Table of Contents
Advertisement
1. Make sure that any "mix" or "balance" controls on
the effect unit are set to "full effect" or "wet", so that
no "dry" (unprocessed) signal comes to the effect re
turns.
2. Set the STEREO EFFECT RETURN controls of the
MM-1 to the
"2
o'clock" position.
3. While playing the instruments, slowly increase the
output control of the effect device until you hear the
"wettest" mix you're likely to use. This is a matter of
taste.
If the effect unit has an output switch (for example
"+4/- 20"), set it to the +4 dB (loudest) position. Change
it to -20 (lower level) only if you have to turn the
STEREO EFFECT RETURN control down to a very
low level ("9 o'clock") to get the effect mix you want.
I n most cases, you don't have to worry about distorting
the effect return circuit of the MM-1. It's more important
to set the output level of the effects device so that you
can use the whole range of the RETURN controls. If
you tend to have trouble getting the mix you want be
cause you can only use the lower quarter of the RE
TU RN pots, reduce the output level of your effect unit
so that you can get the level you want at the "12
o'clock" position of the STEREO EFFECT RETURNS.
You'll have to experiment to find the correct balance
between input and output level setting for your particular
unit, but keep in mind the principle of "hot send, at
tenuated return". Noise is present in almost every signal
processor; the trick is not to amplify it.
Stereo returns without the TRS cable: If you don't have
access to the stereo TRS splitter cable for ste'reo returns,
you may use two mono cables, with the left side going
to Return 1 (or 3) and the right side going to Return 2
(or
4).
This gives you only 2 stereo returns, however.
Stereo returns with the TRS cable but the next jack
empty: If you are using stereo effect returns, and the
other jack of a pair (1-2 or 3-4) is empty,
make sure
that the "empty" return level is turned all the way
down,
or it will tend to pull the mix to one side, and
make it more monophonic (diagram, p.
8).
For more
information on stereo cables, etc., see pp. 22-23, "Stereo
Effect Return Jacks".
MUTES AND SCENE MEMORIES
The MM-1 has a featu re usually found only on much
more expensive consoles: Mute Automation. This allows
you to turn many different channels on and off simul
taneously at the touch of one button.
For example, you may have a rack of synthesizers that
isn't used on one particular song, just an acoustic piano.
You can set up a SCENE, a "snapshot" setting which
mutes all the synthesizers, leaving only the piano mic on.
This way, the hiss and output noise of the synthesizers
doesn't get in the way, but you leave the volume settings
alone. What's more, you can go from scene to scene by
external MIDI Program Change commands.
There are 99 scenes in the MM-1, each of wh ich can hold
a "snapshot" of the mute switches. Other settings
(volu me, effects send, EQ) are
not
automated, and aren't
reset when you change scenes.
Storing a Scene in Memory
1. First, find an "empty" scene, one that has no mutes
stored in it. An easy way is to hold RECALL and press
SCENE, which will bring you to the "highest scene
number" currently stored in memory. Then press UP
and RECALL.
2. Press the MUTE buttons you want. The scene number
will start to flash, showing that the front panel settings
are different from what's in the original scene.
3. Press STORE. The MEMORY LED will light under
the meter, showing that the current mutes have been put
into a "memory buffer". You can't press any more
mutes w.hile this LED is on. If for some reason the scene
number chosen in step 1 isn't right for you, you can
press UP or DOWN to go to another scene for final
storage.
4. Hold STORE and press SCENE. The MEMORY LED
disappears, and you have now written the mute settings
into the MM-1's permanent memory.
See p. 20, "Scene/MIDI Ch" and p. 21, "Store/Copy",
for more details on features of these keys.
Recalling Scenes:
Using the front panel controls:
1. Press UP or DOWN. The scene number will flash,
showing you that the scene hasn't been recalled yet.
2. When you find the number you want, press RECALL.
The mutes will instantly change to the settings of that
scene.
Using the REMOTE UP/DOWN footpedal:
The optional RC-60P pedal can be connected to the
REMOTE UP/DOWN jack on the front panel. When
pressed, it has the same effect as pressing UP or DOWN
and then RECALL.
MIDI Features:
Any method of recalling a scene memory will also send a
MIDI Program Change command to the MM-1's MIDI
OUT jack, if the MIDI TRANSMIT CH number is not set
to "off". For more information, see p. 13, "Controlling
Mutes with Note Messages".
To Clear a Scene: I
f
you want to clear al i mute settings
from a scene, hold CLEAR and press SCENE.
To Copy a Scene from One Number to Another:
Especially if you are using MIDI patch change com
mands, you may want to have a series of scenes that
have the same settings.
1. Go to the scene you want to copy, and press
RECALL.
-11
Advertisement
Table of Contents
