Bryan Pringle v. William Adams Jr et al

Filing 198

DECLARATION of Bryan Pringle in Opposition to MOTION for Summary Judgment 159 filed by Plaintiff Bryan Pringle. (Attachments: # 1 Exhibit 1, # 2 Exhibit 2, # 3 Exhibit 3, # 4 Exhibit 4, # 5 Exhibit 5, # 6 Exhibit 6, # 7 Exhibit 7, # 8 Exhibit 8, # 9 Exhibit 9, # 10 Exhibit 10, # 11 Exhibit 11, # 12 Exhibit 12, # 13 Exhibit 13, # 14 Exhibit 14, # 15 Exhibit 16, # 16 Exhibit 17, # 17 Exhibit 19, # 18 Exhibit 20, # 19 Exhibit 22, # 20 Exhibit 23, # 21 Exhibit 25, # 22 Exhibit 27, # 23 Exhibit 32, # 24 Exhibit 33, # 25 Exhibit 34, # 26 Exhibit 35, # 27 Exhibit 36, # 28 Exhibit 37, # 29 Exhibit 38, # 30 Exhibit 39, # 31 Exhibit 41, # 32 Exhibit 42, # 33 Exhibit 44, # 34 Exhibit 45, # 35 Exhibit 46, # 36 Exhibit 47)(Holley, Colin)

EXHIBIT 14

Section 5 — Effect Concepts
SMALL ROOM
LARGE ROOM
HALL REVERB2
SMALL PLATE
LARGE PLATE
REVRSE REVRB
REVRSE REVB2
GATED REVERB
NLIN REVRB 1
NLIN REVRB 2
NLIN REVRB 3
MULTITAP DDL
EQ+DELAY LFO
VCF+DISTORT
GUITAR AMP1
GUITAR AMP2
GUITAR AMP3
SPKR CABINET
TUNABLE SPKR
EQ+CHOR+DDL
EQ+VIBR+DDL
EQ+FLNGR+DDL
EQ+TREM+DDL
PHASER+DDL
8-VOICE CHOR
PITCH SHIFT
PITCH+DDL
FAST PITCHSH
EQ+CMPRESSOR
EXPANDER
KEYED EXPNDR
INVRS EXPNDR
DE-ESSER
DUCKER
RUMBLE FILTR
PARAM EQ
VAN DER POL

4

ASR-10 Musician’s Manual

An ambient room reverb
A room reverb with larger ambience
This hall reverb offers a large acoustic space
A tight sounding plate reverb
Simulates a larger plate reverb
A reverb that gradually increases, simulating a backwards sound
Like REVRSE REVRB, this algorithm will retrigger by a
controllable input signal level
The popular gated reverb sound
Non linear reverb with a short duration time
Non linear reverb with a long duration time.
Similar to NLIN REVRB 1, with less stereo movement
Four independent controllable delays
A stereo delay with LFO modulation
Combines a voltage control filter and a raspy distortion.
The warm sound of a Hard Rock guitar amp
The “bluesy” sound of a guitar amp
An inverse expander with a bright distortion amp for lead sounds
Simulates an open back speaker
An EQ controllable speaker sound
EQ with chorus plus digital delay
EQ with vibrato plus digital delay
EQ with flanger and digital delay
EQ with tremolo and digital delay
Phaser with a digital delay
A rich chorus with eight different voices
Splicer type pitch shifter
A pitch shifter and a digital delay
Pitch shifter designed for pitch correction
EQ with a compressor
Performs downward expansion of input signals
An expander that is triggered from another source
Creates sustain by expanding low signal levels
Compresses sibilant frequencies
One signal controls the volume of another signal by compression
High pass filter in cascade with a low pass filter
Minimum phase four band parametric EQ
Adds synthetic high harmonics, brightening the overall sound

Selecting Effects

Section 6 — Effect Parameters

ROM-26 EQ + DELAY LFO
EQ + DELAY LFO features a stereo digital delay that provides LFO modulation of a wide range
of delays. This algorithm sounds great with an electric piano, but try it with any source!

EQ+DELAY LFO Signal Routing

Regen
Damping
(LPF)

BUS1 Left
BUS2 Left
BUS3 Left

Left
Delay

EQ

Input Level Trim

BUS1 Right
BUS2 Right
BUS3 Right

Cross
Regen

L

Main
Outputs

LFO
Output Level

EQ

Right
Delay

Right
Delay
Input
(On/Off)

Damping
(LPF)

Regen

R

The BUS1, BUS2, and BUS3 MIX parameters can be routed into the effect with different Dry/Wet
mixes.
The parameters available for this algorithm are:
DLY TIME L
Range: 0 to 845 ms
This parameter determines the amount of time between the input signal and the left delay
output.
DLY TIME R
Range: 0 to 845 ms
This parameter determines the amount of time between the input signal and the right delay
output. Set this differently from the left delay time to achieve dotted 1/8th note type effects.
LFO RATE
Range: 0 to 99
This parameter controls the rate of pitch modulation which is the LFO. To achieve a chorusing
effect, this rate must be very slow.
LFO WIDTH
Range: 0 to 99
This parameter controls the excursion of pitch modulation. Since the rate is usually very slow,
then the width is usually large.
L/R LFO
Range: OUT-OF-PHASE or IN-PHASE
When this parameter is IN-PHASE, the left and right choruses will modulate their detunes
together. When set to OUT-OF-PHASE, the detune on the left channel will go up while the
detune on the right will go down.
DELAY REGEN
Range: -99 to +99
This parameter controls the amount of regen (regeneration) applied to the delay time taps. The
sign of the value determines the polarity of the regen.

Edit/Effect Parameters

13

Section 6 — Effect Parameters

ASR-10 Musician’s Manual

DLY CROSS REGEN
Range: -99 to +99
This parameter allows you to feedback the delayed signals to their opposite sides; the left voice
crosses to the right voice, and the right voice crosses to the left voice. A setting of +99 or -99 will
cause infinite delay. Be careful, if the delay regen is set too high, it may cause this parameter to
“blow up.”
REGEN DAMPING
Range: 0 to 99
This parameter adjusts the cutoff of a low pass filter on the feedback signal, which controls the
amount of damping to the feedback signals. The higher the number, the more the signals are
damped.
R DELAY INPUT
Range: OFF or ON
This parameter disables the input into the right side delay line. The right delay line will still get
input from the DDL CROSS REGEN. This allows a ping-pong delay effect.
R OUTPUT LEVEL
Range: 0 to 99
This parameter controls the right output signal level.
BASS FC
Range: 0 to 1000 Hz
This parameter sets the cutoff frequency of the lower frequency band shelving filter.
GAIN
Range: -48 to +24 dB
This parameter sets the amount of boost or cut applied to the low shelving filter.
TREBLE FC
Range: 1KHz to 15KHz
This parameter sets the cutoff frequency of the high shelving filter.
GAIN
Range: -48 to +24 dB
This parameter sets the amount of boost or cut applied to the high shelving filter.
EQ TRIM
Range: -24 to +0 dB
This parameter allows you to adjust the input volume of the EQs to eliminate the possibility of
clipping boosted signals.
MOD SRC 1
MOD SRC 2
DST 1
DST 2
MIN 1
MIN 2
MAX 1
MAX 2
These parameters are explained in detail in Section 5 — Effect Concepts.

14

Edit/Effect Parameters