Bedienungsanleitung Midas M32 (Seite 36 von 61) (Englisch)

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36 M32 DIGITAL CONSOLE User Manual

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 reection density builds up.

DENSITY shapes the reverb decay tail. The higher the density, the greater the

number of sound reections. SPREAD controls how the reection 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 lter and the input of the reverb eect. DIFF(usion) controls the initial

reection 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 eect

builds up. DIFF(usion) controls the initial reection density. SPREAD controls

how the reection 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 lter

and the input of the reverb eect.

Stereo Delay

Stereo Delay provides independent control of left and right delay (echo) times,

and features high- and low-pass lters for enhanced tone-shaping of the delayed

signals. Use the Stereo Delay to give your mono signals a wide presence in the

stereo eld.

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 unaected by the delay.

HI CUT adjusts the high frequency cut, allowing higher frequencies to remain

unaected 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 dierence between the left and right delayed signals. TheFEEDLOCUT/

HICUT adjusts lters 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 eects

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 rst stage.

GAIN BASE sets the gain level of the rst stage of the delay. PAN BASE sets the

position of the rst delay stage in the stereo eld. 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 eld. 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 eld.

Rhythm Delay

The Rhythm Delay, or 4-Tap Delay, provides four delay stages with independent

frequency, gain and pan controls. Create time-based echo eects 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 rst stage.

GAIN BASE sets the gain level of the rst 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.

Midas M32 Seite 36

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