Pyle PMX646 User Manual

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Ambience
Your mixes can be further rened by adding ambience eects such as reverb or
delay. The internal eects can be used to add reverb or delay to individual
channels in the same way as exlernal eects 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
Dierent reverb programs will have dierent ''reverb tone" due to dierences
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 dierence. Any more than this
normally becomes a "special eect".
The Modulation Eects:
Phasing, Chorus, and Flanging
All of these eects 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 eects the shift is very small.
The phase dierence between the modulated and direct signals causes cancel-
lation 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 eect 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 dierence between chorus and anging eects 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 eect" to produce other worldly sonic swoops.
Compression
One form of compression known as "limiting" can, when properly used, produce
a smooth, unied 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.

Pyle PMX646 Specifications

General

Brand	Pyle
Model	PMX646
Category	Music Mixer
Language	English