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ratio and gradually reduce the threshold to hear the effect of the kit squashing. Time-based and modulation efx These effects are usually applied as ‘master’ effects to which each instrument of the kit can be sent. This is done via a send mixer. Simply put, raising the send level of each instrument sends some of its sound to the master effect, in this case reverb, which we’ll then hear at the master outputs. Advanced modules like the Roland TD-12 and 20 let you route this effect out of individual outputs if needed so that the main outputs maintain a ‘dry’, unaffected kit sound. ○ Ambience Often mistaken as the same as reverb, ambience is usually more subtle sounding and is designed to simulate a real-world environment, rather than simply to add a wash of effect. Ambience can help make the drums sound like it’s a kit set up in a real space rather than sounding like a close-miced, dry drum recording. Expect to find controls like size of space, shape of space, wall material, etc. High microphone position will influence the tone of the space by more of the cymbals, where low will reveal more of the kick and toms. ○ Reverb Can be used for dramatic special effects. There are many types of reverb sounds depending on their design. Everything from a small-room effect through to the Grand Canyon can be created simply by adjusting the following typical settings: ♦ Reverb Type - plate, room, hall, chamber, concert, studio, etc. These all have very different characteristics which you’ll become familiar with quickly. ♦ Pre-delay - the time it takes - usually in digitalDRUMMER, FEBRUARY 2011
milliseconds - for the reverb to kick in. Zero pre-delay will sound quite unusual and muddy as, unlike the real world, the reverb will start immediately. A delay of 10-20ms can help add definition to a drum part whilst making it more life-like. ♦ Time or Length - sustain of the reverb from start to finish in milliseconds to tens of seconds or longer, depending on the processing power of the module. ♦ HiDamp - reverb benefits from the use of careful EQ. Using a high damping EQ can help to soften the reflections and reduce the bright shimmer or brittleness of reverb. Generally shown in KHz, everything above this frequency will be reduced or ‘damped’ down. ♦ HiCut - More severe than damping. Frequencies above the set value will be simply cut off or filtered out altogether. ♦ Gated Reverb - may include the following controls: -Threshold: how quiet the reverb tail gets before it’s gated - Hold: how long it takes the gating process to begin once the reverb tail drops below the threshold - Release: how long the gate takes to close - Delay: there can be many types such as stereo delay. Turning on some delay and sending a bit of each part of the kit to it allows you in effect to play with yourself forever. This can be much more fun than practising to a click as it can make you play more musically and it’s a great way to hear poly-rhythms and beat syncopation at work. The challenge is keeping the pulse of the delay going without breaking the flow. 47