Conference napalm::commusic_v1

Well ...

   I can't explain about the LEDs, but I can tell you how to set the
   thing up. 

   If you're going source -> MV -> whatever, set everything at 12 o'clock
   and use your ear to adjust the wet/dry mix.  If the red LED ever comes
   on for any period of time, turn the input level back a few degrees. 

   If you're going FX send -> MV -> FX rtn, set input & output levels at
   12:00 o'clock and wet/dry to full bore.  Then use FX mix on the board
   to control the wet/dry mix. 

   For what it's worth ...

8^)

    
    well, mix is like adding salt: whatever you like.
    
    a mike and your voice generates a really wide dynamic
    range. Try some sort of organ voice or oscillator that
    has output totally on....
    
    raise the volume till the meters read. If you dont get
    anything....bad MVII. 
    
    I noticed that the range and indicators arent linear TO THE EYE:
    
	clip  -------------------
    		|_________red____
    		|	  green
    		|________________
    		|
    		|   (nothing)
    		|
    		|
    	 zip  -------

    or something like that. they want lotsa signal. which leaves little
    headroom before clipping....

    meters, esp. LED meters, are kind of unpredictable. I still can't
    get the linearity of the digitech (OK, it's cheap), and the SPX90
    to match the 'scope, neither with respect to volume
    nor frequency.  The red doesn't mean it's clipping.  It
    means it's red.  But it's intended to help you keep from 
    clipping.  
Tom

    Thanks guys, I'll try all your suggestions over the hollidays,
    but this time I'll use my friend's Yamaha keboard for the input
    signal.
    
    Mark

    OK For all those that gave me help...
    
    It works. I used my brother-in-law's electric guitar with his Rockman
    on full distortion and it does fine.
    
    Thanx again.
    
    Mark

    
    old info now, but...
    
    My Midiverb II assumes a line level on the db/V scale (0db=1V),
    so the red light goes on when you get over 1 volt. If you are using
    guitar inputs directly, you are orders of magnitude down on the
    scale and probably somewhat noisy. The MVII is an excellent (and
    extremely quiet) unit and I really like it.
    
    It's also built like a brick. 
    
    /pjh
    

For calibrating equipment in radio stations, I know that a standard tone
at a standard level is used.  I think it is 1kHz at 1V.  This is used to
set recording and playback levels on tapes especially  You record the
standard tone for 15 seconds at the front of the tape, with levels set to
0dB on the tape machines meters.  On cueing for playback, you set the
playback level so that tone is again at 0dB.  Same thing is used for
setting up telephone and satellite circuits before a broadcast, etc.
For example, if you could hear the NPR satellite for the minute just
before All Things Considered came on, you would hear that tone.  (The
tone cuts off at exactly 10 seconds before the program starts.)

Sounds like this is the kind of thing the reverb wants.

    I noticed that when using my guitar my midiverb doesn't often get
    the the red even though I'm wide open on the input....when driving
    from my mixer this is not a problem...ps love the midiverb
    
    dave

    
    re: .-1
    
    That's 'cause your guitar puts out a MUCH lower signal level than
    your mixer, which undoubtedly has a preamp stage somewhere within...
    
    Midiverb II has a pretty wide dynamic range - do you hear any hiss
    when you open it all the way out? I always use mine in my mixer's
    effects loop, so I don't hear any, in fact I try to run it as hot
    as possible at the input to reduce noise.
    
    /pjh

    The MIDIverb II is the quietist piece of eqipment I have. I'ts
    great! A friend of mine just bought one and says he likes it as
    much as his PCM-60. He says he could have bought 2 MVs for thge
    cost of one PCM.
    
    Mark

    re:.9 I realized that levels were different....just responding to
    the query about the levels back in an earlier reply.
    
    Noise?? Not really except in some of the large bright reverb settings
    it gets a bit confused sounding...
    
    re: .10 wish I had two of them myself
    
    dave

While we're at it ...

   Has anyone seen a price better than $319 on the MVII?  I just might be
   getting a few toys for Christmas after all ... 

brad_the_hopeful

>   Has anyone seen a price better than $319 on the MVII? 

No, but could you say where it's available for $319? I might be
    interested in one of these too.

