16 M32C DIGITAL RACK MIXER User Manual 17 M32C DIGITAL RACK MIXER User Manual
4. FX Descriptions
FX Descriptions
Here is a list and brief description of the e ects available on the M32.
WhenStereoand Dual versions of an e ect are o ered, use the Stereo version
when the left and right signal are to be altered together (e.g. on linked stereo
channels or buses), or Dual when you want to dial di erent settings for the left
and right signal. See the Topic Guide for instructions on how to add e ects to a
channel orbus.
Stereo Precision Limiter
Stereo Precision Limiter allows you to set a precise volume limit,
ensuringdistortion-free, optimal signal integrity. Use the M32’s Stereo Precision
Limiter to boost quiet signals or preventing clipping while preserving the level of
“hot”signals.
AUTOGAIN activates an additional long-term gain correction, allowing automatic
gain scaling of varying input level ranges. STEREO LINK applies limiting to both
channels equally when activated. INPUT GAIN provides up to 18 dB of gain to
the input signal prior to limiting. OUTPUT GAIN sets the nal gain level of the
processed signal. SQUEEZE adds compression to the signal to add punch and a
slight distortion depending on the amount you dial in. ATTACK sets the attack
time, ranging from 0.05 mS to 1 mS. RELEASE adjusts the release time from
0.05mS to 1.04 seconds. KNEE adjusts the soft limiting threshold point from hard
limiting (0 dB) to maximum soft limiting (10 dB).
Stereo Delay
Stereo Delay provides independent control of left and right delay (echo)
timesand 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.
TIMEadjusts 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 on the left channel to rhythmic
fractions of the master delay time. FACTOR R sets the delay 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 sets the feedback mode: Mode ST sets normal
feedback for both channels, X crosses feedbacks 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 BASE 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 no longer passes through the delay. X-FEED
indicates that stereo cross-feedback of the delays is active. MONO activates
a mono mix of both channels for the delay input. FEED 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 level of the second delay stage. PAN A sets
the position of the second delay stage in the stereo eld. FACTOR B controls the
amount of delay time in the third stage of the delay. GAIN B controls the gain
level of the third delay stage. PAN B sets the position of the third gain stage in the
stereo eld.
Hall, Ambience, Rich Plate, Room, Chamber Reverb
These 5 reverb emulations are inspired by the Lexicon 480L. Hall simulates the
reverberation that occurs when sound is recorded in medium to large-sized
concert halls. Ambience creates a customizable virtual acoustic space to add
warmth and depth without coloring the direct sound.
The PRE DELAY slider controls the amount of time before the reverb is heard
following the source signal. DECAY controls the amount of time it takes for the
reverb to dissipate. SIZE controls the perceived size of the space being created by
the reverb. The DAMP slider adjusts the decay of the high frequencies within the
reverb tail. DIFF(usion) controls the initial re ection density, and LEVEL controls
the e ect output.
LO and HI CUT allow the frequencies a ected by the reverb to be narrowed.
BASSMULT(iplier) controls the low frequency build-up. SPREAD emphasizes
the stereo e ect of the reverb. SHAPE adjusts the contour of the reverberation
envelope. MOD SPEED controls the reverb tail modulation rate and TAIL GAIN
adjusts the volume of the reverb tail. The Rich Plate and Room reverbs allow the
stereo ECHO DELAY and the delay FEEDBACK to be adjusted independently for
each side. The Chamber reverb allows the stereo REFL(ection) DELAY and GAIN to
be adjusted independently.
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 tracks. (Inspired by the Lexicon 300/480L)
Adjusting the PRE DELAY knob adds up to 200 milliseconds of time before the
reverb follows the source signal. The DECAY knob 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 envelope of the reverb. The LO CUT knob sets
a low frequency beneath which the source signal will not pass through the reverb.
The HiSvFr/HiSvGn knobs adjust a Hi-Shelving lter at the input of the reverb e ect.
Gated Reverb
This e ect was originally achieved by combining a reverb with a noise gate.
Ourgated reverb creates the same impression by a special shaping of the reverbtail.
Gated Reverb is especially e ective for creating a 1980s-style snare sound or to
enlarge the presence of a kick drum. (Inspired by the Lexicon 300/480L)
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 envelope
of the reverb. The LO CUT knob sets the frequency beneath which the source signal
will not pass through the reverb. The HiSvFr/ HiSvGn knobs adjust a Hi-Shelving lter
at the input of the reverb e ect. DIFF(USION) controls the initial re ection density.
Plate Reverb
A plate reverb was originally created by sending a signal through a transducer
to create vibrations on a plate of sheet metal which were then picked up as an
audio signal. Our algorithm simulates that sound with high initial di usion and a
bright colored sound. M32’s Plate Reverb will give your tracks the sound heard on
countless hit records since the late 1950s. (Inspired by the Lexicon PCM-70)
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. SIZE adjusts the size of the virtual room created by the reverb
e ect. The DAMP knob adjusts the decay of high frequencies within the reverb
tail. DIFF(USION) controls the initial re ection density. The LO CUT knob sets the
frequency beneath which the source signal will not pass through the reverb.
The HI CUT knob sets the frequency above which the source signal will not pass
through the reverb. The BASS MULT(IPLIER) knob adjusts the decay time of the
bass frequencies. XOVER controls the crossover point for bass. MOD DEPTH and
SPEED control the intensity and speed of the reverb tail modulation.
Hall Reverb
Classic Hall Reverb simulates the reverberation that occurs w hen sound is
recorded in medium to large-sized concert halls. Use the Hall Reverb to give your
mix a lush, three-dimensional quality that will make your performance sound
larger than life. (Inspired by the Lexicon Hall)
The PRE DELAY slider 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. SIZE controls the perceived size of the space being created
by the reverb e ect. The DAMP slider adjusts the decay of high frequencies within
the reverb tail. DIFF(usion) controls the initial re ection density. SHAPE adjusts
the contour of the reverberation envelope.
Vintage Room
Vintage Room simulates the reverberation that occurs when sound is recorded in
a small room. When you want to add a bit of warmth and just a touch of reverb,
M32’s Vintage Room breathes life into close-miced guitar and drum tracks.
(Inspired by the Quantec QRS)
The VU meter displays the input and output levels. Set the early re ection times
for the left and right channel with ER DELAY L and ER DELAY R. ER LEVEL sets the
loudness of the early re ection level. REV DELAY controls the amount of time before
the reverberation is heard following the source signal. HI/LOW MULTIPLY adjusts the
decay time of the high and bass frequencies. TIME shows the duration of the reverb
e ect. ROOM SIZE adjusts the size of the room e ect being created incrementally
from small to large. HIGH CUT sets the frequency above which the source signal
does not pass through the reverb. DENSITY manipulates the re ection density in the
simulated room. (This slightly changes the reverb decay time). LOW CUT sets the
frequency below which the source signal does not pass through the reverb.
Vintage Reverb
Based on the legendary EMT250, M32’s Vintage Reverb delivers shimmering
bright reverb that won’t drown out or overpower your live or recorded tracks.
UseVintage Reverb to sweeten vocals and snare drums without sacri cing clarity.
When layer 1 is selected, the rst slider on the left sets the reverb time from
4milliseconds to 4.5 seconds. Slider 2 controls the low frequency multiplier
decay time. Slider 3 controls the high frequency multiplier decay time. Slider 4
controls the amount of modulation in the reverb tail. When layer two is selected,
slider1adjusts the pre delay. Slider 2 selects the low cut frequency. Slider 3
selects the Hi Cut frequency. Slider 4 adjusts the output level of the reverb.
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