RFX-1100 - Guitar Effects ZOOM - Free user manual and instructions

USER MANUAL RFX-1100 ZOOM

OF. © ZOOM Corporation Reproduction of this manual, in whole or in part, by any means, is prohibited. RFX-1100

DIGITAL REVERB & MULTI EFFECTS

• OPERATION MANUAL [@ Introduction ___ Thank you for selecting the ZOOM RFX-1100 (hereafter simply called the "RFX- 1100"). The RFX-1100 is a sophisticated digital reverb and multi-effect processor with the following features and functions. + 33 immediately usable effects The RFX-1100 comes with a full complement of preset effects (11 effects x 3 banks). Right out of the box, the unit is ready to create great sound. The REVERB bank in particular provides a wide spread and natural sounding ambience that meets even demanding professional standards. + Built-in professional quality reverb The reverb effects alone allow 121 different settings. The convincing sound stage created by the REX-1100 far surpasses anything else available in this class. + _Innovative choices Lo-Fi EFX purposely degrades sound quality for special effect. RESONANCE processes the input signal with sophisticated filtering. MIC SIMULATOR produces condenser mic sound from a dynamic microphone. These and various other effects are great for recording and give full scope to your creativity. + Attractive mixdown effects Mixdown effects can be used effectively to tailor the overall mood of a song when performing mixdown (mixing multiple tracks onto two final stereo tracks) or mastering (fine-tuning the sound and level of a final 2-track mix). + _Intuitive editing controls Convenient knobs on the front panel let you directly adjust items such as the mixing ratio of original sound and effect sound. Editing effect parameters on the fly is also easy and straightforward. This allows quick fine-tuning for optimum sound. + MICIN connector The MIC IN connector on the front panel serves as an additional input for a microphone. This is convenient for applying effects to a vocal part and for controlling the VOCODER effect with your voice. Please take the time to read this manual carefully so as to get the most out of your RFX-1100 and to ensure optimum performance and reliability. Retain this manual, the warranty card and all other documentation for future reference. [@ Contents Controls and Functions …. Front Panel Rear Panel … Rack Mounting + Getting Connected Trying Out the Effects
• Changing the Sound of an Effect . RFX-1100 Effects Troubleshooting + Specifications ee sssssssssssssssssesessssesesssssssssssessse 15 Safety Precautions/Usage Precautions NO BR B DD D sessssssesssseses 8 p. 15

Controls and Functions (Front Panel (2) MIC ON/OFF switch (1) MIC IN connector (6) OUTPUT control (4) Level meter

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ADJUST VARIATION (3) MIC IN indicator (5) INPUT control (7) MX control (1) MIC IN connector A dynamic microphone with an impedance of about 600 ohms can be connected here, for use as an additional input source. Either an XLR plug (balanced connection) or a phone plug (balanced/unbalanced connection) can be used. Normally the input signal from this connector is mixed with the signal from the rear-panel INPUT jacks. When the VOCODER effect is selected, the signal from this connector serves for controlling the sound character and the envelope (volume change curve) of the VOCODER effect. (2) MIC ON/OFF switch This switch turns the signal from the MIC IN connector on and off.

• Before inserting or removing the plug of a microphone into and from the MIC IN connector, be sure to set the MIC ON/OFF switch to OFF. (3) MIC IN indicator When the MIC ON/OFF switch is ON, this indicator lights up. (4) Level meter These indicators show the signal input level. (5) INPUT control Serves to adjust the signal from the INPUT jacks and the MIC IN jack. (6) OUTPUT control Serves to adjust the level of the signal supplied at the OUTPUT jacks. (7) MIX control Serves to adjust the balance between original sound (DRY) and effect sound (WET). When the control is turned fully counterclockwise, only the original sound is output. When the control is turned fully clockwise, only the effect sound is output. (Rear Panel (1) POWER connector (2) BYPASS jack O |®

Hz TOVA BYPASS (1) POWER connector The supplied power cable is to be connected here for powering the unit. (2) BYPASS jack Serves for connection of the foot switch FSOI (option) for switching effects on and off. ZOOM RFX-1100

