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This allows a dense reverb to occur during the time the direct signal is on, but does not result in a “washy” sound as the reverb trails off. This effect is very popular on drums (listen to a Phil Collins record), as well as on other instruments and even voices, particularly where a ‘light” mix is desired. Each of the 14 reverb "selections" can be adjusted for a short reverberation decay time, or for a long decay time, using the top rotary switch (in the positions to the right of the center line), which acts as the REVERB/DELAY TIME control. These range from short (position 1 near the top), to long (position 8 near the bottom). Listen to each of these different settings. When the bottom switch is rotated to the “SPECIAL EFFECTS” position, the top switch should be rotated to the left of the center line. This then selects from seven other special effects. These include: 1) Defeat. In this position, the effects section is bypassed. 2) Multi-Tap Delays. This simulates a multiple tap (outputs at various delay times) digital delay. 3) 3 Tap Pan. This simulates an automated pan control, that stops in the left, center, and right positions. Auto-panners are great for having a signal “move” in position during a mix. 4) 2 Tap Pan. Like 2 above, but only left right (does not stop in the center). 5) Cross Echo. This effect puts a delay on the opposite channel from the direct sound. 6) Delay & Reverb. This simulates putting a digital delay before a reverb chamber, thus increasing the time it takes for the first early reflection to occur. 7) Ambient. This effect is great for simulating stereo out of a mono signal. 8) Reverb Regeneration. This has the effect of setting up a low level (not runaway) feedback in the reverb, thus regenerating the delayed signal, and increasing the reverb time dramatically. At the bottom of the DIGITAL REVERB AND EFFECTS section, is a small push button switch called REVERB DEFEAT. This switch performs the same function as the Defeat position on the top rotary switch. That is, it turns the reverb or effect off, without requiring you to change the send and return level controls. This can be extremely handy, for instance, at the end of the song, when the performer steps up to the mic to thank the audience, and is all of a sudden is greeted by a wash of reverb. If you have carefully set the send and return level controls where you want them for music, this switch allows you to temporarily turn off the reverb, then turn it back on when you go back to music. Please take the time to carefully listen to each of these effects. You will notice subtle differences that make certain settings more desirable for use on a specific voice or instrument, and a little time spent learning these sounds will pay off incredible creative dividends in the near future. 47 The Effects Return Section. Effects returns are actually inputs in the output section, /is opposed to your average every day inputs, returns are called to a special purpose. Basically, they provide a way to return outboard effects back to the mixes. The effects returns act as additional stereo or mono inputs, and allow you to select how much of the reverb signal is routed to the stereo main, and to the two stage monitor mixes. The EFFECTS RETURN TO MAIN return section provides a stereo level control, a pan/balance pot for positioning on the stereo master left and right buss, a solo switch (to help you isolate and fine tune the reverb settings by listening over the headphones), The return sections (both effects and aux. returns) can operate in either a true stereo mode, or in a mono mode. In the true stereo mode (where the stereo output of the effects device, both left and right, are plugged into the effects L. In and effects R. IN jacks), the level control acts like a dual control, adjusting both the volume of the left and the right channel, and the pan/balance control acts like a balance control on your Hi-Fi, allowing you to shift the stereo image to the left or to the right. In the mono mode, you can plug the output of your effects device into either the left or the right return jack. In this case, the mono return is fed through the level control, and to the pan/balance pot, which now acts just like the input channel pan control, allowing you to place the return signal anywhere in the stereo spread. An Exercise: Using The DSP Reverb And Effects. If you haven’t already done so, read “The Exercises”. For this session, we’ll use the Internal DSP Reverb, but you can repeat this session with an external effects device if you wish. Play a tape of a group (an “uncluttered” tape with the least possible amount of reverb and effects) and set the Input Channel faders and the Master Left and Right faders for a comfortable listening level. Bring up the Channel 1 Effect control about half way. Look at the digital reverb and effects section of the mixer. For starters, make sure the REVERB DEFEAT switch is NOT pushed in. This switch is used f...

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