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Mixer Basics

Making the Most of Your Mixer

MG82CX/MG102C Owner’s Manual

Ambience

Your mixes can be further refined by adding

ambience effects such as reverb or delay. The MG’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 13).

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

perspective 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

principle: 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 reinforces the signal at others and this causes

the shimmering sound we hear.

For chorus and flanging the signal is delayed by

several 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 otherworldly 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

common 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

compression you’ll be able to clearly hear whispered

passages 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

“compression” control and all of the pertinent

parameters are automatically adjusted for you.

(Min)

(Max)

INPUT

OUTPUT

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