(11) EFFECT TYPE selector (8) REVERB TIME/ADJUST control (12) POWER switch (8) REVERB TIME/ADJUST control Serves to adjust an effect parameter of the currently selected effect. (9) CHARACTER/VARIATION selector Serves to choose one of 11 character settings for the currently selected effect, or to adjust an effect parameter. (10) BANK selector Serves to select the effect bank (group of effects). The following three effect banks are available. + REVERB bank Contains various reverb effects. + EFFECTS bank Contains single effects for instruments and voice, and combined effects. + MIX&SFX bank Contains special effects and effects particularly suited for mixdown (mixing multiple tracks onto two final stereo tracks). (11)EFFECT TYPE selector Serves to choose an effect from the currently selected bank. (12)POWER switch Serves to turn the unit on and off. (13)POWER indicator When the REFX-1100 is on, this LED indicator is lit in green. When the foot switch FSOI (option) was used to switch the effects off, the indicator flashes red. (3) OUTPUT jacks = (4) INPUT jacks OUTPUT— pr INPUT —

(3) OUTPUT jacks Connect these jacks to the recorder or playback system. (4) INPUT jacks Connect a line-level source, such as an instrument or ZOOM RFX-1100 the send output of a mixer, to these jacks. If a plug is inserted only in the L/MONO jack, the signal from this plug will be supplied to both channels. A high- impedance source such as an electric guitar should be routed through a preamplifier or a guitar effect first.

poyoouuo9 Bume) / Bujunow 4924 |@ Rack Mounting The RFX-1100 is compatible with international 19-inch rack standards (EIA, DIN). Because the unit has been designed for rack installation, it is preferable to operate the unit in this way, rather than simply placing it on a table or similar. Align the four screw holes with the rack screw holes and securely fasten the unit to the rack with screws. ° The RFX-1100 uses a metal frame, making the unit heavier than it might seem at first glance. While installing the unit in a rack, carefully support the weight of the unit until all screws are securely tightened. Otherwise the unit may drop, possibly causing injury to persons or damage to itself or to other equipment. - Do not directly stack the unit on top of other equipment. Otherwise heat may Caution lead to a fire risk or cause performance degradation. Before installation, always unplug any connecting cables and the power cable. Otherwise the equipment or the cables may be damaged. Make sure that the rack in which the unit is installed is placed on a firm, solid surface, so that it cannot shake or topple over. Otherwise there is a risk of injury to persons or damage to the unit or to other equipment. |@ Getting Connected (Basic Connections REFX-1100 is connected to an electronic instrument, microphone, and mixer or other audio device RFX-1100 front panel Microphone RFX-1100 rear panel Power cable Always turn the power to all components off before making any connections. Otherwise there is a risk of hearing damage or equipment damage by sudden loud noise. Caution (Insert Connection ) This is an example for inserting the RFX-1100 between the sound source and a playback system or multi-track recorder (MTR). A stereo source should be connected to the INPUT L/MONO and R jacks. A mono source should be connected to the L/MONO jack only. In this example, the signal from the mic or the instrument is effect processed by the RFX-1100 and then sent to the playback system or MTR. The balance between original sound and effect sound is adjusted at the REX-1100. Rhythm machine, synthesizer, or similar

it INPUT OUTPUT L4 Guitar effect | INBU gl Le 1 [ao | © RFX-1100 Mixer or amplifier/speaker ZOOM RFX-1100

• Rack mount screws are w TR not supplied with the unit. Le Getting Connected ] p.)

OUTPUT INPUT Fsoi R_L_|| R}| L/MoNo : T5 MODEL RFXA100 (e) Synthesizer or similar Amplifier/speaker (Send/Return Connection ) This is an example for connecting the RFX-1100 to the send/return jacks of a mixer or multi-track recorder. Connect the send jack of the mixer or MTR to the INPUT L/MONO jack of the RFX-1100, and connect the OUTPUT L/R jacks of the REX-1100 to the return jacks (or the stereo line input jacks) of the mixer or MTR. In this configuration, the RFX-1100 should be set so that it outputs only the effect sound, and the balance between original sound and effect sound should be adjusted at the mixer or multi-track recorder. Supplying the send signal to the REFX-1100 in stereo is also possible.

