Sony DPS-R7 - Key Considerations for Sound Editing; Importance of Using Actual Sound; DRY and EFFECT Control Levels; Tempo Synchronization for Effects

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 levels of the DRY and EFFECT
controls.
Some effects of the preset sounds may greatly change by
adjusting the DRY and/or EFFECT control. In particular,
those with the message “don’t mix with DRY sound” are
not effective unless the DRY control is set to 0. When
editing, this must be remembered. If you use the Gate for
pre/post-effect block, you may fail to get the desired
effect with the input below the threshold level. Readjust
the input level when this is the case.
3. Be careful with 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 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 music so that you can apply an effect
without destroying the rythm 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 ¢ = 60 and 500
msec, when ¢ = 120.
The number you specify should be an integer anda
multiple of the tempo.
4. Use the Time Scaling Function
Reverberating function incorporated in the DPS-R7 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 the time
information such as sizes of rooms. Thus, you are allowed
to effectively proceed with sound creation as you first call
the preset data, organize the rough image of sounds with
the time scale function and then change the parameters
one by one.
5. Use the B.LOAD (Block load) Function
The B.LOAD function facilitates examination of sounds
within one block. Suppose you want to listen to the
sounds only in the Reverberation block, you have only to
load the OFF algorithm to the Pre/Post-effect blocks. To
listen to the original data again, use the memory
comparing function on the parameter setting screen of
the REVC, REVS(REV 1, REV2), Pre-effect, Post-effect,
Input or Output block.
Briefly and finally, what is important in sound creation is as
follows:
(1) Select the preset.
(2) Change the block using the B.LOAD function.
(3) Edit with time scaling function.
(4) Edit each parameter.
This shows the way of production from the rougher imaging
toward detailed editing, which efficiently leads you to the
goal.
It should be noted as well, that you minutely compare
sounds fully utilizing the comparing function.
OPERATION 4 7.
iJ
ss
a
=
a
I
2
ak
=
t.)
foal
=
eo
3
a
me?
m
3
3