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Table of Contents

Music Inputs

1

View playlist

2

Gain fader

3

Load File

4

Previous Track

5

Play/pause

6

Next Track

7

Stop

8

Rewind Lenght

9

Rewind

10

Mute button

11

L/R Pan

12

Auto-Gain Amount

13

Reverb Trigger

14

Echo Trigger

EQ System

1

EQ Select

2

10-Band EQ

3

Reset button

4

Load File

5

Load File

6

Load File

7

Reset button

10-Band Graphic EQ

No matter what your Source, regain control of your tone with this incredible EQ. This 10-Band Graphic EQ gives subtle amounts of tone shaping and level control. +/- 12 dB with fixed Q. With ten carefully chosen frequencies, the 10-Band will let you tune your track correctly in seconds; create earthshaking low- end; restore punch, level, and treble response and much more. Cut those harsh frequencies or just adjust to taste

40-Band Parametric EQ

There are 3 main controls for each of the 4 bands:

Gain: This is the amount of cut or boost applied to the signal. Q and Frequency do not function unless there is gain or cut

Q Factor: Sets the shape or peak of the filter

Frequency: Each band has its own start and end frequencies

  • The EQ will not perform until the gain is boosted or cut. By raising the gain, the currently set frequency will increase.
  • The default setting has a narrow set Q, therefore when increasing gain, there will be some resonance. Set the gain to around -12dB and then sweep the frequency left and right
  • For a wider frequency range (and therefore less resonance) set the Q further anticlockwise

Dub Filter

1

View playlist

2

View playlist

3

Gain fader

4

Load File

By default the filter is set to process only from Music inputs (A) thereby unaffecting all the other features, such as FX delivery, siren, mic, samples etc. The other options are…

A: Music inputs only.

B: Master output.

C: Sample input only.

D: Disable.

  • HP selects the High pass filter while LP selects the Low pass filter. You can switch between them at any time for a special effect. Both simply cut off frequencies below the level set by the dial. With the Q set, resonance is added while you sweep the frequency, (caused by the peak).
  • To engage filter, simply turn dial clockwise and fully anticlockwise to disengage. This controls the frequency cut-off.
  • Q-factor is the peak of the wave, the amount of resonance on the filter. A narrow Q has a higher amount of resonance created by the peak, adds a sharper filtered sound to the audio.

Reverb Processor

1

View playlist

2

View playlist

3

Gain fader

4

Load File

5

Load File

6

Load File

7

Next Track

8

Gain fader

  1. Send: This is the amount of signal that is received by the reverb system. This can also be used to control the volume instead of the filter gain as it has a smoother control.

  2. Out: This is the overall output of the reverb processor including the filters.

  3. HFD: Use this to remove high frequencies if needed.

  4. Return: The amount of signal being sent out of the reverb itself.

  5. Room: This controls the length of the reverb tail. With this, it’s possible to create shorter reverbs, as well as almost infinite tails, so can produce a great effect when combined with sweeping the frequency.

  6. Dry/Wet: In default this is set more wet, because we feel it blends in the reverb effect better. But you can adjust to your own preference.

  7. BP Filter: This will allow the whole signal to pass through the reverb without the filters. (Although we added one extra one to filter out 200hz and below)

  8. Band-pass filter: Set the Q, frequency, and gain by clicking on the graph directly. 

Tape Echo

1

View playlist

2

View playlist

3

Gain fader

4

View playlist

5

Load File

6

Load File

7

Load File

8

Gain fader

9

Gain fader

10

Next Track

11

Next Track

  1. Type: Type 1 passes the audio through a low pass filter, this will gradually remove higher-end frequencies. Type 2 passes the audio through a high pass filter, this will gradually remove lower end frequencies.

  2. BP Filter: This will allow the whole signal to pass through the echo without the filters. (Although we added one extra one to filter out 200hz and below).

  3. Send: This is the amount of signal that is received by the echo system. This can also be used to control the volume instead of the filter gain as it has a smoother control.

  4. Saturation: In this context, saturation means the gradual loss of quality of each repetition. It affects the high frequencies the most.

  1. Feedback: The echo feedback on fully clockwise is around 110%, so the signal will gradually get louder, depending on the time value (so be careful).

  2. Return: The amount of signal being sent out of the echo itself.

  3. Slide: This is how quickly the system reacts when changing the value on time control. 

  4. Time slider: This sets how far apart each repeat of the echo. Further left is faster (shorter gaps) and right is slower (longer gaps)

  5. Time display / Tap tempo: This displays the time between each repeat of the echo. This is also the tap tempo button, so you can set time by clicking it in time with the music or with your keyboard (9) /MIDI controller.

  6. Dry/Wet: “Dry” means no effect, while “wet” means “only effect”. Use this to 

  7. Band filter: Set the Q, frequency and gain by clicking on the graph directly.

Dub Siren

1

View playlist

2

View playlist

3

Gain fader

4

View playlist

5

Load File

6

Load File

7

Load File

8

Gain fader

9

Gain fader

10

Next Track

11

Next Track

12

Next Track

13

Next Track

14

Next Track

15

Next Track

16

Next Track

17

Next Track

18

Next Track

Sample Player

1

Reverb Trigger

2

Sample Selector

3

Display

4

Sample Trigger

5

Echo Trigger

6

Load File

7

Load File

8

Sample Trigger

9

File Name

10

Hold/Toggle

11

Load Sample Set

12

Save Sample Set

13

Clear Slots

14

High-pass Filter

15

Echo Send Level

16

Sampler View

Loading samples

Method 1: Loading into Sampler

  1. Create a folder with your 12 samples and open in File Explorer or Finder,

  2. Highlight all 12 and drag and drop the files onto the dial in the Sample Section

  3. Test by pressing the Sampler trigger for sound (number 4 on keyboard) R to select next sample

Method 2: Loading into sample slots (recommended)

  1. Open the Panel

  2. Open your File Explorer or Finder and locate your samples

  3. Click and drag single samples directly onto the individual slots in the order you would like

  4. When a sample slot it loaded you will see the sample name displayed

  5. When a sample is engaged and playing the number to the left will highlight

Sample set save and load

Once you have all your samples loaded, 

  • Click on save sample set. Choose your location and give the file a suitable name.

