Tascam 488 PORTASTUDIO, Руководство пользователя

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Using Effects with the PORTASTUDIO 488
Effects and signal processing is one of the areas
where you can really start to have fun
customizing your, sound, and develop your own
unique recording style- Because there are so
many possibilities, it also can be confusing.
There are many different effect units on the
market all with different controls, types of inputs
and outputs, and other characteristics. Read the
manual of your effects device, and the following
sections to get the complete story of what's
possible for your particular situation.
1. In-line processing: The processing that's
easiest to understand doesn't involve the
488 directly at all. You can plug your
instrument directly into the input of the
effect device, and plug the output of the
device directly into a line input of the 488.
The whole signal gets processed (flanged,
doubled, limited, delayed etc.), and only one
instrument can use that processor. Effect
pedals for guitar are typically used this way.
To get a mix of processed ("wet") and
original ("dry") signal, the unit must have its
own "MIX" or "BALANCE" control.
2. Send/return mix processing: This is the
most common method of effect processing,
especially for reverb and delay. It allows a
number of different channels to use the
same effect, while allowing you to control
how much effect is mixed with each channel.
Each of the lower 8 mixer channels can send
signals to the EFFECT SEND 1 or 2 outputs
on the upper top panel. These outputs can
then be connected to the input of effect
devices. The processed signals from the
devices come back into the mix via the
STEREO INPUTS. Finally, the effect is mixed
onto one of the groups with the ASSIGN
switch on the stereo channels (9-10 and 11-
12). This whole path- from the EFFECT
SENDS to the reverb and back into STEREO
INPUTS -- is called an effects loop. The
EFFECT SENDS and 2 MASTERS control how
much signal goes to the reverb unit; the
LEVEL control on the stereo channels
determine how much returns from the
reverb unit. In this method, the stereo inputs
function as "effect returns".
Setting Effect Send Levels
The goal is not to distort the device, while
staying above the noise that effect units
generate. To get the best signal-to-noise from
most effects units, you should send it as strong a
signal as you can. With a properly set input
signal in the 488, the channel EFFECT Send set to
either 3 o'clock (EFFECT 1 feed) or 9 o'clock
(EFFECT 2 feed), and the EFFECT MASTERS at
about 2 o'clock, you should get a fairly loud
signal from the EFFECT SEND jacks.
If your effects device has an input level control of
its own, it should be set so the meter or signal
light of the effects device is just under the
overload point on peak signals. When you want
to hear less effect overall, turn down the return
LEVEL control, not the EFFECT MASTERS.
Setting the output level of effect devices
If the effect send level has been set properly, in
most cases the output level of the effect unit
should be set as high as possible without
clipping (distorting) the STEREO INPUTS of the
488, but low enough so that you have a
reasonable range of control. If you can get the
effect sound you want with the return LEVEL
control in the 12 to 2 o'clock range, you're in the
ballpark. If, on the other hand, very small
settings of the Effects Return still give you a mix
drowning in effects, turn down the output level
of your effect device.
Some effect units have rear panel switches
setting input and output level ranges between
"+4" and "-20 dB". In this case, try setting the
input to -20 (high sensitivity) and the output to
+4 (full output level).
Setting the mix/balance control on effect
devices
When it's being used in a send-return mix, set
the mix/balance of your effect device all the way
to "wet" or full processing with no direct original
signal. In send/receive processing, the dry signal
goes down the 488's CHANNEL FADER to be
mixed with the effect return signal on a group
master. Therefore, you don't need any "dry"
signal coming to the effects return. The
mix/balance control is set toward "dry" only
when you're using the effects device as an in-line
processor.
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