User manual YAMAHA MLAN MIXER

[. . . ] 2 Channel Tab Window. . . . . . . . . 10 EQ (Equalizer). . . . . . . . . . . . . . . . . . . . . . 11 Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Top Panel Screen . . . . . . . . . . . . . . . . . [. . . ] DECAY 0­100 ­99 to +99% 0­100 UP, DOWN a Range Description Sensitivity Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Delay time offset Upward or downward frequency change Decay speed a. 6. 0 ms­46. 0 s (fs=44. 1 kHz), 5. 0 ms­42. 3 s (fs=48 kHz) DYNA. PHASER Parameter SENSE FB GAIN OFFSET DIR. STAGE DECAY 0­100 ­99 to +99% 0­100 UP, DOWN 2, 4, 8, 10, 12, 14, 16 a Range Description Sensitivity Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Lowest phase-shifted frequency offset Upward or downward frequency change Number of phase shift stages Decay speed a. 6. 0 ms­46. 0 s (fs=44. 1 kHz), 5. 0 ms­42. 3 s (fs=48kHz) 24 REV+CHORUS Parameter REV TIME INI. DLY HI. RATIO DENSITY FREQ. DEPTH MOD. DLY WAVE REV/CHO HPF LPF Range 0. 3­99. 9 s 0. 0­500. 0 ms 0. 1­1. 0 0­100% 0. 05­40. 00 Hz 0­100% 0. 0­500. 0 ms Sine, Tri 0­100% Thru, 21 Hz­8. 0 kHz 50 Hz­16. 0 kHz, Thru Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Modulation depth Modulation delay time Modulation waveform Reverb and chorus balance (0% = chorus, 100% = reverb) High-pass filter cutoff frequency Low-pass filter cutoff frequency REV->CHORUS Parameter REV TIME INI. DLY HI. RATIO DENSITY FREQ. HPF LPF Range 0. 3­99. 9 s 0. 0­500. 0 ms 0. 1­1. 0 0­100% 0. 05­40. 00 Hz 0­100% 0. 0­500. 0 ms Sine, Tri 0­100% Thru, 21 Hz­8. 0 kHz 50 Hz­16. 0 kHz, Thru Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Modulation depth Modulation delay time Modulation waveform Reverb and chorused reverb balance (0% = chorused reverb, 100% = reverb) High-pass filter cutoff frequency Low-pass filter cutoff frequency REV+FLANGE Parameter REV TIME INI. DLY HI. RATIO DENSITY FREQ. DEPTH MOD. DLY FB. GAIN WAVE REV/FLG HPF LPF Range 0. 3­99. 9 s 0. 0­500. 0 ms 0. 1­1. 0 0­100% 0. 05­40. 00 Hz 0­100% 0. 0­500. 0 ms ­99 to +99% Sine, Tri 0­100% Thru, 21 Hz­8. 0 kHz 50 Hz­16. 0 kHz, Thru Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Modulation depth Modulation delay time Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Modulation waveform Reverb and flange balance (0% = flange, 100% = reverb) High-pass filter cutoff frequency Low-pass filter cutoff frequency 25 REV->FLANGE Parameter REV TIME INI. DLY HI. RATIO DENSITY FREQ. HPF LPF Range 0. 3­99. 9 s 0. 0­500. 0 ms 0. 1­1. 0 0­100% 0. 05­40. 00 Hz 0­100% 0. 0­500. 0 ms ­99 to +99% Sine, Tri 0­100% Thru, 21 Hz­8. 0 kHz 50 Hz­16. 0 kHz, Thru Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Modulation depth Modulation delay time Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Modulation waveform Reverb and flanged reverb balance (0% = flanged reverb, 100% = reverb) High-pass filter cutoff frequency Low-pass filter cutoff frequency REV+SYMPHO. Parameter REV TIME INI. DLY HI. RATIO DENSITY FREQ. DEPTH MOD. DLY WAVE REV/SYM HPF LPF Range 0. 3­99. 9 s 0. 0­500. 0 ms 0. 1­1. 0 0­100% 0. 05­40. 00 Hz 0­100% 0. 0­500. 0 ms Sine, Tri 0­100% Thru, 21 Hz­8. 0 kHz 50 Hz­16. 0 kHz, Thru Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Modulation depth Modulation delay time Modulation waveform Reverb and symphonic balance (0% = symphonic, 100% = reverb) High-pass filter cutoff frequency Low-pass filter cutoff frequency REV->SYMPHO. Parameter REV TIME INI. DLY HI. RATIO DENSITY FREQ. HPF LPF Range 0. 3­99. 9 s 0. 0­500. 0 ms 0. 1­1. 0 0­100% 0. 05­40. 00 Hz 0­100% 0. 0­500. 0 ms Sine, Tri 0­100% Thru, 21 Hz­8. 0 kHz 50 Hz­16. 0 kHz, Thru Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Modulation depth Modulation delay time Modulation waveform Reverb and symphonic reverb balance (0% = symphonic reverb, 100% = reverb) High-pass filter cutoff frequency Low-pass filter cutoff frequency 26 REV->PAN Parameter REV TIME INI. DLY HI. RATIO DENSITY FREQ. HPF LPF Range 0. 3­99. 9 s 0. 0­500. 0 ms 0. 1­1. 0 0­100% 0. 05­40. 00 Hz 0­100% a Description Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density Modulation speed Modulation depth Panning direction Modulation waveform Reverb and panned reverb balance (0% = panned reverb, 100% = reverb) High-pass filter cutoff frequency Low-pass filter cutoff frequency Sine, Tri, Square 0­100% Thru, 21 Hz­8. 0 kHz 50 Hz­16. 0 kHz, Thru a. L<->R, L-->R, L<--R, Turn L, Turn R DELAY+ER. Parameter DELAY L FB. GAIN DELAY R HI. RATIO FB. DLY DLY/ER TYPE ROOMSIZE LIVENESS INI. DLY DENSITY ER NUM. Range 0. 0­1000. 0 ms ­99 to +99% 0. 0­1000. 0 ms 0. 1­1. 0 0. 0­1000. 0 ms 0­100% S-Hall, L-Hall, Random, Revers, Plate, Spring 0. 1­20. 0 0­10 0. 0­500. 