Yamaha EMX512SC EMX312SC EMX212S Manual Do Proprietário

EMX512SC/EMX312SC/EMX212S

Making the Most of Your Mixer

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.” You 
don’t want reverb to dominate the 
mix unless you are trying to 
create the effect of a band in a 
cave—which is a perfectly 
legitimate creative goal if that’s 
the sort of thing you’re aiming for.

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). When we 
say “time shift,” however, we’re 
not talking in terms of minutes or 
even seconds.

For phasing effects the shift is 
very small indeed – a difference 
measured in degrees of phase 
shift rather than time units. The 
phase difference between the 
modulated and direct signals 
causes cancellation at some 
frequencies and reinforces the 
signal at others – a “comb filter” 
effect – and this causes the 
shimmering sound we hear. 
Phasing is the subtlest of all these 
effects, producing a gentle 
shimmer that can add life to a 
wide range of sources without 
being too obtrusive.

For chorus and flanging the signal 
is actually delayed by several 
milliseconds (a millisecond is a 
thousandth of a second), with the 
delay time modulated by an LFO, 
and recombined with the direct 
signal. In addition to the comb-
filter effect described above, the 
delay modulation in these effects 
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.

Have you ever wondered why 
professionally produced 
recordings sound so different 
from your own? There are 
numerous reasons, of course, but 
one important factor is the 
judicious use of compression.

One form of compression known 
as “limiting” can, when properly 
used, produce a smooth, unified 
sound with no excessive peaks or 
distortion. Compression can also 

be used within a mix to make a 
voice or instrument seem to come 
forward, or simply to even out 
level differences. Compression 
can be used to make a mix seem 
bigger and louder by producing a 
more “saturated” sound. 
Professional compressors have 
numerous parameters that need 
to be carefully adjusted: attack, 
release, threshold, level, and 
sometimes more. A professional 
sound engineer might need to 
spend a considerable amount of 
time, based on a considerable 
amount of experience, to set each 
of these parameters to achieve 
the desired sound.

The EMX 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. 
The engineers who designed this 
fine compressor paid careful 
attention to achieving the best 
sound quality possible so that you 
can quickly achieve pro-quality 
compression without having to