Thx/Mitch

RE: .13

   Sam Ash, last I heard.  Profound said they'd match it several weeks
   ago.  (I never forget a bargain. 8-) 

RE: .12

   Looks like the answer is no? 

brad

    Beats my price. I paid $329 here in California
    
    Mark
    

    Wow Sam Ash quoted me $349...real consistant eh?
    
    Profound gave it to me for $325+ tax+ shipping
    
    dave 

< Note 1028.16 by MTBLUE::BOTTOM_DAVID "Not so famous rock star" >

>    Wow Sam Ash quoted me $349...real consistant eh?

  Talk about consistency: I just called 800-472-6274 (Sam Ash's mail order
  number) and the guy said they don't carry the Alesis stuff.???
    
>    Profound gave it to me for $325+ tax+ shipping

  Do you have a number for this place?
    

Thx/Mitch

    Yeah the number is 1-800-63-sound ask for Shane
                                
    You can also try East Coast sound at (203) 748-2799 ask for Reed.
    I didn't knwo about them when I got the MIDIverb, but they beat
    the pants off Profound on the compressor I ordered.
    
    
    good luck
    
    dave

Didn't know where else to put this ... 

    Just got off the phone with Shane (back from the winter NAMM). He gave
    me the following prices: 

	MIDIverb II	$249 ($list 269) in stock next week (right)
	�VERB		$170 (list $199) ditto

    He said (and I quote), "you may wanna post these prices to the net,
    ok?".  GOOD GRIEF.

    Also, there is a "new" �VERB II out, which has 16 different sounds than
    the old unit (otherwise, they're still the same).  I wonder if we'll
    get into ROM swapping for different effects in the �VERB series (kinda
    reminiscent of Linn, no?).

    Oh yeah - Roland has a whole new LA line they're introducing.  D-10,
    D-20, D-30, etc.  Some with built-in sequencers, one unit is (get this)
    multi-timbral with a built-in disk drive (are you listening, Ensoniq?).
    Looks like the big factors in the music business are turning out to be: 

	Yamaha, with FM synths
	Roland, with LA synths
	Ensoniq, with wavetable synths
	Kawai, with additive synths

    And all mfgrs have a sampler now, right?  Where did all the analog
    stuff go? 

brad_the_rambler

    I've noticed a rather strange thing about my MIDIverb II - it doesn't
    maintain a true stereo seperation. 

    For example, I'm running stereo in to the thing.  If I cut out the left
    channel on the input, should it not also cut out the left channel on
    the output?  Or is the "pseudo-stereoizer" feature biting me? 

-b

    
    yup, you're being bit by the "pseudo-stereo" feature.
    
    Try the other input instead (I haven't)
    
    /pjh

    If you pan all the way to one side you'll still hear it on the other
    channel....this cost me a couple of bucks (to call the Aword company)
    as a cable failed between my hr and mv and I thought the hr had failed
    just one pad....the only pad that was panned all the way right....duh!
    
    dbII 

    LATEST PRICE 10/19/88 
       ROGUE MUSIC WEST 30TH IN N.Y.C
    MIDIVERB II.....$239.00
    ...................Rich Coccoli....somewhere in the bowels of N.Y.C.
    on an 11/70
    
    
    

    I just picked up a Midiverb II from Wurlitzer. Asking price was
    $269. Seems a bit on the high side perhaps due to the time of year.
    At least I got a couple cords and a set of strings thrown in.
    
    Glad I read this note because the same thing was happening to me...
    the LED wasn't going on when I input my strat directly in. Going
    in through the Rockman Sustainor first definitely turns the LED's 
    on. 
    
    This unit has really put new energy into my home recordings !
    jm

    Can anyone tell me the true concept of the stereo processing of the
    Midiverb. Can I put one signal into the left input and output and
    another signal into the right input and output, and have stereo
    seperation. Or does it mix the signals together and process it.
    
    Mike___ 

    The signals are munged internally and then fed out 2 seperate jacks.
    
    Your scenario won't work. Sorry.
    
    Edd

    I just recently got a MIDIVERB II and while I'm impressed with the
    reverb (main reason for getting it), I'm utterly unimpressed with
    the stereo things they do.  I think the chorus programs are
    really poor.  I consider the delay stuff to be useless too because
    I find that while "standard" ROM settings are ok for reverb, you often
    need to twiddle things on delay (time, mix, feedback level, etc)
    and the pitifully small number of programs they give you just
    aren't enough.
    