0 ms 0­100% 1­19 Description Left channel delay time Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Right channel delay time High-frequency feedback ratio Feedback delay time Delay and early reflections balance (0% = early reflections, 100% = delay) Type of early reflection simulation Reflection spacing Early reflections decay characteristics (0 = dead, 10 = live) Initial delay before reverb begins Reverb density Number of early reflections DELAY->ER. Parameter DELAY L FB. GAIN DELAY R HI. RATIO FB. DLY DLY BAL. TYPE ROOMSIZE LIVENESS INI. DLY DENSITY ER NUM. Range 0. 0­1000. 0 ms ­99 to +99% 0. 0­1000. 0 ms 0. 1­1. 0 0. 0­1000. 0 ms 0­100% S-Hall, L-Hall, Random, Revers, Plate, Spring 0. 1­20. 0 0­10 0. 0­500. 0 ms 0­100% 1­19 Description Left channel delay time Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Right channel delay time High-frequency feedback ratio Feedback delay time Delay and early reflected delay balance (0% = early reflected delay, 100% = delay) Type of early reflection simulation Reflection spacing Early reflections decay characteristics (0 = dead, 10 = live) Initial delay before reverb begins Reverb density Number of early reflections 27 DELAY+REV Parameter DELAY L FB. GAIN DELAY R DLY HI FB. DLY DLY/REV REV TIME INI. DLY REV HI DENSITY HPF LPF Range 0. 0­1000. 0 ms ­99 to +99% 0. 0­1000. 0 ms 0. 1­1. 0 0. 0­1000. 0 ms 0­100% 0. 3­99. 9 s 0. 0­500. 0 ms 0. 1­1. 0 0­100% Thru, 21 Hz­8. 0 kHz 50 Hz­16. 0 kHz, Thru Description Left channel delay time Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Right channel delay time Delay high-frequency feedback ratio Feedback delay time Delay and reverb balance (0% = reverb, 100% = delay) Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density High-pass filter cutoff frequency Low-pass filter cutoff frequency DELAY->REV Parameter DELAY L FB. GAIN DELAY R DLY HI FB. DLY DLY BAL REV TIME INI. DLY REV HI DENSITY HPF LPF Range 0. 0­1000. 0 ms ­99 to +99% 0. 0­1000. 0 ms 0. 1­1. 0 0. 0­1000. 0 ms 0­100% 0. 3­99. 9 s 0. 0­500. 0 ms 0. 1­1. 0 0­100% Thru, 21 Hz­8. 0 kHz 50 Hz­16. 0 kHz, Thru Description Left channel delay time Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) Right channel delay time Delay high-frequency feedback ratio Feedback delay time Delay and delayed reverb balance (0% = delayed reverb, 100% = delay) Reverb time Initial delay before reverb begins High-frequency reverb time ratio Reverb density High-pass filter cutoff frequency Low-pass filter cutoff frequency DIST->DELAY Parameter DST TYPE DRIVE MASTER TONE DLY BAL DELAY FB. GAIN HI. RATIO FREQ. DEPTH Range DST1, DST2, OVD1, OVD2, CRUNCH 0­100 0­100 ­10 to +10 0­100% 0. 0­2725. 0 ms ­99 to +99% 0. 1­1. 0 0. 05­40. 00 Hz 0­100% Description Distortion type (DST = distortion, OVD = overdrive) Distortion drive Master volume Tone control Distortion and delay balance (0% = distortion, 100% = delayed distortion) Delay time Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) High-frequency feedback ratio Modulation speed Modulation depth 28 Dynamics Dynamics processors are generally used to correct or control signal levels, although they can also be used creatively to shape a sound's volume envelope. The following sections explain the COMP, GATE, DUCKING, EXPAND, COMPANDER-(H), and COMPANDER-(S) dynamics processors, their parameters, and general applications. COMP The COMP processor is a compressor that attenuates signals above a specified threshold, providing automatic level control. Vocalists that tend to move toward and away from the microphone while singing produce fluctuating signal levels; sometimes loud, sometimes soft. Likewise, acoustic instruments with a large dynamic range produce sound levels from pianissimo (very soft) through to fortissimo (very loud). In these situations, it is often difficult to set an average fader level that will allow a voice or instrument to be heard clearly throughout a song or piece of music. This is where the compressor comes in with automatic level control. By automatically reducing high levels, thus effectively reducing the dynamic range, the compressor makes it much easier to control signals and set appropriate fader levels. Reducing the dynamic range also means that recording levels can be set higher, therefore improving signal-to-noise performance. The COMP processor can also be used as a limiter, which is essentially a compressor with a high ratio setting. [. . . ] Emphasizes the attack of crash cymbals, extending the "sparkling" decay. Use on a tight high-hat, emphasizing the mid to high range. Emphasizes the attack and clarifies the high-range of instruments, such as shakers, cabasas, and congas. Makes a tight electric bass sound by cutting very low frequencies. [. . . ]