S0843 eu mo BuAU / peyoeuuoo Bunop (Using the VOCODER Effect ) This is a connection example for using the VOCODER effect from the MIX&SFX bank. Connect a dynamic microphone to the front-panel MIC IN jack on the RFX-1100. Connect a synthesizer or other instrument to the rear-panel INPUT L/MONO jack. You can then use the mic to vary the envelope (volume change curve) and the sound character of the VOCODER effect. Instead of the mic, it is also possible to use the right- channel signal for controlling the effect. In this case, the signal supplied to the INPUT L/MONO jack is controlled by the signal supplied to the INPUT R jack. Verify that the MIC IN indicator is lit. If not, press the MIC ON/OFF switch so that the indicator comes on. MD player or sampler or similar Q ns with recorded voice LT mr Le À, feureur I

Synthesizer il J | | © L'an» |. | o) E& = Microphone RFX-1100 Keyboard amplifiers (Using Two Effects in Parallel ) The RFX-1100 allows using two effects at the same time (in parallel). This is possible with effects from the EFFECTS bank which have a double name separated with a slash ("/"). The following illustration shows a connection example for using two effects independently in the left and right channel. Synthesizer Preamplifier or _ distortion effect Guitar Keyboard or similar amplifier amplifier 000€ Rs | CHE

1. Verify that the AC cable, sound source, and OUTPUT

playback system are correctly connected to Re the RFX-1100. 6 The INPUT control and OUTPUT control of the RFX-1100 as well as the volume control of the playback system should be set to minimum. 5. Use the BANK selector and the EFFECT

2. Turn on the system in the following order: TYPE selector to select the desired effect.

sound source > RFX-1100 > playback Depending on the position of the BANK selector, the system. available effects are as shown below. INPUT

3. While playing the

sound source, turn F | | cur EFFECT TYPE up the INPUT control LEE ES TT PEmnson mass can sn à of the RFX-1100 to 5 AMBENCE LANGER MCSMUAIOR , [ ,_PERCUSSION MAN ROIARY 7 di he i level LIP LED] 4 VOCAL CHORUS VOCAL MX ENSEMBLE _DLYaREV RNG MOD & adjust the input level. 3 PAT rrcH noosmx POWER CHOAREV RESONANCE 9 To minimize noise and distortion, the INPUT control 2200M DEA x GATE DLVREV _LOREXIO ‘ . . . LHAL coMP.uM mx REVERSE _FLG/REV VOCODER 1 should be set as high as possible without causing the . Select effect with CLIP LED to light. BANK EFFECT TYPE selector

4. Adjust the OUTPUT control and the volume

control of the playback equipment to obtain a suitable playback volume. REVERS EFFECTS MXBSFX Select bank with BANK selector ZOOM RFX-1100

© Changing the Sound of an Effect The following controls are available for changing the sound character and intensity of the preset effects of the RFX-1100 and for adjusting the balance between original sound and effect sound. REV TIME The control adjusts the reverb duration. Ti Short reverb Long reverb ADJUST + EFFECTS/MIX&SFX bank selected with selector BANK BANK MIX&SFX The control adjusts a major parameter of the currently selected effect. For information on which parameters can be adjusted for each effect, see pages 8 - 15.

(1) MIX control Adjusts the mixing balance between the original sound and the effect sound. + When using the insert type + When using the send/return connection pattern MIX type connection pattern Use the MIX control to adjust the The MIX control should be turned mixing balance between original fully to WET, so that only the effect sound (DRY) and effect sound (WET). sound is output. The mixing balance _. between original sound and effect Original sound DRYWET sound should be adjusted at the Effect sound mixer or multi-track recorder. For effects such as compressor/limiter MIX MIX or microphone simulator where the output is the processed original sound, Only effect turn the MIX control fully to WET. sound is output Unprocessed sound Processed (original sound) D Les sound DRY WET 1

MIX REV TIME REV CHARACTER BANK

4 REVERB 3 EFFECTS 2 4 MXSFX VARIATION (2) REVERB TIME/ADJUST control (3) CHARACTER/VARIATION selector The function of this control differs, depending on The function of this selector differs, depending which effect bank is currently selected with the on which effect bank is currently selected with BANK switch. the BANK switch. + REVERB bank selected with BANK selector + REVERB bank selected with BANK selector BANK BANK REVERB REVERB CG e2 REV CHARACTER The selector can be used to choose one of 11 reverb sound characteristics (settings with diff tte d intensity). VARIATION iferent tone and intensity} 11 reverb character settings °+ EFFECTS/MIX&SFX bank selected with selector BANK BANK MIX&SFX The control adjusts a major parameter of the currently selected effect. For information on which parameters can be adjusted for each effect, see pages 8 - 15. ZOOM RFX-1100

