Rocktron xpression manual german

All user reviews for the Rocktron Xpression. Product presentation Description. Reviews 5 5. Classified Ads. Write a user review Not satisfied with those reviews? Request a new review. Our members also liked: Eventide Modfactor. Average Score:. Write a user review. Value For Money : Excellent. I have it sold after several months, I bought a blindly thinking that it was an evolution of the Intellifex.

Certainly the effects are numerous, but very questionable quality from 4 effects offered by its big brother the Intellifex. It's cold, it sounds digital But it's true that you can do many things with it. Everyone can choose from 11 low-quality effects the X Pressure , or a few much better effects Intellifex.

All classic effects see other reviews. I do not know if you can edit them on pc. It's all digital, but very good and transparent. Complete connectivity twelve o'clock etc I use it with a JMP1 all in a tube amp ampeg govt and it works perfectly.

I intend, however, to part with a G major for two more expensive but more complete it is mainly for the harmonizer. For fans of noon, perfect, easy programming, delay effects, flanger, compressor, chorus, finally wholes necessary to pretty guitar sound effects.

Analog, numrique, lamp Finally, it is a little fuzzy in the manual, but I understand, some effects such as Hush, the comp, EQ and Speaker-Sim seem to work in analog while the rest worked numrique. But there are clearly two modes of operation that allow or not the use of certain effects.

This seller has not set a shipping cost for Germany. Please contact them to ask about shipping. This versatile effects processor has not only been designed for guitarists and bassists, but also for the home studio owner. Rocktron have been designing and building high-quality effects for guitarists for longer than I can remember, and the Xpression continues that tradition. The 1U rackmount Xpression can run up to 10 effects simultaneously and, as with some earlier Rocktron products, the clean portion of the signal patch may be kept in the analogue domain to avoid the tonal change that guitarists seem particularly averse to.

However, to use the in-built noise reduction system on the dry sound, it's possible to select a digital clean signal path when needed. Another very welcome feature, especially in live performance, is that the delay and reverb effects can continue to their natural conclusion when patches are changed, so there are no unwelcome abrupt changes as the reverb gets chopped off mid-flow.

This is accomplished by separate Spillover settings for the delay and reverb within the patch parameters. Provided that you organise your patches so you switch from a patch featuring delay to one that doesn't as opposed to switching between two patches with totally different delay settings and delay times life should go smoothly. But now that RAM and DSP chips are so cheap, it shouldn't be too much to ask that serious processors, as this purports to be, should be able to handle completely seamless transitions quite regardless of the effect settings, without having to suffer effect truncation or limitations on the effect settings.

As the unit is intended for live use as well as studio applications, it has a real-time tap-tempo function and it also includes Rocktron's own Hush noise-reduction system to reduce background noise present in the input signal. This comes before the effects, so it won't affect reverb tails or repeating delays and may be applied to the dry signal if the digital dry path is selected in the Global menu.

Another very important feature for bass players in particular is a selectable high-pass filter section that works like a crossover to limit the low frequencies being fed to the effect section.

This is important, because certain effects can really rob a bass of its punch, so being able to keep the bottom octave or two intact by limiting the processing to above a certain frequency is a big advantage. The low cutoff can be set to 80Hz, Hz or Hz, which should cover both bass and guitar requirements. Processing is courtesy of a bit Motorola DSP chip. The rear-panel connectivity of the unit comprises stereo inputs on quarter-inch jacks, though a mono source may be connected to the one marked Mono if needed.

There are also what appear to be two power input jacks, but in fact one is for the power and the other is to feed power to a Rocktron floor controller. The two sockets are identical, but are internally linked so that plugging into the wrong one shouldn't cause any nasty surprises.

Other than the fact that power comes from an external adaptor, the Xpression looks extremely solid and professional, with a straightforward if not exactly streamlined operating system to match.

The front panel sports just four detented programming knobs and four buttons, plus two level controls Input and Output in addition to a large, character display window.

Selecting one of the factory presets is simply a matter of turning the preset knob until the desired preset shows up. However, Rocktron have their own series of floor controllers specifically designed for use with their products, which run from the power socket on the back of the Xpression and so need no additional power supply.

Essentially you dial up the parameter you want to control from a menu of available parameters, then dial in the controller number you'd like to use to control it. You can also set limits on the control range of relevant parameters, and sets of controller assignments can be copied independently of other patch data for use in other patches. MIDI may also be used for program changes, and there's the facility to create a program change map so that you don't have to move your presets around to make them match the patches on other MIDI devices you may have in your system.

