Delay And Its Parameters - PRESONUS Studio 192 Owner's Manual

4 UC Surface Monitor Control Software
4.4 Adding Effects

4.4.3 Delay and its Parameters

Decay. Decay is the time (in seconds) required for the reflections (reverberation)
to die away. In most modern music production, reverb decay times of between
one and three seconds are prevalent. A reverb setting with strong early reflections
and a quick decay are a great way to create a stereo effect from a mono source.
Predelay. Predelay is the time (in milliseconds) between the end of the initial
sound and the moment when the first reflections become audible. Imagine you're
back on that stage in a large music hall. This time you stand on the very edge of
the stage and shout "Hello world!" toward the center of the hall. There will be a
brief pause before you hear the first noticeable reflections of your voice, because
the sound waves can travel much further before encountering a surface and
bouncing back. (There are closer surfaces, of course—notably the floor and the
ceiling just in front of the stage—but only a small part of the direct sound will go
there, so those reflections will be much less noticeable.) Adjusting the predelay
parameter on a reverb allows you to change the apparent size of the room without
having to change the overall decay time. This will give your mix a little more
transparency by leaving some space between the original sound and its reverb.
Note: Predelay control is not available on every reverb type.
Early Reflections. Early reflections are those that reach the listener a few
milliseconds after the direct signal arrives. Your brain uses them to identify the size of
the room you're in. If you are trying to simulate a specific type of room, this control
will be extremely important. This control allows you to set the level (in decibels) of
the early reflections. The louder the early reflections, the smaller the room will seem.
Note: Early Reflections control is not available on every reverb type.
A delay essentially creates an echo, although you can often use
delays to create more complex time-based effects. The source signal
is delayed so that it is heard later than it actually occurred.
Note: Delay types and presets can only be loaded on FXB.
The following parameters are available for the four delay
types the Studio 192 and Studio 192 Mobile offers:
Time. This is the time (in milliseconds) between the source signal and its
echo. The simplest delay effect is a single repeat. A short delay between
30 and 100 ms can be used to create slap-back echo, while longer delay
times produce a more distant echo. Delay times that are too short to
hear as distinct echoes can be used to create thickening effects. Whether
these echoes are timed with the tempo is a matter of stylistic choice.
This is the parameter that is controlled by the Tap Tempo button. Using
the Tap button, you can speed up or slow down these repeats or, more
commonly, time the repeats to occur with the tempo of the music.
Time X. Time X is the value of the beat you are using as a reference for
the tempo. The basic unit of measure is a quarter note, so for example,
if the beats you are tapping represent quarter notes in the music, you
would set Time X to 1.00. If they are eighth notes, you would set Time X
to 0.50; half notes would be 2.00, and so on. In this way, you can precisely
synchronize or syncopate the delay echoes to the music in real time.
Note: The Stereo Delay offers two Time X controls. With the Ping
Pong delay, the Pong X parameter serves the same purpose.
Variable Feedback. Variable feedback, or regeneration, produces multiple
decaying repeats. Increasing the feedback value increases the number of echoes,
as well as the resonance that is created as one echo disappears into another.
F_Frequency. Sets the center frequency in Hz for the Filter Delay.
F_Gain. Sets the boost at the center frequency for the Filter Delay.
F_Q. Sets the Q for the Filter Delay. The Q is the ratio of the center frequency to
the bandwidth. When the center frequency is constant, the bandwidth is inversely
proportional to the Q, so as you raise the Q, you narrow the bandwidth.
Studio 192 and Studio 192 Mobile
Owner's Manual
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