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Making the Most of Your Mixer

MG206C/MG166CX/MG166C Owner’s Manual

Mixer Basics

Ambience

Your mixes can be further reﬁned by adding ambi-

ence effects such as reverb or delay. The MG166CX’s

internal effects can be used to add reverb or delay to

individual channels in the same way as external

effects processors. (Refer to page 15).

Reverb and Delay Time

The optimum reverb time for a piece of music will

depend on the music’s tempo and density, but as a

general rule longer reverb times are good for ballads,

while shorter reverb times are more suited to up-

tempo tunes. Delay times can be adjusted to create a

wide variety of “grooves”. When adding delay to a

vocal, for example, try setting the delay time to dotted

eighth notes corresponding to the tune’s tempo.

Reverb Tone

Different reverb programs will have different “reverb

tone” due to differences in the reverb time of the high

or low frequencies. Too much reverb, particularly in

the high frequencies, can result in unnatural sound

and interfere with the high frequencies in other parts

of the mix. It’s always a good idea to choose a reverb

program that gives you the depth you want without

detracting from the clarity of the mix.

Reverb Level

It’s amazing how quickly your ears can lose perspec-

tive and fool you into believing that a totally washed-

out mix sounds perfectly ﬁne. To avoid falling into this

trap start with reverb level all the way down, then

gradually bring the reverb into the mix until you can

just hear the difference. Any more than this normally

becomes a “special effect.”

The Modulation Effects:

Phasing, Chorus, and Flanging

All of these effects work on basically the same princi-

ple: a portion of the audio signal is “time-shifted” and

then mixed back with the direct signal. The amount of

time shift is controlled, or “modulated”, by an LFO

(Low-frequency Oscillator).

For phasing effects the shift is very small. The phase

difference between the modulated and direct signals

causes cancellation at some frequencies and rein-

forces the signal at others and this causes the shim-

mering sound we hear.

For chorus and ﬂanging the signal is delayed by sev-

eral milliseconds, with the delay time modulated by

an LFO, and recombined with the direct signal. In

addition to the phasing effect described above, the

delay modulation causes a perceived pitch shift

which, when mixed with the direct signal, results in a

harmonically rich swirling or swishing sound.

The difference between chorus and ﬂanging effects is

primarily in the amount of delay time and feedback

used—ﬂanging uses longer delay times than chorus,

whereas chorus generally uses a more complex

delay structure. Chorus is most often used to thicken

the sound of an instrument, while ﬂanging is usually

used as an outright “special effect” to produce other-

worldly sonic swoops.

Compression

One form of compression known as “limiting” can,

when properly used, produce a smooth, uniﬁed

sound with no excessive peaks or distortion. A com-

mon example of the use of compression is to “tame” a

vocal that has a wide dynamic range in order to

tighten up the mix. With the right amount of compres-

sion you’ll be able to clearly hear whispered pas-

sages while passionate shouts are still well balanced

in the mix. Compression can also be valuable on

bass guitar. Too much compression can be a cause of

feedback, however, so use it sparingly.

Most compressors require several critical parameters

to be set properly to achieve the desired sound. The

MG compressor makes achieving great sound much

easier: all you need to do is set a single “compres-

sion” control and all of the pertinent parameters are

automatically adjusted for you.

(Min)

(Max)

INPUT

OUTPUT

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