And of course you can use SysEx to dump or load any or all of the Xpression patches. The MIDI channel may be set to any number between one and 16, with a choice of Omni mode if you'd like the Xpression to respond to all incoming channels. Overwritten factory patches can be restored from the front panel, and this can be global or on a per-patch basis. Editing presets is almost as simple: turn the Function Select knob to locate the target Effect or Utility function, use the Parameter Select knob to find the parameter you wish to adjust, then change its value using the Parameter Adjust knob.

Pressing Store saves the changes, and all factory patches may be overwritten, modified and renamed where necessary. A Compare button is available to compare the difference in sound between the original patch and the edited version prior to saving. On the review model, the detented Function control was somewhat stiff, but as the others were OK I'm assuming this was an isolated fault. One of the effects is speaker modelling, with a choice of speaker sizes from eight to 10 inches, and also some miking options to provide a greater choice of tonal colour.

The effects types listed in the 'Xpression Effects Blocks' box are mainly variations on the standard delay, modulation, reverb, and pitch themes we've all come to know and love, but don't let that put you off, as Rocktron deliver these effects with style. All ten effects sections can be active at once if you wish, and patch changing is fast and smooth with no embarrassing mutes or glitches.

Instead of a single mix parameter, there are separate left and right direct-level adjustments as well as an effect level adjustment, and it's in the mixer section where you decide whether the dry portion of the signal should be analogue or digital. A Compare button is available to compare the difference in sound between the original patch and the edited version prior to saving. On the review model, the detented Function control was somewhat stiff, but as the others were OK I'm assuming this was an isolated fault.

One of the effects is speaker modelling, with a choice of speaker sizes from eight to 10 inches, and also some miking options to provide a greater choice of tonal colour. The effects types listed in the 'Xpression Effects Blocks' box are mainly variations on the standard delay, modulation, reverb, and pitch themes we've all come to know and love, but don't let that put you off, as Rocktron deliver these effects with style.

All ten effects sections can be active at once if you wish, and patch changing is fast and smooth with no embarrassing mutes or glitches. Instead of a single mix parameter, there are separate left and right direct-level adjustments as well as an effect level adjustment, and it's in the mixer section where you decide whether the dry portion of the signal should be analogue or digital. In fact, the main effects have their own input level controls within the mixer, which corresponds to having four different aux sends for feeding effects in a traditional mixer.

The final parameter is volume, which allows the relative levels of presets to be adjusted. Rocktron's Hush noise-reduction system seems to be based on an expander, and what's on offer here is a digital recreation of their original analogue Hush circuit. Essentially it provides gentle low-level gating to clean up noise, and it has a user-adjustable threshold just like a noise gate.

It comes directly after the A-D converters so it can clean up the sound feeding the effects as well as the dry signal where the digital path is selected. Like the other effects, it is always available in every patch. The Xpression provides signal processing in the form of noise-reduction, compression and EQ as well as all the usual effects. These include a stereo delay with filtering in the feedback loop to help emulate the warmth of tape echo units, and a simple reverb section with no choice of models and adjustment only over level, decay time and high-frequency damping.

The modulation section includes a tremolo with variable wave shape; a phaser that can emulate up to six stages of analogue phasing; a dual-voice flanger for stereo effects, where the modulation rate of one path can be set as a percentage of that used for the other channel; and a dual-voice chorus.

The shifted signal may be panned in the mix, but is otherwise mono. Speaker simulation is far simpler than on a typical guitar modelling preamp, and offers simply a choice of eight, 10, 12 or inch speakers, with a mic placement function that moves the virtual mic position from the centre of the cone towards the edge of the speaker.

A Reactance setting simulates the interaction between the output transformer of a guitar power amp and the speaker cabinet, where you can adjust the bass end from tight to thumpy. This works very convincingly. Finally comes the rotary speaker simulation, and to use this you need to call up a special effects configuration.

You can set different fast and slow rates, as well as determining the rate at which the speed changes when you switch from a fast to slow setting. It's also possible to change the balance between the upper and lower rotors. The effects themselves are arranged in specific configurations that differ depending on whether the rotary-speaker simulation is being used or not.

The signals are then recombined before passing through the reverb section. The crossover circuit that is normally used to prevent low frequencies from being effected is used in this configuration to split the signal between the upper and lower rotors of the rotary simulator, so it isn't available for any other purpose. Also, in this configuration, you can use either the EQ or the speaker cabinet simulation, but not both together.

Where the rotary-speaker simulation isn't being used, the effects configuration has the same chain of noise-reduction, compression, EQ and speaker simulator, but without the restriction on using the EQ and speaker simulator together. The direct portion of the signal is taken off after the speaker simulator, following which the switchable high-pass filter is used to remove the bottom end where required from the signal feeding the modulation, delay and reverb stages.

Chorus and flanging can't be used together, so when one is switched on, the other switches off.