    On the other hand, I *LOVE* the "Bloom" program.  It has inspired a
    new method of creating pad-type sounds.
    
    So my two cents about the MIDIVERB II is that it's a great reverb
    but I don't find it useful for much else.
    
    	db

    re: db
    
    Yeah my impression too, except that I do use both the chorus and
    the flange programs on my guitar. Most of the other stuff is pretty
    useless...
    
    dbii

    Anyone seen (or heard) the QUADRAVERB yet? Its supposed to br fully
    programmable, 20k bandwith, 4 simultaneous effects.
    My local store says they should be in any time now.
    
    I have a preliminary spec sheet with more data, if anyone's interested
    I'll type it in.
    
    Ken
    

    re .28, .29
    	Don't you ever "GATE" percussion?(eg. snares and toms)  These
    are selections #30-39.
    
    I like the STEREO and WIDE STEREO selections on the MVII when I
    want to get some perceived stereo separation.  I also like others
    of the Special Effects (#90-99), but they are not predictable. 
    You seem to have to just try some of these with things: sometimes
    they work, sometimes they don't.
    
    Clusters,
    BILL ALLEN...Allen...allen.... 

    My Sholtz rockmodule chorus has a much better Stereo/wide gernerator
    than the Midiverb II
    
    dbii

    I "lump" gating in their with reverb.
    
    Although since you ask, no I do not gate percussion.  I have samples
    of gated percussion that I use.  I also don't have enough reverb units and
    efx sends to do it.  The only effect I add to percussion is reverb,
    and I double some things with a spare delay I have (especially toms).
    
    Have you heard the stereo chorus on say a Boss CE-3, or a Roland GP-8, or
    the JC-120, etc?
    
    If you haven't, that would explain your appreciation of the MV II
    chorus sounds.  If you have, I'm surprised.  I find the MV-II to
    be not nearly as dramatic, and having a bad case of the standard
    "out of tune" sounding problem that chorus units are prone to.
    
    The Roland stuff provides a dramatic psycho-acoustic effect with
    a fairly minimal "out of tune" side-effect.
    
    I wish I could play you my SQ-80 POPORG2 or my RD-300 Elec Piano I
    sounds thru my JC-120.  I think it sounds awesome.  At times it's
    hard to even tell where the speaker is with your eyes closed.
    
    I think Roland has sold a lot of Jazz Chorus amps solely on the basis
    of that builtin chorus sound.
    
    	db

    There is a (semi-)complete spec listing for the Quadraverb under topic
    1751.

    I think the "useless" accusations are a bit heavy.  While I don't use
    my MIDIverb for anything other than reverb most of the time, I find the
    other effects very useful - *when combined with another reverb*. I have
    also found that the mixer to which the unit is slaved makes a big
    difference in the way it sounds.  The M160 --> MIDIverb sounds
    completely different than my previous Peavy --> MIDIverb setup. 

    #91 is particularly useful on the guitar (IMO). 

    A slight aside - there was a writeup in the last issue of the Alesis
    newsletter that showed how to "add" a feedback loop to the delay as
    follows: 
    
	INPUT		OUTPUT
	L   R		L    R
	^   ^-------<---v    |
	|		     v
	Line in source       To mono FX rtn

    Control the amount of feedback using the MIX control, but be careful
    not to overdrive the unit.  Digital distortion is *real* ugly. 

-b

    re .33, Roland chorus.. my fave chorus of ALL TIME was the Boss
    Chorus Ensemble.. also had (useless) tremelo.  But I'd run my Fender
    Rhodes thru an old Fender spring reverb, then into the Boss chorus..
    
    lovely !

    re: "Useless" is a bit heavy-handed.
    
    I agree.  The problem is that it is "useless" from my perspective,
    or more simply "useless to me".  I didn't make that clear.  Apologies.
    
    That is, *I* would never use it because there is something much better
    available.
    
    Now, I'm really not sure I would use the MV II as a chorus unit even
    if I didn't have something else available to me anyway.  As I said,
    I think it has an "out of tune" effect that takes more away than it
    adds.
    
    Let me put it this way: I would not buy the MIDIverb II for any
    purpose other than reverb.
    