  • We recommend putting all samples folders in one location and then creating and storing these types of files in another separate folder

  • To recall a sample set, click load sample set and locate the file you want and open.

  • The sample names will appear in the sample slots section

Sample general

  • You can use almost any size. You may even load whole tracks.

  • BP switch (Bypass kills) so you can play samples irrespective of the positions of the kills

  • Click clear to immediately remove the samples from the sample slots

  • The hold button is used to play in momentary control or a whole sample in full with hold disengaged

  • There is a High pass filter to remove unwanted bass frequencies. Adjust to the right to engage

  • Use the echo send slider to control how much signal is sent to the echo processor and the sample echo trigger to actually send the audio. There is also a reverb trigger

  • By setting DubFilter routing to C you can use it on samples

Kill Switches (Isolator)​

1

Kill Switch

2

Bandwidth

3

Gain Fader

Default set bandwidth
“Weight and Treble”

This is the term that used to be used for the full range of sound, when, previously, you would only have a two-way system, the “weight” (bass) and “treble” (top).

The music would pass through an isolator system, that effectively separates the music into distinct frequency bands. Most commonly using a preamp, the audio is split into 3 filter bands, bass, mids and treble, this is the core design of AmpFreQQs kills system but with 4 bands.

AmpFreQQ’s Kills

Our uniquely designed kill switches have special bandwidth, frequency, and gain control, that will enable the user to preciously set cut off frequencies to match both the track being played and the speaker set up in use. The user can then use gain* accordingly for each band to get a particular sound.

The default frequency ranges for each band have been carefully chosen to provide as flat as sound as is possible, while being set around about the general frequency crossovers of MOST box configurations.

The filter-band gain comes set at 0db on default Settings. This is the maximum default however, there is additional gain available of up to 12dB in Advanced mode. NOTE: Be careful when changing over. The faders on screen or on your controller need to be set in the centre for 0dB

*Advanced mode

Frequency Adjustment

If you hover over the graph, you will see 3 different numbers. The one on the far left and the middle are the range of that particular frequency band, on the right is gain.

NOTE: Sub bass and tops only have a single control to adjust the frequency, whilst mids and bass have two.

Click and drag the columns marked in the image with an X to adjust the frequency cutoff start and end (Advanced mode only).

NOTE: in safe mode mids and bass frequencies can be reduced but are locket on their outer parameters.

X

Frequency cutoff

X

Frequency cutoff

How to use the Kill switches

Adjusting parameters (Advanced mode only)

We do not recommend adjusting these drastically, however if you do (e.g., playing on Sound System), ensure that the adjacent band/s are adjusted to meets the frequencies you just changed, to avoid dips.

(This is an open system and there are no rules, so feel free to adjust and experiment with caution!)

The gains of kills should always be at 0dB to start with. That is full fader in safe mode and half way in advanced mode.

Before adjusting any kill gain faders, please ensure that there is sufficient headroom for the signal. It is easier (and in most cases, more pleasing to the ear) to turn up an amp, and amplify a lower signal, than amplifying a louder (and possibly more compressed, “clipped” signal) by a lesser degree.

Adjustment notes:

  • The VU meters display the amount of signal being send out to master from each of the kills

  • The spectrum analyser displays are all the same and are the unaffected signal showing the actual real-time raw

    sound being played, displaying the peaks of the whole frequency spectrum

  • The default settings cover most user’s needs, you can adjust according to the track you are playing and your speaker setup. Some speakers do not handle the real low sub frequencies, you will need to set Amp-FreQQ sub bass band a bit higher up, so it will maximise the bass available from your speaker setup

  • We HIGHLY recommend a LOWPASS FILTER on your crossover / LMS, of 20-25 though, as a vast proportion of drivers may be damaged by any frequency lower than that

Dubbing with kills

The general purpose of the kills, other than to adjust the audio settings, it to build up momentum and drops by interacting with the music.

For example ,start with all kills on except for the sub bass. Then when you think the moment is right, you can (optionally) build up the intensity and excitement with a siren or other FX, before dropping in the bass.

But can you can drop in and out in any order.

Limiters

1

View playlist

2

View playlist

The limiters are in place to protect your speakers and equipment. By limiting the amount of dB gain, you are ensuring the levels do not exceed a limit that may damage your gear (or ears)

However, they can also be creatively. By setting a level of the Reverb and echo to a threshold that you feel blends in the FX correctly

By default, the master limiter is off and the FX limiters are on. The dial sets the threshold at which the limiter will engage.

Recorder

1

View playlist

2

View playlist

3

View playlist

4

View playlist

There is no need for you to download or install any other software to record your freqq mixes, because we have built in that option for you.

To make a recording of audio from the master output….

Open up the Panel and locate the recorder at the bottom

  1. Select the File button and choose a name for the file and type , WAV or AIFF

  2. Press Start when you are ready, and the LED (4) will turn red as indication that it is recording

  3. When you are finished, press the Stop button. Voila ! Your file is saved in your chosen folder