S8}3 00kL-X44 8 -— © RFX-1100 Effec This section lists all the effects available in the RFX-1100 and describes the character or parameter variations that are possible. VA Effects suitable for a send/return connection are marked with the + REVERB Bank This bank contains a variety of reverb effects. For effects 1 - 9, the CHARACTER control can be used to select one of eleven character variations. These effects simulate the reverb in various types of medium to Ÿ large size buildings. CHARACTER REVERB TIME "nn 1 Large Hall ! Simulates a large concert hall. ! : Larg ! g | !Bri ! Simulates a medium-size hall with strong, bright : 2 Bright Hall Elles | : 3 :Recital Hall ! Simulates a small hall. | EUs | Municipal ! Simulates a fairly large municipal style hall. ! ! P: ! ! ! ! Simulates a medium-size hall with predominantly De 5 : Wood Hall : wooden interior. Reverb Time ! lt | 6 :Cathedral ! Simulates a large cathedral. Sets the reverb ! EU Fr + duration. 2 7 :Medconcert ‘ Simulates a medium-size concert hall. ! Eo: 8 ! Strings Hall ! Simulates a concert hall designed for classical music. | FUs 9 Castle Hall | Simulates a medieval castle. ! 10 ! Small Hall ! Simulates a small hall with warm sound character. | EU 11 :Gymnasium | Simulates a gymnasium. ! Eos These effects simulate the reverb in various types of interior spaces, Y ranging from small rooms to large clubs. R ded, CHARACTER REVERB TIME Fennec 1 Tile Chamber | Simulates the acoustics of a tiled room. | j | Simulates the acoustics of a room with warm sound ! 2 ! Warm Room ! character. ! ‘ri ! Simulates the acoustics of a fairly large room made ! 3 ! Big Wooden ! of wood. ! 4 | Meeting Room | Simulates the acoustics of a conference room. | E Simulates the acoustics of a large club with stron DT 5 Large Club | È ù ei És: : Larg | reverb. Reverb Time :_ | 6 :GtrSpace ! Reverb with a pronounced midrange. Sets the reverb + n duration. 7 Strings Room | Reverb emphasizing the low range and midrange. ï : Reverb which makes the spoken voice stand out 8 Small Chamber any, 9 :Glass Room ! Reverb with lean low end. 10 \Rehearsal Space | Simulates a rehearsal room with strong reverb. 11 Garage ! Simulates the reverb character of a garage. rb" sound (as These effects simulate the so-called "plate reve: produced by a pickup mounted to a large, free-hanging iron plate). CHARACTER R ded REVERB TIME “ne setting

1 !Large Plate mulates the reverb produced by a large plate. Reverb Time Bright plate reverb suitable for percussion. 2 Bright Plate duration. Sets the reverb L. ZOOM RFX-1100

3 | Dark Plate 4 | Clear Plate 5 Short Plate 6 :Slap Plate 7 ILo-Pass Plate 8 :Hi-Pass Plate 9 Rich Plate 10 Endless Plate 11 Tunnel ! Plate reverb with a feeling of depth. Transparent plate reverb suitable for vocals. Plate reverb with short reverb time. Reverb with a long pre-delay. Plate reverb acting on the low frequencies. Plate reverb acting on the high frequencies. ense, rich-sounding plate reverb.

Smooth plate reverb with long duration.

imulates the reverb as heard in a tunnel. Reverb Time Sets the reverb duration. 4 VOC Reverb effects best suited for vocals and narration. CHARACTER R ded) REVERB TIME ne setting 1 : Female Rock 2 | Male Ballad 3 | Chorus everb suitable for female rock singers. D|27 everb suitable for ballads sung by male vocalists. Reverb suitable for chorus music. Natural sounding reverb great for female vocals. 4 | Female Folk 5 | Hi Male Rock 6 Narration Reverb suitable for fairly high-pitched male vocals. 7 | Chanting Reverb suitable for chanting. A Emphasizes vocals without changing other 8 ! Slapback characteristics. 9 Enhancer 10: LushVerb 11 | EchoVerb Reverb with emphasized high end. Wide simulated space suitable for vocals. Reverb with long pre-delay. ! Reverb suitable for emphasizing narration. Reverb Time Sets the reverb duration.

which is suitable not only for single instruments music sources. These effects lend a natural sounding ambience to the sound source yA but also for stereo CHARACTER R ded REVERB TIME “ne setting Reverb Time : Sets the reverb duration. Ambience suitable for percussion ensembles. 1 | Rock Mix | Reverb for rock type music sources. 2 Jazz Band Reverb for jazz band type music sources. 3 Reggae Mix Fed genres wet feeling, for reggae and 4 Keyboard | Great ambience for keyboard playing. 5 Hip Hop Ambience for rap and hip hop type music. 6 Film Score | Ambience for film music. 7 Electronic Mix Spatial effect suitable for synthesizer. 8 New Age | Ambience suitable for MIDI sound sources. 9 Strings Quartet Warm, midrange centered ambience for strings. 10! Choral Mix | Rich ambience for chorus and vocal ensembles. 11 ! Percussion Mix S9}1 00F+-X44

