Bedienungsanleitung Soundcraft EPM (Seite 33 von 60) (Englisch)

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Soundcraft EFX/EPM User Guide Issue 1210

Diffusion

Controls the initial echo density. High settings of Diffusion result in high initial echo density, and low settings

cause low initial density. In a real-world situation, irregular walls cause high diffusion, while large at walls

cause low diffusion. For drums and percussion, try using higher Diffusion settings.

Shape

This control helps give a sense of both room shape and room size. Low values for Shape keep the majority

of sound energy in the early part of the reverb tail. High values move the energy to later in the reverb, and

are helpful in creating the sense of a strong rear wall or “backslap.

Boing

This is a unique parameter to the Spring reverb, designed to increase or decrease the amount of spring rattle

that is a physical characteristic of spring tank reverbs.

DELAYS

Delays repeat a sound a short time after it rst occurs. Delay becomes echo when the output is fed back into

the input (feedback). This turns a single repeat into a series of repeats, each a little softer than the last.

Studio Delay

The Studio Delay features up to 2.5 seconds of stereo delay and offers a built-in ducker that attenuates the

delay output whenever signal is present at the input. This can be used to keep the original signal from being

muddied up by delay repeats.

Digital Delay

The Digital Delay is the cleanest, most accurate of the delay programs, with up to 5 seconds of mono delay

and the built-in ducking feature.

Tape Delay

In the days before digital, delays were created using a special tape recorder in which the magnetic recording

tape was looped, with closely-spaced recording and playback heads. The delay effect was created by the tape

moving in the space between the record and playback heads – while delay time was adjusted by changing

the speed of the tape loop. Although very musical-sounding, wow and utter combined with a signicant

loss of high frequencies, and to some extent also low frequencies, are all elements commonly associated

with tape recordings. The Tape Delay offers up to 5 seconds of mono delay.

Pong Delay

This delay effect pans the delay repeats from left to right, while the input signal remains at its original (center)

position. Pong Delay offers up to 5 seconds of mono delay time.

Modulated Delay

The Modulated Delay is enhanced by an LFO (low frequency oscillator) that produces a chorusing effect on

the delay repeats. This is a great delay for guitar and instrument passages that need that “special something.”

The Modulated Delay features up to 2.5 seconds of stereo modulated delay.

Reverse Delay

This delay effect emulates the old studio trick of ipping a tape over, playing it backwards through a tape

delay, and recording the effect. The delays “build up” from softer to louder – creating the sensation that the

delays come before the signal. Up to 5 seconds of mono delay time are available.

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Soundcraft EPM Seite 33

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