Sony DPS-D7 - Page 29

Important Points for
Editing
1 .
Input the actual
sound you are
going to use.
When
creating sounds,
there is no way
besides actually
listening to and
processing the sounds
you actually use.
Moreover, do
not limit yourself to
playing only one
instrument to
examine the effect,
but consider the
backup
performance (play it
during the music) as
well,
because
though you may
feel
comfortable while
listening
to
the effect
played
by
one
instrument, it may not
last
with the
backup performance.
Consequently,
a
strongly
applied effect may be
found well
fitted in the
later
rendering.
2.
Pay attention
to the tempo.
Such effectors as
Delay or
Reverberator, which
are
intended
for time
shift
may
have
diverse grade of
effects
according to the tempo
of the
music. To solve
this
problem, you will find
that the instruction
given in 1
above
which says
“Input the
actual sound and
music you
are
going to use.” is
critical. That
is to say, let
the delay
time go
along
with the tempo
of
the
music so that
you
can apply
an effect without
destroying
the
rhythm
of
music (Of course there
may be cases
where you
prefer
to destroy
the rhythm on
purpose.)
The
DPS series has a
tempo direct
indication
function
that
adopts the unit of a
quarter note,
(how many
quarter
notes
are permitted
within one
minute) as
well
as
the unit
of
time (msec) to
express the delay
time. By
gracefully
utilizing this
function, it becomes
easier for you to
play
music
maintaining linkage
with the tempo
of
equipment
such as a
sequencer.
*
The delay time
will
be
1 sec.
when
J
=
60
and 500
msec, when
i
=120.
The
number you
specify should be
an
integer and a
multiple of the tempo.
3.
Use the
Time
Scaling
Function
Delay
function
incorporated in
the DPS-D7
has
many
parameters for
obtaining a
detailed
sound
creation, and
it is also
equipped
with
a
time
scaling
function for
speedy
editing.
It is
capable
of changing all the
parameters
categorized in
“time scale” at
the
same time
and at the
same
ratio and
greatly
helps you
edit time
information
such as
sizes of
rooms. Thus,
you are
allowed to
effectively proceed
with
sound
creation when you
first
call up
the preset
data,
organize the
rough image
of
sounds with
the time
scale function
and then
change the
parameters one by
one.
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Briefly
and
finally, what is
important in
sound
creation is as
follows:
(1)
Select
the preset.
(2)
Edit with
time
scaling
function.
(3)
Edit each
parameter.
This
shows the
method
of production
from
rougher
imaging
to
detailed editing,
which efficiently leads
you to
the goal.
It
should be noted as
well,
that it is
possible to
minutely
compare
sounds fully
utilizing the
comparing
function.
OPERATION
29
Changing
the
Effects
(EDIT)