6. DIMENSION | These effects control the spatial expansiveness

of the sound. CHARACTER REVERB TIME Recommended 1 : Super Wide ! Emphasizes the stereo spread of music sources. : Changes the sound localization from stereo to 2 iStereo->Mono ! mono. 3 Left->Right Changes the sound localization from left to right. Changes the sound localization from right to left. 4 Right->Left Reverb Time ' Changes the sound localization from mono to 6 Mono->Stereo S tereo. Sets the reverb duration. 7 StereoMids Adds a wide, expansive feeling to the midrange. 5 : Big Delay ! Effect with long pre-delay for creating a wide space. | Creates an expansive low end. 8 Huge Bass ! Reverb bouncing back and forth between left and 9 Ping-Pong À might. 10: Bass/Treble | Adds reverb to the low and high range. 11 Millennium | Creates a vast reverb space. 7 PER: K{[e]\ 8 These reverb effects are most suitable for drum: s and percussion. CHARACTER Recommended REVERB TIME 1 | Rock Kit/1 Reverb suitable for rock drum. 2 | LatinPerc ! Light ambience for percussion. 3 | Jazz Drums | Reverb for jazz drums. 4 ! Tom ! Slightly deep effect for tom-toms. 5 Shaker | Creates optimum ambience for shakers and similar percussion instruments. 6 Reggae Drums ! Midrange-centered effect for reggae drums. Sets the reverb duration. 7 Rock Kit/2 acte he De range snares or cymbals without 8 MalletPerc E et type percussion can be enhanced with this 9 Slap Fenaencien pre-delay, emphasizing the low 10 ! Afro Drums Reverb suitable for Afro type drums. 11 Bells | High range effect suitable for bells. These effects are best for ensemble sections such as strings or ENSEMBLE brass. REVERB TIME Recommended setting Reverb Time Sets the reverb duration. CHARACTER 1 iStrings | Reverb suitable for strings. 2 |Brass | Reverb suitable for brass ensembles. 3 Piano | Warm, extended reverb great for piano solos. 4 ! Winds | Reverb suitable for woodwinds. 5 Synth/1 Reverb suitable for synthesizer. 6 ! Solo Strings | Reverb suitable for solo strings. 7 Jazz Organ Light reverb for highlighting organ sound. ZOOM RFX-1100

8 | Chorus ! Wide reverb for chorus groups. | 9 : Solo Winds ! Subdued reverb great for wind instrument solos. Reverb Time : EU: | ! Reverb for adding a spacious feeling to organ Sets the reverb | L 10 Church Organ ! music. duration. i 11 Synth/2 ! Great reverb sound for synthesizer. ! ! Sy! ! Yi ! 9 POWER These effects add a feeling of power and energy to sound sources. vx CHARACTER REVERB TIME nn 1 | Kick/1 ! Stresses the body impact of bass drums. 2 'Kick/2 ! Increases the perceived size of the bass drum h | image. 3 : Snare/1 ! Stresses the body sound of snare drums. 4 | Snare/2 | Adds a bright reverb sound to snare drums. 5 Toms/i ! Suitable for low toms and floor-standing toms. 6 | Toms/2 | Emphasizes the midrange sound of tom-toms. Sets the reverb H : duration. 7 | Hand Perc | Suitable for hand percussion. Di. Suitable for distortion guitar sound with strong box 8 : DistGtr/1 ! character. 9 ! DistGtr/2 ! Suitable for distortion guitar sound with bright : ; character. 10 | Vocal/1 ! increases the power impact of vocals. 11: Vocal/2 ! Suitable for ballad type vocals. ! ! yp«

10. GA | Special effect where the reverb is briskly cut by a gate.

CHARACTER REVERB TIME 32

TA x ! Adjusts the threshold level where the F ï : Ô Threshold ! ate becomes active. Reverb Time Sets the reverb duration. =“ n 8

11. REVERSE This achieves a similar effect as a tape run in reverse. mn

CHARACTER REVERB TIME ë Threshold Adjusts the sensitivity of the effect, that | Reverb Time Sets the reverb duration. ! is the level from which the reverb is ! ! applied. !

