SoundCraft EFX User Manual page 16

FX PROCESSOR CONTROLS (EFX only)
1. Tempo Button - Tapping this button twice sets the Delay Time of the selected
program. The LED flashes to indicate current tempo. Can be tapped in time with
music source to synchronise the delay.
2. Store Button - Stores program modifications to one of the program locations.
Press and hold for three seconds will store the preset in the current location. The LED
will flash rapidly during the store operation and then stay illuminated for 1 second
to show the operation is complete.
3. pre Delay / Time/ Speed Knob - Controls Pre Delay of the reverbs or the first
parameter (time or speed related) of the selected effect. The LED illuminates when
the parameter matches the stored setting.
4. Decay / Feedback/Depth Knob - Controls Decay of the reverbs or the second
parameter (feedback or depth related) of the selected effect. The LED illuminates
when the parameter matches the stored setting.
5. Variation - Controls Liveliness or Diffusion (depending on the reverb selected) or
the third parameter of the selected effect. The LED illuminates when the parameter
matches the stored setting.
6. program Select Knob - Navigates through programs, turning to the required pro-
gram will initiate the loading of the program which take approximately 1 second. The
knob can be rotated clockwise or anticlockwise and will alternate between BANK A
and BANK B every full rotation. The current bank is shown by its illuminated LED,
which flashes if the FX processor is muted. There is a handy aide memoir of the
programs printed on the front panel.
7. Clip LED – This LED illuminates when either the incoming audio or the processed
audio (within the effect processor) overloads, and causes distortion of the signal.
Footswitch Input (see diagram on page 20) - Using a single-pole, momentary
footswitch inserted into the FOOTSWITCH input the effects processor can be muted/
un-muted.
8. pFL - This switch routes a post effects processor, pre-fade (EFFECTS FADER) signal
to the monitor system.
9. muTE - This switch mutes the output of the FX processor. It doesn't mute the PFL
signal or the FX TO AUX 1 pre-fade signal.
10. FX TO AuX 1 - This pot routes a pre-fade and a post-fade signal to the Aux 1-pre and Aux 1-post busses
respectively.
11. EFFECTS FADER - This fader controls the level of the signal, from the FX processor, routed to the main
mix busses.
FX BUS OUT (see diagram on page 20) - This output carries the signal from the FX bus. It could be used as
a second Aux Output if desired, if the FX Processor is not needed at the time.
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Soundcraft EFX/EPM User Guide Issue 1110
REVERBS
Reverberation (or "reverb" for short) is the complex effect created by the way we perceive sound in an en-
closed space. When sound waves encounter an object or boundary, they don't just stop. Some of the sound
is absorbed by the object, but most of the sound is reflected or is diffused. In an enclosed space, reverb is
dependent on many features of that space, including the size, shape and the type of materials that line the
walls. Even with closed eyes, a listener can easily tell the difference between a closet, a locker room and
a large auditorium. Reverb is a natural component of the acoustic experience, and most people feel that
something is missing without it.
Hall Reverb
A Hall is designed to emulate the acoustics of a concert hall – a space large enough to contain an orchestra
and an audience. Because of the size and characteristics, Halls are the most natural-sounding reverbs, de-
signed to remain "behind" the direct sound – adding ambience and space, but leaving the source unchanged.
This effect has a relatively low initial echo density which builds up gradually over time. Vocal Hall and Drum
Hall reverbs are specifically tailored for those uses. Vocal Hall has as lower overall diffusion which works well
with program material that has softer initial transients like a voice. Drum Hall has a higher diffusion setting
which is necessary to smooth out faster transient signals found in drums and percussion instruments. In ad-
dition to general instrumental and vocal applications, the Hall program is a good choice for giving separately
recorded tracks the sense of belonging to the same performance.
Plate Reverb
A Plate reverb is a large, thin sheet of metal suspended upright under tension on springs. Transducers attached
to the plate transmit a signal that makes the plate vibrate, causing sounds to appear to be occurring in a
large, open space. The Plates in the FX processor model the sound of metal plates with high initial diffusion
and a relatively bright, colored sound. Plate reverbs are designed to be heard as part of the music, mellow-
ing and thickening the initial sound. Plate reverbs are often used to enhance popular music, particularly
percussion.
Room Reverb
Room produces an excellent simulation of a very small room which is useful for dialog and voiceover appli-
cations. Room is also practical when used judiciously for fattening up high-energy signals like electric guitar
amp recordings. Historically, recording studio chambers were oddly-shaped rooms with a loudspeaker and
set of microphones to collect ambience in various parts of the room.
Chamber Reverb
Chamber programs produce even, relatively dimensionless reverberation with little color change as sound
decays. The initial diffusion is similar to the Hall programs. However, the sense of size and space is much
less obvious. This characteristic, coupled with the low color of the decay tail, makes these programs useful
on a wide range of material - especially the spoken voice, to which Chamber programs add a noticeable
increase in loudness with low color.
Gated Reverb
Gated reverb is created by feeding a reverb, such as a metal plate, through a gate device. Decay Time is set
to instant, while Hold Time varies duration and sound. The Gated reverb provides a fairly constant sound with
no decay until the reverb is cut off abruptly. This program works well on percussion — particularly on snare
and toms; be sure to experiment with other sound sources as well.
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