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Here are the parameters you will find on these pages: REVERB TYPE Range of Settings: (see below) Page 5 The QS has seven different reverb types, all stereo, each of which simulates a different space or produces a different ambient effect. The different Reverb types are: Plate 1 & 2. The two Plate reverb types simulate an artificial device known as a Plate. In the early days of recording, Plates were extremely popular because they were almost the only way to provide any sort of artificial ambiance to a recording. The sound of a well-tuned Plate has become quite popular over the years, especially when used on vocal or drum sounds. The tonal characteristics of these two Plate reverbs differ subtly in ways similar to different manufacturers’ plate reverbs. QS7.1/QS8.1 Reference Manual Part 6: Editing Effects Room. The Room reverb type simulates not only rooms of different sizes, but rooms with different surface materials. A room with soft surfaces such as carpet will produce a reverberant sound with much less high end (treble) than a room with hard surfaces. This reverb type can easily simulate both examples and many, many more. Hall. Much larger than a room, Halls are characterized by their high ceilings, irregular shapes, and generally uniform density of reflections. Large. Much larger than a hall, this reverb type emulates the large ambient spaces found in amphitheaters, gymnasiums, etc. Gate. Gated Reverb is a very popular effect on drums first found on English records in the early 1980s. This reverb type can simulate applying a noise gate (a device that automatically decreases the volume once the signal falls below a certain level) across the output of the reverb thereby causing the initial attack of the reverb to sound very big, but the tail of the reverb to be cut off very quickly. Although this effect is not found in nature, it works great for modern drums, percussion, and any quickly repeated, transient source. Reverse. The Reverse Reverb type is an inverted reverb in which the volume envelope is reversed. This means that the signal begins softly but grows louder until it is cut off, rather than loud to soft as normal. PRE-DELAY TIME Range of Settings: 0 to 299ms Pages 6 & 7 Pre-Delay is the slight delaying of the Reverb itself so that the dry signal more easily stands out from the Reverb. A bit of Pre-Delay can sometimes make certain instruments (such as snare drums) sound bigger. Use page 6 to adjust the Pre-Delay Time in 10ms intervals, and/or use page 7 to adjust the Pre-Delay Time in 1ms intervals. This Pre-Delay is part of the Reverb itself; don’t confuse it with the separate Delay modules available under the Delay function. PRE-DELAY MIX Range of Settings: IN<99DEL to IN99>DEL Page 8 This parameter allows you to control the balance between the Pre-Delayed signal of the Reverb and the straight Reverb itself. It gives you the ability to hear a bit of the Reverb before the loudest part of the Reverb (the Pre-Delayed Reverb) sounds, which makes for bigger and smoother sounding Reverb settings. When this is set to <99 you get the Reverb signal with no Pre-Delay, while a setting of <0> gives an even mix and a setting of 99> gives you pure Pre-Delayed reverb. INPUT FILTER Range of Settings: 00 to 99 Page 9 This parameter adjusts the frequency of the low-pass filter which affects the audio before it reaches the Reverb input. Lower values remove high frequencies from the input signal, which is what to do if you want to make the Reverb effect less bright. QS7.1/QS8.1 Reference Manual Part 6: Editing Effects DECAY Range of Settings: 00 to 99 Page 10 The Reverb Decay determines how long the Reverb will sound before it dies away. When using the Reverse Reverb type, Reverb Decay controls the Reverse Time. LOW DECAY/ HIGH DECAY Range of Settings: 00 to -99 Pages 11 & 12 These two parameters allow the Decay Time to be set separately for both the low and high frequencies of the Reverb. This means that you have control over the tonal shape of the Reverb itself, being able to make the high frequencies die faster if the effect is too bright, and being able to make the lows die faster if the effect is too boomy. With these parameters you can simulate different surfaces of a room or hall, with softer surfaces absorbing more high frequencies and smaller rooms having faster low frequency decay. Note: If the selected Reverb type is Gate or Reverse, the Low Decay parameter is unavailable (leaving only 13 pages of Reverb parameters available [10 in Config #2]). DENSITY Range of Settings: 00 to 99 Page 13 (Page 12 if Gated or Reverse type) Density controls how the first reflection of the reverb effect will appear. When set to 0, the first reflection is heard alone without any other reflections. When set to 99, the first reflection appears to “fade-in” and then “fade-out”. This is because a number of reflections will occur just before and just after the first reflection, in addition to the remaining reflections heard after ...
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