    
    > I have found that the mixer to which the unit is slaved makes a
    > big difference in the way it sounds.
    
    That is a very surprising statement.  
    
    Do you have any theories about why this is so?
    
    I mean assuming that we're talking about even just "decent" quality
    mixers, and you don't have something like an impedance mismatch
    in your efx loops, AND you are mixing them the same way I can't
    think of much explanation for this.
    
    I've been demoing a lot of mixers recently (I need more channels and
    more sends than my Kawai has) and its been my experience that the
    main difference in mixers across the quality dimension is noise.
    That is, I haven't noticed that cheap mixers "color" the sound
    in any significant way.
    
    	db

    re .33, .35 - yes, Roland choruses rule.  I have two CE-300 Boss
    Super-Choruses on the outputs of my Super Jupiter, and the sound
    is phenomenal, except for the modulation of the clock noise from
    the programmer...  I also have two Boss RCE-10 Chorus/Ensemble units,
    and they sound pretty nice too.  All four of these units are stereo
    (not just "out of phase fake stereo"; each side is separately
    modulated). 
    
    One of these days I'm gonna plug the "Rick-o-sound" (stereo) output
    of my Rickenbacker 12 string electric into two stereo choruses and
    send the output to four amps.
             
    len.
    

    Len,
    
    Are any of these Chorus units that you've mentioned rack-mountable?
    
    BTW, I'm aware of 3 kinds of chorus that get billed as "stereo"
    chorus:
    
    	1) One side is dry, the other side is modulated delay
    
    	2) Actual signal is mono, one side is in phase,  other side
    	   is out-of-phase
    
    	3) Both sides are modulated but are modulated 180 degrees out-of-phase,
           (or anything that cause them to be modulated DIFFERENTLY).
    
    I believe that the MIDIverb is in the 2nd category.  Choruses in that
    category to sound "thin" and the stereo effect is almost nil.
    
    I believe that the Roland units are in the third category.  Choruses
    in this catagory are almost uniformly dramatically better for the
    following reasons:
    
    	o They don't alter the basic sound much.  They basic just "expand"
          the sound.
    
    	o They are less prone to sound "out of tune".  If they are
    	  modulated 180 degrees out of phase you can use half as much
    	  modulation to achieve the same effect as mixing ONE modulated
    	  signal with a dry signal.
    
    	o The psycho-acoustic properties (not being able to tell where the
          sound is coming from) are more dramatic.
    
    Obviously, these kind of devices are more expensive.  You need two
    D/A converters (or the analog equivalents) instead of one.
    
    They're worth it.
    
    	db

    The best chorus I've ever owned was an Electra stomp box, not stereo
    not fancy not expensive. but it absolutely blew away the comparable
    Boss non-stereo unit (or the stereo one running in mono), alas I
    tore it to shreds trying to replace the input jack (had to drill
    out the hole, drill jammed unit spun rapidly, parts flew everywhere,
    dave got a blood blister etc..)
    
    The midiverb chorus is ok, I use it (patch 61 & 62) sparingly, I
    did notice the out-of-tune syndrome on most of the patches.
    
    My roland digital delay, back when it used to work, had a pretty
    good chorus too, but nowhere near as nice as my old stomp box.
    
    Rockmodule chorus is a stereo with a dry out and a modulated out.
    I run it in wide mode with very little chorus (controls set to minimum)
    and use it as a stereo 'field' generator, it's considerably better
    at that than the MVII.
    
    dbii

RE: whyzit sound better w/ another mixer?

    I honestly don't have any idea.  I just know that it sounds *much*
    better with the M160 than it did with any other board I've ever used
    (Biamp, Peavy, etc). 

    Of course, the boards were in pretty bad shape, so it's possible that I
    was getting some noise that I shouldn't have.  Like I said, one
    man's opinion.

    I wonder if the Quadraverb will implement "true" chorusing ... I know
    that what they call "pitch shift" isn't really "pitch transposition",
    as the marketeers would like you to believe. 

-b

    re .38 - both the CE-300 (full width, but no longer available)
    and RCE-10 (half width) are rack mountable.  Both are "type 3" by
    Dave's taxonomy.  The RCE-10 includes an onset delay.
    
    len.
    

    > The RCE-10 includes an onset delay.
    
