Midas M32R LIVE, Руководство пользователя

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DIGITAL RACK MIXER M32R User Manual
Gated Reverb
This effect was originally achieved by combining a reverb with a noise gate.
Our gated reverb creates the same impression by a special shaping of the
reverb tail. Gated Reverb is especially effective for creating a 1980’s-style
snare sound, or to enlarge the presence of a kick drum. Inspired by the
Lexicon 300/480L.
PRE DELAY controls the amount of time before the reverberation is heard
following the source signal.
DECAY
controls the amount of time it takes for the
reverb to dissipate. ATTACK controls how fast the reflection density builds up.
DENSITY shapes the reverb decay tail. The higher the density, the greater the
number of sound reflections.
SPREAD
controls how the reflection is distributed
through the reverb envelope. LEVEL controls the volume of the reverb.
The LO CUT push encoder sets the frequency beneath which the source signal
will not pass through the reverb.
HiSvFr / HiSvGn
push encoders adjust a high-
shelving filter and the input of the reverb effect. DIFF (usion) controls the initial
reflection density.
Reverse Reverb
Reverse Reverb takes the trail of a reverb, turns it around, and places it in front
of the sound source.. Use the swelling crescendo of the Reverse Reverb to add an
ethereal quality to vocal and snare drum tracks. Inspired by the Lexicon 300/480L.
Adjusting the
PRE DELAY
push encoder adds up to 200 milliseconds before the
reverb follows the source signal. The DECAY push encoder adjusts the time it
takes for the reverb to completely dissipate. RISE controls how quickly the effect
builds up.
DIFF
(usion) controls the initial reflection density.
SPREAD
controls
how the reflection is distributed through the reverb envelope. The LO CUT
push encoder sets the frequency beneath which the source signal will not pass
through the reverb.
HiSvFr / HiSvGn
push encoders adjust a high-shelving filter
and the input of the reverb effect.
Stereo Delay
Stereo Delay provides independent control of left and right delay (echo) times,
and features high- and low-pass filters for enhanced tone-shaping of the
delayed signals. Use the Stereo Delay to give your mono signals a wide presence
in the stereo field.
The
MIX control lets you blend the source signal and the delayed signal. TIME
adjusts the master delay time up to three seconds. LO CUT adjusts the low
frequency cut, allowing lower frequencies to remain unaffected by the delay.
HI CUT adjusts the high frequency cut, allowing higher frequencies to remain
unaffected by the delay. FACTOR L sets the delay time on the left channel to
rhythmic fractions of the master delay time. FACTOR R sets the delay time on the
right channel to rhythmic fractions of the master delay time.
OFFSET LR
adds a
delay difference between the left and right delayed signals. The FEED LO CUT/HI
CUT adjusts filters in the feedback paths. FEED L and FEED R control the amount
of feedback for the left and right channels.
MODE
selects the feedback mode:
•
ST
sets normal feedback for both channels
• X
crosses feedback between left and right channels
• M creates a mono mix within the feedback chain.
Triple Delay
Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with
independent frequency, gain and pan controls. Create time-based echo effects
with the triple delay to increase the sense of stereo separation.
TIME
sets the master delay time, which is also the delay time for the first
stage. GAIN BASE sets the gain level of the first stage of the delay. PAN BASE
sets the position of the first delay stage in the stereo field. LO CUT sets the
frequency at which the source signal can begin passing through the delay.
HI CUT sets the frequency at which the source signal can no longer pass through
the delay. X-FEED indicates that stereo cross-feedback of the delayed signals
is active.
MONO
activates a mono mix of both channels for the delay input.
FEEDBACK
adjusts the amount of feedback.
FACTOR A controls the amount of delay time in the second stage of the delay. GAIN
A controls the gain in the second stage of the delay. PAN A sets the position of the
second stage of the delay in the stereo field.
FACTOR B
controls the amount of delay
time in the third stage of the delay. GAIN B controls the gain in the third stage of
the delay. PAN B sets the position of the third stage of the delay in the stereo field.
Rhythm Delay
The Rhythm Delay, or 4-Tap Delay, provides four delay stages with
independent frequency, gain and pan controls. Create time-based echo effects
with the triple delay to increase the sense of stereo separation.
TIME sets the master delay time, which is also the delay time for the first stage.
GAIN BASE sets the gain level of the first stage of the delay. LO CUT sets the
frequency at which the source signal can begin passing through the delay.
HI CUT sets the frequency at which the source signal can no longer pass through
the delay. X-FEED indicates that stereo cross-feedback of the delayed signals
is active.
MONO
activates a mono mix of both channels for the delay input.
FEEDBACK
adjusts the amount of feedback.
SPREAD
adjusts the perceived
stereo placing of the echoes.
FACTOR A controls the amount of delay time in the second stage of the delay.
GAIN A
controls the gain in the second stage of the delay.
FACTOR B
controls
the amount of delay time in the third stage of the delay. GAIN B controls the
gain in the third stage of the delay. FACTOR C controls the amount of delay time
in the fourth stage of the delay.
GAIN C
controls the gain in the fourth stage of
the delay.