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Ambience
Your mixes can be further rened by adding ambience eects such as reverb or delay. The
internal eects can be used to add reverb or delay to individual channels in the same way as
exlernal eects 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
Dierent reverb programs will have dierent ''reverb tone" due to dierences 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 dierence. Any more than this normally becomes a "special eect".
The Modulation Eects:
Phasing, Chorus, and Flanging
All of these eects 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 eects the shift is very small. The phase dierence 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
eect 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
dierence between chorus and anging eects 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 eect" to produce other worldly sonic swoops.
Compression
One form of compression known as "limiting" can, when properly used, produce a smooth,
unied 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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