    My Roland GP-8 manual has a "pre-delay" parameter in the chorus
    section.  Like most Roland manuals, it explains how you can change
    "it", but not what "it" is or does.
    
    What is an "onset delay" and what is "pre-delay"?
    
    Are they the same thing.
    
    	db

    I dunno about onset delay, I still haven't mastered piggin
    japoneeze/engleesh
    
    pre-delay is a bit of straight delay used primarily to thicken your
    sound prior to other time domain signal processing, most notably,
    reverb. Usually a value around 50msec is sufficient to enhance the
    thickness of a reverb patch. For the record I rarely bother.
    
    dbii

    Yeah, onset delay (my own term, not Standard Rolandish) is the same
    as predelay.  It works like the delay parameter for LFO modulation;
    the incoming signal isn't chorused immediately; the chorus effect
    doesn't start until after the delay.  I don't know how big the delay
    range is, or how it's actually implemented (just sticking a delay
    in the "wet" signal path" wouldn't have the desired effect, as you
    want the effect to stop when the input stops, not a little while
    later).  I haven't fooled around a whole lot with this parameter;
    I guess the main thing it would get you is to keep the chorus effect
    from screwing up (i.e., blurring, as chorussing is a time domain
    effect based on delay) your attack transients.
    
    Predelay with respect to reverb affects the apparent "size" of the
    simulated room.  The bigger the room, the longer it takes before
    you hear the first reflections.  Long predelays can give you that
    "slapback" effect.
    
    len.
    

    I am having a problem with my ALESIS MIDIVERBII. The overload light is
    on all the time as soon as power is turned on. Does anyone have any
    ideas what could be wrong. Does anybody have a schematic for this unit,
    could you send me a copy.
    
    my mail stop is ,martinez nks200 2-g7
    dtn 291 7904

    > ideas what could be wrong?
    
    Yeah, it's broke. I had one do exactly the same thing within hours
    of new, retail purchase. Luckily, the store exchanged it without
    batting an eyelash...
    
    Hey, where'd you buy it??
    
    Oddly enuf, the OVD light on was the only symptom mine exhibited. No
    digital overload grundge...
    
    Edd

    I think you'd be better off calling Alesis than trying to muck with it
    yourself.  Alesis is usually pretty good about fixing things for free.
    All you should have to do is pay the UPS shipping to California. Turn
    around time is usually less than 3 weeks. 

    Their number is 213-467-8000.

-b

    
    
    My Midiverb II did the same thing around the time Edds did.
    I brought it back and they exchanged it with no hassle.  Did you
    buy it recently?
    
    Ralph
    
    

    THANKS AMIGOS FOR ALL THE HELP. I CALLED ALESIS AND THEY ARE GOING TO
    FIX IT FOR FREE. GRACIAS OTRA VES.
    
    GUS

    
    
      Here's a good one for ya..
       
      When I originally got my MVII, it didn't have a wall bug in the
    box. They handed me one,(said Alesis on it) and I took it home.
    Worked fine for 2 years until last week, when the adapter started
    getting **real** hot and finally went to lunch with a wonderful
    sound I'm still trying to synthesize.
    
      I look at the wall bug and it says:
    
         100 volts,50 Hz.    "Yikes" I sez.
    
      Is it supposed to be this rating, or did the dealer slip me the
    wrong wall bug?????????.
    
    Ps: the MVII is still ok, since I plugged my MMT8's bug into it
    and it works fine.
    
      I sort of remember reading a note about some Alesis device running
    with a weird adapter, but can't find it.
    
      Please reply soon. I miss my MVII.
    
                                            Rich
    
     
    

    Just checked mine....
    
    60hz, 13W, 7.5VDC
    
    My HR16 and MVII both use the same one. Well, not the same one, but
    identical ones...
    
    Edd

    100 V, 50 Hz?  Sounds funny ...  I'd at least put a VOM on the output
    to see what's really coming out.  If you see 100V, probably not a good
    idea to hook it to yer MVII.  Wouldn't worry about the 50 Hz.  Even
    though that smacks of a European spec (versus 60 Hz), I don't think it 
    makes much difference with low-current, low-voltage, full-wave bridge 
    rectified, cheapo wall bugs.  
    
    Steve

    100/50 is eastern Japan (They use 110/50 on one coast and 120/60 on the
    other coast.  Cute, eh?)
    
