Yamaha S70 XS Manuel - Sayfa 6

Elektronik Klavye Yamaha S70 XS için çevrimiçi göz atın veya pdf Manuel indirin. Yamaha S70 XS 12 sayfaları. Music production and performance
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that used a transducer (driver) at one end and

second transducer (microphone) at the other...in

between was a large aluminum plate. You sent

signal from the mixing board's aux sends and

returned up to a maximum of 5 seconds of cool

reverb. This was the standard for drums and

percussion

"back-in-the-day".

SIMULATOR

will

help

environment and can teach you about how the

other presets where made. It allows you set

width-height-depth of the walls and the 'wall vary'

lets you set the reflective texture of the surface

from rug to steel. A rug absorbs sound, while the

steel would be highly reflective. Under the SPACE

SIMULATOR you will find several presets that will

give you an idea of just what type of spaces you

can simulate: Tunnel, Basement, Canyon, White

Room, Live Room, and 3 Walls...

When you are thinking about these you must

imagine how each will sound and why. A tunnel,

for example, is long and narrow with reverberant

surface walls; while a basement also has a low

ceiling but probably not much reflection of sound.

A canyon you can picture has no ceiling so it is a

wide-open space with a long reflection and bounce

back. The "Space Simulator" is a starting point –

you configure the space – presets are simply

starting point...

Also important in working with reverb is an

understanding of how it works in the real world.

In most listening situations you are hearing a

certain amount of signal, directly from the sound

source, while the rest of the signal bounces off the

environment you are standing in. If, for example,

you are 30 feet from the stage you will hear a

portion of the sound direct from the stage but

most of it will bounce off of the walls, floor and

ceiling to arrive at your position. Because we

often record and/or amplify musical signal with a

technique called "close-miking", reverb became a

necessary evil (if you will). Close-miking allows us

to isolate a particular sound from others in the

environment but there is a trade off... we lose that

sense of distance and environment. To regain

some of the distancing we use artificial reverb to

do the trick. Recognize that when you put a

different amount of reverb on the snare than you

do on the flute this does not occur in nature. All

the musicians in the same room would naturally

have the same reverberant environment with very

subtle differences due to positioning in the room.

This gets back to the subjective part of the audio

business. SO WHAT? You can use effects to taste.

There is no rule that says everyone has to have

good taste nor do you have to exercise it.

However, keeping a reality check (an idea of what

would happen in the real world), can only help. No

one is saying you cannot create some science-

The

SPACE

you

design

your

own

fiction sound environments, of course, you can,

just know when you are doing so!

An important parameter in all the reverbs is the

INITIAL DELAY this is the time before the

reverb receives the signal and can help position

the listener near/far from the instrument source.

The initial delay in any acoustic environment is

the time it takes before the signal reaches a

significant boundary. In a large hall it could be

several

hundred

bounces off the back wall. Your ear and brain can

easily recognize this and it gives you a perception

of exactly from where the sound is emanating.

The DRY or unaffected signal travels to your ear

directly, the reverberation begins some short time

after. This can be only a few milliseconds but is

plenty of time for the ear/brain to analyze and

conclude specifics about the environment. When

too

many

different

occur,

the

music

unnatural. If that is what you are going for then

this is fine. But if you ever wonder why some

mixes are just better than others – a lot of the

reason has to do with the subtleties of the mix.

And make no mistake the EFFECT processing is a

huge part of this.

The HPF

(high pass filters) and LPF (low pass

filters) found within the Effect algorithms are

there to help you shape the reverb signal itself.

There is a rule of thumb here: low frequencies

reverberate

less

frequencies tend to hit a surface like a wall and

spread out while high frequencies hit a wall and

bounce right back into the room. This is why,

when you are sitting next door to the party, you

only hear the bass through the wall – all the high

frequency content 'reverberates' and stays in the

source room. So use the HPF (high pass filter) to

allow the highs to pass through to the reverb and

block the lows from reverberating.

bass just adds MUD. MUD here, is not a subjective

term but if it is what you want, go for it (but yuck,

it is mud). Low frequencies don't bounce back

they tend to hug the walls and spread out. If you

want cutting, punchy bass leave the bass "dry"

(without reverb).

The XS Reverb processor features a brand new

effect

algorithm

Yamaha "Rev-X" technology. "REV-X" is a whole

new generation of Yamaha Reverb with the richest

reverberation tone and smoothest decay. There

are

"Hall",

"Room"

Parameters like ROOM SIZE and DECAY envelope

also bring much higher definition and finer

nuance

The number of reflective impulses it uses

determines reverb quality ...the higher the number

the more definition and the finer the quality of

sound. It is processor intensive – these are very

milliseconds

before

unnatural

reverberations

becomes

confusing

than

high

frequencies.

Reverb on

set based on the heralded

and

"Plate"

algorithms.

signal

and

Low