• EFFECTS Bank This bank contains seven sophisticated single effects (1 - 7) as well as four combined effects (8 - 11) which use two effects simultaneously. The combined effects marked with a "+" are made up of two effects connected in series. The combined effects marked with a "/" use two effects in parallel in the left and right channel. This effect serves for keeping signal levels within a certain range. L . COMP <LIM The compressor raises the level of signals below a certain threshold and reduces the level of strong signals. The limiter only reduces the level of strong signals. (Compressor » Limiter)

VARIATION REVERB TIME/ADJUST

Comp Lim ! Switches between compressor and limiter Threshold _ : Sets the level where the Release ! and adjusts the release time. | compressor/limiter becomes creed | active. Gompresser Limiter ! Higher values mean longer Gi Higher values mean longer ! release time. release time. !

2 DELAY A delay effect with a maximum delay time of up to 1486 ms. VARIATION

Adjusts the amount of feedback (number of delay sound repetitions). ‘eedback = Normal feedback LAS Cross-feedback (G)1 Delay Time : Sets the delay duration. Short delay æ Long delay Stereo pitch shifter which adds a original sound. PITCH pitch-shifted component to the VARIATION

4. Horus A stereo chorus with three voices

Chorus Depth : Adjusts the depth of pitch modulation. Turning { the control clockwise increases modulation. Heavy modulation Light modulation LU: Chorus Rate : Adjusts the pitch modulation | rate. [Setting example] High-grade chorus with smooth presence VARIATION = 4

5. FLANGER | Stereo flanger with a wide range.

Flanger Depth : Specifies the range over which the effect is ! active. Turning the control clockwise makes ithe range broader.

Phaser with pronounced fluctuation. VARIATION

: Adjusts the intensity of the fluctuation. ; Turning the control clockwise results in more ! intense fluctuation. Phaser Depth Slight fluctuation Qi Intense fluctuation Phaser Rate ! Adjusts the phaser |fluctuation rate. Slow EU Fast [Setting example] Fiuctuation optimized for electric piano 27 ER. {

VARIATION = 7 OU} ADJUST R$

r4 TRM-PAN Effect ranging from tremolo to au! to-panning. VARIATION

DLY+REV This is an in-series combination of delay and reverb.

VARIATION REVERB TIME/ADJUST

Reverb Mix ! Adjusts the mixing ratio of the reverb sound. | Delay Time : Adijusts the delay time up to ; Turning the control clockwise increases the !a maximum of 743 ms. ! reverb ratio. (Feedback is fixed.) 9 CHO+REV This is an in-series combination of chorus and reverb.

VARIATION REVERB TIME/ADJUST

Reverb Mix ! Adjusts the mixing ratio of the reverb sound. |Chorus Depth : Adjusts the modulation depth. ; Turning the control clockwise increases the ! (Modulation rate is fixed.) : reverb ratio. 1 Ce) This is a parallel combination of delay and reverb. The left channel vA . DLY/REV carries the delay effect and the right channel the reverb effect.

VARIATION REVERB TIME/ADJUST

Reverb Mix ! Adjusts the mixing ratio of the reverb sound. | Delay Time : Adjusts the delay time up to ! Turning the control clockwise increases the !a maximum of 743 ms. ! reverb ratio. ! (Feedback is fixed.) Weak reverb tu} Strong reverb Short delay FU: Long delay This is a parallel combination of flanger and reverb. The left channel _Ÿ 1 L . FLG/REV carries the flanger effect and the right channel the reverb effect. S/R

VARIATION REVERB TIME/ADJUST

Reverb Mix : Adjusts the mixing ratio of the reverb sound. Flanger Rate : Adjusts the modulation rate. ! Turning the control clockwise increases the ! (Modulation depth is fixed.)

verb Weak reverb ©: Strong reverb Slow modulation EU Fast modulation °MIX&SFX Bank This bank comprises special effects such as MIC SIMULATOR and VOCODER as well as mixdown effects useful for mixdown (mixing multiple tracks onto two final stereo tracks). mix

The effects from this bank are best used with the MIX control turned fully clockwise, so that only the WET sound is output. WET sound only me / For effects 1 - 4, the parameters adjusted by the VARIATION control and REVERB TIME/ADJUST control are the same

Mixdown effect which emphasizes the bass and gives the sound a powerful punch.

