Pyle PMXU46BT User Manual

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Ambience

Your mixes can be further rened by adding ambience eects such as reverb or delay. The

internal eects can be used to add reverb or delay to individual channels in the same way as

exlernal eects processors. (Refer to page 15).

Reverb and Delay Time

The optimum reverb time for a piece of music will depend on the music's tempo and density,

but as a general rule longer reverb times are good for ballads, while shorter reverb times are

more suited to up tempo tunes. Delay times can be adjusted to create a wide variety of

''grooves". When adding delay to a vocal, for example, try setting the delay time to dotted

eighth notes corresponding to the tune's tempo.

Reverb Tone

Dierent reverb programs will have dierent ''reverb tone" due to dierences in the reverb

time of the high or low frequencies. Too much reverb, particularly in the high frequencies,

can result in unnatural sound and interfere with the high frequencies in other parts of the

mix. It's always a good idea to choose a reverb program that gives you the depth you want

without detracting from the clarity of the mix.

Reverb Level

It's amazing how quickly your ears can lose perspective and fool you into believing that a

totally washed-out mix sounds perfectly ne. To avoid falling into this trap start with reverb

level all the way down, then gradually bring the reverb into the mix until you can just hear

the dierence. Any more than this normally becomes a "special eect".

The Modulation Eects:

Phasing, Chorus, and Flanging

All of these eects work on basically the same principle: a portion of the audio signal is

''time-shifted" and then mixed back with the direct signal. The amount of time shift is

controlled, or "modulated", by an LFO (Low-frequency Oscillator).

For phasing eects the shift is very small. The phase dierence between the

modulated and direct signals causes cancellation at some frequencies and reinforces the

signal at others and this causes the shimmering sound we hear.

For chorus and anging the signal is delayed by several milliseconds, with the delay time

modulated by an LFO, and recombined with the direct signal. In addition to the phasing

eect described above, the delay modulation causes a perceived pitch shift which, when

mixed with the direct signal, results in a harmonically rich swirling or swishing sound. The

dierence between chorus and anging eects is primarily in the amount of delay time and

feedback used--anging uses longer delay times than chorus, whereas chorus generally uses

a more complex delay structure.

Chorus is most often used to thicken the sound of an instrument, while anging is usually

used as an outright "special eect" to produce other worldly sonic swoops.

Compression

One form of compression known as "limiting" can, when properly used, produce a smooth,

unied sound with no excessive peaks or distortion. A common example of the use of

compression is to "tame" a vocal that has a wide dynamic range in order to tighten up the

mix. With the right amount of compression you'll be able to clearly hear whispered passages

while passionate shouts are still well balanced in the mix. Compression can also be valuable

on bass guitar. Too much compression can cause feedback, however, so use it sparingly. Most

compressors require several critical parameters to be set properly to achieve the desired

sound. The MG compressor makes achieving great sound much easier: all you need to do is

set a single ''compression" control and all of the pertinent parameters are automatically

adjusted for you.

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Pyle PMXU46BT 4-Channel Bluetooth Studio Audio Mixer-DJ Sound Controller Interface with USB Drive

User Manual - Page 7