Okay, so now it's time to look at the effects rack. They've got pretty comprehensive effects or I can click here today. At the top obviously we've got a graphic equalizer which is across the left and the right we use this to equalize the system earlier. Below that we've got the kind of the beauty of the rack which is this manly stereo variable mew limiter compressor, which is a really nice compressor. And to be honest, is quite unused find item this quality in a club like this, so I'm sure we'll make good use of this in the mix. Next, we've got to Yamaha, SPX 990s.

This is kind of multi effect device. Does reverb delay even does first compression, the whole selection accommodate sounds. It's kind of a workhorse effects unit really. There's lots of them around the SPX range starts with a nine with a 90 back oh in the 80s I believe and there's 9900 990 Thousands, but really, some really useful sounds in it. I like them a lot for using on drums. They've got some strange pitch change things that I quite like for fattening sounds up as well as some weird chorusing.

Very useful. I'm sure we'll be using those quite a lot. Next, we've got a lexicon and the PCM series from lexicon once again, it's a very long established line PCM 60, I think was the first or the sort of popular reverbs they came up with. And then the PCM 70 was a market leader for many years. They kind of relaunched the PCM range about 1015 years ago. And the 91 is one of the later ones.

Lexicon reverbs. Very famous for this sort of a smooth, detailed top end, very sort of lush sort of sounds. I'm sure be using it on the vocals. And below that one of my favorite delays and I've got a keen interest in delays has to be said I own loads of them. This is the D two it's a really good handy delay does most Things that stereo you can use it for ping pong delays for long delays for short delays. It's also got handy tap tempo function.

So you can set the delay which changes whenever I hit the button. So I'll be having that on the floor. And I'll be tapping along during the songs and setting the beat using that. Below that below the effects section we come to what we call inserts, inserts of the compressors, gates and any other things we've got. Looking at it straightaway, we've got three different types of noise gates, we've got some BSS noise gates, a draw a punch gate, and a regular drama cord gate. The drama code gate I'll come to first which is halfway down the rack here.

This is a four channel version of the incredibly popular desk 201 Gate, which is probably the best gates for life that has ever been made. And this is kind of cut down version hasn't got quite the facilities of the 201 but it's still a very workman like gate. It's got the threshold to set the level where the gate will open and close. It's got the release for how long it will stay open. It's Got it, instead of having a range control knob, like the 201, it's actually just got a button. So you can choose between minus 90 Db or minus 20 db.

90 Db is basically cutting the channel off and turning it back on. Again. 20 Db is a bit more useful really, for me, I don't like gates to open and close, because you can usually hear it happening. So by setting it to job probably set these to 20 db, so it's diminishing the level of bits, but not cutting out completely so you don't get that kind of sucking sound you sometimes get. It's also got a filter here, so you can choose where abouts you're looking for. So it's got a high pass filter and a low pass filter.

And we'll be coming to that in a minute when we start setting up the gates on the drums and choosing what part of the signal we're actually looking at. To open and close the gate. We can listen to that as well using the key lesson function. We can also link channels on this using the slave option so we can link this one to this one. So we can use one channel as a master to open and close the other gate. Okay, so both the drama quad gate, we've got We'll skip the next one, we've got a drum, a punch gate, which is slightly different drama gates.

It's got like a dynamic sanction built in as well. So you can add a bit more punch to things which is pretty why they call it the punch gate. And above that, we're actually we might use it on the bass drum. We'll have a listen and see what it sounds like. And above that, we've got a BSS for Channel noise gates. And looking at the channel list, we actually need six channels of gates properly, so we'll be using quite a lot of this.

Below that we've got three of the BSS DPR, four, four, which are four channel compressor. And so each one of these single one unit racks has got four channels in it, which could be linked a stereo pair so you can put two stereos together. Not a big fan of them myself, not one of my favorite compressors, but needs must. We don't get to choose what we've got in this rack really, because it's a house rack. If I did really want something specific and it was very essential to me, I'd probably bring it with me. Then we've also got a BSS dynamic compressor.

Which is a very useful tool. It's a frequency conscious compression and expansion so you can compress at different frequencies and it's got four bands. I think it's I switched the world stereo for band or not entirely sure. I have to come back to you on that one, but got that in there. And then we got this lovely Manley up here, which is a really nice compressor, which I'll probably say for something nice. I think that's probably going to be sitting across my lead vocal.

And I think I've got to lead vocals on this track. Well, I've listened to the track and we'll make a decision about that. Next thing to do is kind of allocate inserts to the different channels. So we'll come back and have a look at the channel list.