2. WIDE MIX Mixdown effect which stresses the left/right stereo spread.

Mixdown effect which gives the sound a tight low end and snappy high

Brings out suppleness and warmth in vocals by stressing the midrange and

4. VOCAL MIX adding plate type reverb.

Reverb Color ! Switches the reverb sound character. intensity Adjusts the intensity ofthe ! respective effects. Short reverb mix ratio increases towards higher eo 7-11: Long reverb mix ratio increases towards Weak effect EU: Strong effect higher numbers. numbers. {| 1: Reverb = Off —7"

while using an economical dynami: MIC SIMULATOR Simulates the characteristics of a high-quality condenser microphone c microphone. VARIATION

Vocal/Inst Comp : Switches the characteristics for vocals or ! instruments, and adjusts the limiter ; sensitivit,

1-6: Vocals Higher numbers result in higher limiter sensitivity. 7-11: Instruments ) Higher numbers result in higher limiter sensitivity. Enhance _ : Adjusts the intensity of the : treble enhancer. an electric guitar. CABINET SIM Adds the sound character of an amplifier speaker cabinet to the sound of VARIATION

Combo/Stack &: Selects the amplifier type (combo or stack) Depth ! and adjusts the effect intensity. NN 7-11 (Gi) Higher numbers result in *""# stronger cabinet sound.

Higher numbers result in stronger cabinet sound. Presence _ : Adjusts the level of the ultra : high range. Simulates a rotary speaker where the speaker is turned by mechanical Weak distortion D: Strong distortion means.

VARIATION REVERB TIME/ADJUST

Drive Adjusts the amount of distortion. Turning the | Rotary Rate : Adjusts the speaker rotation ! control clockwise increases distortion. ! speed. Slow rotation EU: Fast rotation

8. RING MOD This is a ring modulator with short delay.

VARIATION Delay Mode : Switches the delay mode.

2 - 10: Varies the delay time

1: Delay = Off from flanging to repeat Varies the input signal delay. modulation frequency. x" ‘x 11: Feedback = Off Frequency : Sets the frequency with : which the input signal is to ! be multiplied. LA RESONANCE This is a filter effect with a resonance component. VARIATION

! Selects the filter type and adjusts the ; resonance intensity.

7-11: Uses the input signal envelope to automatically alter the cutoff frequency. Turning the control clockwise increases the resonance. 1-6: Manually adjusts the cutoff frequency. Turning the control clockwise increases the resonance. Frequency _ : When the Type & Q 1 Sensitivity ! parameter is set to manual ! (1-6), this control adjusts ! the cutoff frequency. When {the Type & Q parameter is : set to automatic (7 - 11), this ! control adjusts the ! sensitivity. sound quality. This is a special effect that can be used to purposely degrade VARIATION

Lo-Fi Color ! Selects the sound character. Tone ! Adjusts the effect tone. ZOOM RFX-1100

This effect lets you use a mic connected to the MIC IN jack to control the signal from a synthesizer supplied to the INPUT L jack. The signal | | + VOCODER supplied to the INPUT R jack is mixed with the MIC IN signal and can also be used as control signal. To use this effect, turn the MIX control fully to WET.

VARIATION REVERB TIME/ADJUST

Mode & Selects the number of filter bands for the Sensitivity: Adjusts the VOCODER Character ! VOCODER and the sound character. sensitivity. 1 VOCODER only 2 Fast attack + chorus 3 48 bands + distortion + chorus 4 s VOCODER only low attack j 5 + distortion L tivit 4 High tivit ow sensitivity X ÿ igh sensitivi 6 VOCODER only y 9 y 7 Fast attack + chorus 8 + distortion + chorus 9 |'9 bands VOCODER only 10 Slow attack |; chorus 11 + distortion + chorus © Troubleshooting BRCTIONNS SN + IS sound source connected correctly to INPUT jacks and are OUTPUT jacks connected correctiy to playback system? Are all shielded cables used for the connection okay? Are the connected sound source and playback system operating normally? Is the volume set to a proper position? No sound or very low Are INPUT control and OUTPUT control of volume RFX-1100 set properly? Follow the instructions in "Getting Connected”. Try replacing the shielded cables. Check all components and set the volume to a suitable position. Follow the instructions in "Trying Out the Effects" and adjust the controls properly. Is a microphone connected to the rear- panel INPUT jack? Are effects tumed off and is the MIX control fully tumed to the WET position? Connect the microphone to the front-panel MIC IN jack. Tum the MIX control towards DRY. To use a microphone connected to the MIC IN connector, the MIC ON/OFF switch must be set to ON. Adjust INPUT control so that CLIP LED does not light at signal peaks. The sensitivity of the MIC IN connector is optimized for microphones. Connect line-level devices to the rear-panel INPUT jacks. Is MIC ON/OFF switch set to OFF? +_ Is input signal level too high? + Is a line-level device such as a synthesizer connected to the front-panel MIC IN connector? D + Were effects turned off with foot switch Input sound breaks up or is distorted Press foot switch again to tum effects on. FS01 connected to rear panel? + Is incorrect foot switch connected? No effect sound VV VV UV Use only ZOOM FS01. @ Specifications Preset programs (Unbalanced operation) Input N ï effects x 3 banks x 11 variations) impedance 50 kilohms Sampling frequency 44.1 kHz Reference input level -56 dBm A/D converter 18 bit, 64 times oversampling Outputs 2 x standard mono phone jack D/A converter 18 bit, 8 times oversampling Output impedance 500 ohms Reference output level -10 to +4 dBm Inputs Control input FSO1 Line input 2 x standard mono phone jack Input impedance 10 kiloohms (mono), Dimensions 482 (W) x 115 (D) x 44 (H) mm 20 kiloohms (stereo) Weight L8ke Reference input level -10 to +4 dBm Supplied accessory Power cord Microphone input XLR-3-31/standard phone combo jack

