name on the right. Whether nudging up or down, the output will be muted for a
short time. Mute time is not compounded i.e. is the same regardless of how many
programs are nudged through and which program you are nudging to or from.
There are nine factory pre-set programs; choose the one you wish to use and refer
to the program notes at the back of this manual (APPENDIX B). These notes give
the maximum pre-delay, the maximum decay time and the decay filter ranges
available when using each particular program.
Pre-Delay
Pre-delay offsets the output of the RMX 16 relative to the input. When mixing the
original with the output of the reverberation system a variety of material can be
enhanced by adding pre-delay; knowing when to use pre-delay and how much to
use comes with experience.
Decay Time
Increasing decay time effectively increases the length of the final phase of
reverberation i.e. the reverberant period. By using the 'pot' control the decay time
may be varied at any time during a mix.
Decay Filtering
The effectiveness of these controls depends to a large extent on the frequency
character of the source material. The high frequency filter will have no effect at all
on low range instruments like the bass guitar whereas cymbals, violins, etc., will
be affected to a large degree; there is no substitute for experimentation.
Keyboard text Entry
Text entry can be used to change any of the parameters displayed on the
numeric displays. Click on the display parameter you want to modify and use
the keyboard to type a new value followed the enter key.
RMX-16 Digital Reverberation System - 12 - Issue 1
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