    Try a Jap Shack Universal wallbug...  and no, it probably didn't make
    much difference that the 100/50 was getting 120/60; spec on those
    critters is pretty wide.
    
    	-Bill

re: .51
    >>    Just checked mine....
    
>>    60hz, 13W, 7.5VDC
                     -- 
>>    My HR16 and MVII both use the same one. Well, not the same one, but
>>    identical ones...
    
>>    Edd
    
    Hmm... My HR16 uses 7.5V*AC*.  I know Alesis can be strange, but ???
    
    Rodney

    Maybe I made a typo???? Hafta check...
    
    Edd

    Semiconductors don't work too good on AC.  I strongly suspect the
    wall bug's output is DC.
    
    The 50 Hz vs 60 Hz is probably not significant for nonelectromechanical
    widgets (especially nonmotors!), but feeding 120 V into something
    rated for 100 V is probably going to stress it a bit.  If the internal
    transformer is desigend to supply 7.5 V given an input of 100 V,
    then 120 V is going to result in 9 V, and unless there's some clamping
    circuitry in the bug, that might stress the consuming unit.  If
    there is, then those diodes might get tired after a long stretch
    of 20% overload.
    
    len.
       

    I have problems getting to work, too.
    
    karl

     a thought,,
    
           The output of a wall bug COULD be AC. The wall bug could contain
    just the step down xfmr and the rectification/filtering done on the
    unit.
    
    Frank

    re .58 - true, but most unusual, and given the more or less
    conventional connector design (except of course for polarity),
    an invitation to trouble.  I suspect Alesis contracts out its
    wall bug, so I'll bet its output is DC, just everyone else's.
    But, I'll check mine tonight just to be sure.
    
    len.
     

	The MMT-8 and the Micro-Verb both used wall bugs that output
	AC, not DC. I don't own the MicroVerb anymore, but the MMT-8
	has been running fine with AC input for over a year. The MMT-8
	has a Voltage Regulator & capacitors/diodes/etc on the mother
	board. so, this implies that it would work with either AC or DC
	wall bugs.

								Jens

    T'is indeed A.C.
    
    I stand corrected.
    
    Edd

    
    New products from Rane also use AC wall bugs. There is also a 1U power
    supply you can get which will power umpteen Rane devices in the same
    rack w/o wall bugs.
    
    CdH
    

    Well, I stand corrected.  Extraordinary idea.  Makes a certain amount
    of sense, I suppose, just outboard the transformer, the bulkiest
    and hummiest component of the power supply.  Now if we could just
    get everybody to agree on a standard power supply voltage, so everybody
    could get on Rane's bandwagon?  Power distribution center, anyone?
    
    len.
    

    (insert smiley faces)
    
       Here is what we really need:
    
    1) Boston Edison to distribute regulated 5V and 12V DC everywhere.
       Much equipment would shrink to less than half original size.
       However, power cables coming into buildings/houses would be
       huge. 8^)
    
    or
    2) AC logic. The HELL with DC. We need a new TTL that runs off of 120VAC
       power. 8^)
    
       Frank (power supply designer..can't you tell?)
    
    

    
    Rane Corp. has been driving this effort for about a year now. 30
    companies have signed up so far. The AC is run over 4 wire flat cable
    with modular connectors very similar to standard telephone hookup.
    
    Rane has also pushed a standard half-rack format which 8 companies have
    signed up for. Modules can be mounted side by side or vertically.
    
    CdH
    

            Well....
    
      Went to two Rat Shacks in search of the elusive 60hz,13w,7.5vAC
    adapter without any success. Closest they had put out 12v AC.
    Not really interested in seeing if my MidiverbII will be baked to
    a crackly crunch or fried to a crispy crunch....
    
        I'll just send the original adapter to ALesis.
    Thanks to all............................................Rich
    

    I remember reading somewhere that Alesis' wall bugs are totally
    non-standard ... don't remember the details, except that the only way
    to get a good/new one was to get it from Alesis. 

    Standard disclaimers regarding brain death apply ...

-b

    
    
      Finally got it replaced. From Rogue, where I bought it. After
    "waiting for the shipment". 
       I was the last one to get a replacement free I was told.
    They now go for $24.95 per bug.
    At least this one says" 120v,60 HZ".
    