(Balanced operation) Input impedance * 0 dBm = 0.775 Vrms

4.5 kilohm, pin 2 hot * Design and specifications are subject to change without notice.

| É Safety Precautions/Usage Precautions Safety Precautions In this manual, symbols are used to highlight warnings and cautions for you to read so that accidents can be prevented. The meanings of these symbols are as follows: This symbol indicates explanations about NX extremely dangerous matters. If users ignore this Warning symbol and handle the device the wrong way, serious injury or death could result. This symbol indicates explanations about dangerous matters. If users ignore this symbol Caution and handle the device the wrong way, bodily injury and damage to the equipment could result. Please observe the following safety tips and precautions to ensure hazard-free use of the RFX-1100. Power requirements + Connect only to AC power outlets rated 100-120 V or 220-240 V 50/60Hz (depending on the voltage range of the unit; refer to the back panel). Ground the unit by connecting the ground terminal of the power plug to a good external ground. Do not ground to water pipe, gas pipe, telephone wiring, or lightning arrestor to prevent the risk of electric shock or explosion. During lightning or when not using the unit for an extended time, disconnect the power cord from the AC outlet. Do not pinch the power cord, bend it forcedly, or place heavy objects on the power cord. Warning Environment Avoid using your REX-1100 in environments where it will be exposed to: Extreme temperatures + Heat sources such as radiators or stoves. + High humidity or moisture + Excessive dust or sand + Excessive vibration or shock Keep space around the unit for sufficient ventilation. Warning Do not impede the ventilation openings with objects such as newspapers or curtains. Marne, Handling + Never place objects filled with liquids, such as vases, on the RFX-1100 since this can cause electric shock. + Do not place naked flame sources, such as lighted candles, on the RFX-1100 since this can cause fire. AN The RFX-1100 is a precision instrument. Do not exert undue autlon pressure on the keys and other controls. Also take care not to drop the unit, and do not subject it to shock or excessive pressure. Warning Alterations Never open the case of the RFX-1100 or attempt to modify Wammg the product in any way since this can result in damage to the unit. Volume Do not use the RFX-1100 at a loud volume for a long time Vammg Since this can cause hearing impairment. Connecting cables and input and output jacks You should always turn off the power to the RFX-1100 and fon all other equipment before connecting or disconnecting any cables. Also make sure to disconnect all connection cables and the power cord before moving the RFX-1100. Usage Precautions Electrical interference For safety considerations, the RFX-1100 has been designed to provide maximum protection against the emission of electromagnetic radiation from inside the device, and protection from external interference. However, equipment that is very susceptible to interference or that emits powerful electromagnetic waves should not be placed near the RFX-1100, as the possibility of interference cannot be ruled out entirely. With any type of digital control device, the REX-1100 included, electromagnetic interference can cause malfunctioning and can corrupt or destroy data. Care should be taken to minimize the risk of damage. Cleaning Use a soft, dry cloth to clean the REX-1100. If necessary, slightly moisten the cloth. Do not use abrasive cleanser, wax, or solvents (such as paint thinner or cleaning alcohol), since these may dull the finish or damage the surface. Please keep this manual in a convenient place for future reference. The FCC regulation warning (for U.S.A.) This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help. Z£ [= C2MÆ £'