    
    
    RC
    

I've been playing around with different configurations of my 
taping set up, including my guitar and drum pads to tape set up,
and need some help.

Taking just the guitar, I've been using a midiverb II which seems
to add an awful lot of noise into the signal...not noise like grounding
problems, but noise from what must be midiverb circuitry or patches.
Under headphones, you can clearly (all too clearly) hear exactly 
when the effect kicks in or gates in a few of the patches,
not all of them, but some of them. The "noise" may actually be
in more of them than I think but it's not as noticeable in all of the patches
(if it's there at all).

I was kinda surprised that earlier replys to this said how clean the
box was...well, it is clean compared to stomp boxes I have, and it sounds
clean without headphones, but I even remember Edd having this same
phenomena occur in his rig. (So like, Edd, what did you do to clear it?)
It is noiseless when no effect is active.

Is there a way out of this? I have a sonndheim eq (like 13 bands on
each of two mono channels) that I've used to cut some of the noise
around the 2k to 4k level, but it cuts more of the value of the
tone than I'd like (assuming I reroute through the eq after the midverb).
I don't like going to eq after the midiverb, I've been typically using it 
inline before the midiverb figuring it made sense to eq the tones from the 
instrument(s) before adding midiverb effects or whatever.


thx for any help.

...and no, it's not the eq or other devces.
bypassing the eq entirely (cabling around it)
still leaves the...uh...white noise on some of
the patches.

    I've bleeves the noise (I know exactly what noise you refer to) is
    quantization error, as it only occurs at the tail end of the signal.
    
    I didn't get rid of it. 
    
    Edd

I've been looking at compressor/limiters lately, a lot of which include a noise
gate. Not having used one (yet!), I don't know if this is a viable solution to
your problem.

Maybe others could comment.

Bob 

    Yo, Butch... I posted basically the same advice in that 'other
    conference'.  There indeed is some white noise artifact at the end of
    ANY digital reverb.  You can minimize the noise and maximize the S/N
    ratio of any effects device by making certain that the incoming signal,
    usually an aux or effect send on a mixer, is set as high as possible
    short of clipping or distortion within the unit.  Then just reduce the
    gain on the effects return.  
    
    karl, still using a MIDIverb *I*..

I'll try raising or maxing the incoming signal to see what that does.
I'm not sure a gate would change it. If I can find something for a loaner
then I'll try that too.
Letcha know...

    After reading this, I went home and tried putting mine thru a couple of
    "noise" tests ...
    
    If the output level is all the way up, the thing makes LOTS of noise. 
    If the output level is set around noon-2o'clock, the noise is minimal.
    
    I had mine in for some noise-related repairs back when Alesis used to
    service their gear for free ... they made it worse, not better.  Be
    that as it may, the thing is still very usable - not as quiet as the
    Quadraverb, but still quiet enough for quiet acoustic passages.
    
    BL: Suggest that you set output to 1pm, adjust input level until you
    get clip, back off a slight amount (until clip goes away) and fiddle
    with MIX (start at 50%).  Good luck.
    
+b

re .last et al,
last night I did some more playing around with my set up.
I spent more time in patch 57 (triggered flange, if I remember correctly)
and was more horsing around than trying to get back to fixing the "noise"
problems I heard in the reverb patches and regen patches.
I noted one interesting thing using 57, tho - setting the mix at about 2:00
gave the best results - mondo deep and (almost too) thick effect. Setting
it up to 4:00 (or all the way up, in other words) made the effect disappear
completely. I think I was noticing the noise more when I pushed the mix
most the way up (esp in regen patches, even the "bloom" patches - 47 and 49
(again - if I'm remembering the numbers correctly)). In  keeping with some
previous suggestions from Karl et al, I boosted input more, kept the output
on the unit at about 10 o'clock, and I didn't notice any noise (as much, if
at all).

I didn't go back to play with the bloom patches with the mix set all the way
up while the input was boosted - I'll try that tonite. The effect of doing
this (as many of you guys already know) can give you a real pleasing volume
pedal effect (sort ah) (as long as you're playing slow notes) but here was
o ne place I'd get a slight rise of noise before the tone came in that was
kind of aggravating. I can live with it, but thought it abnormal. I'll try
more tonite...

thx for the feedback. 
(is that kind of a joke?!?)