Drawmer MXPRO-30 Panduan Operator - Halaman 11

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MX30 OPERATORS' MANUAL

OPERATION

The unit should be connected in line with the signal to be processed via suitable insert

points. Ensure that the insert send and return level on your console matches the MX30

input/output sockets that are being used.

For single channel use, each channel may be considered as completely independent

and set up accordingly. For use with stereo signals, such as complete mixes or

submixes, the unit should be switched to Stereo Link mode and all setting up done using

the left-hand channel controls, except the Bypass buttons, which are always

independent.

Setting up is simpler if the Gate is initially turned off and the Peak Limiter threshold set

to maximum. This allows the compressor/limiter to be set up in isolation. The ratio

setting depends on how firmly the signal dynamics need controlling; as a rule, higher

ratios provide a higher degree of control but also tend to be more audible in operation

when high levels of gain reduction are required. The integral soft-knee feature of the

MX30 renders these effects far less pronounced, but this factor should still be taken into

consideration when setting up. In general, a higher compression ratio may be used than

on a conventional compressor without compromising the sound quality.

Setting up is now simply a matter of adjusting the Threshold control until the desired

amount of gain reduction occurs. This is judged partly by ear and partly by observing the

gain reduction meter. Usually, a maximum gain reduction of between 6dB and 10dB will

be adequate. If more gain reduction appears necessary, it is worth considering applying

a conservative degree of compression during recording and then further compression

while mixing.

Compressing during a mix does increase the subjective level of tape and other

background noises during pauses and quiet passages but, unless the noise

contamination is serious, the Gate section will be able to attenuate it to a very high

degree without compromising the wanted signal.

Compressors are often accused of dulling the sound being processed, and a little

explanation is needed to understand exactly why that is. What happens is that bass

sounds, which contain most of the energy in a typical piece of music, cause the

compressor to operate, and so any quieter, high frequency sounds occurring at the

same time as the bass sound will also be turned down in level. That is why the cymbals

and hi-hats in a heavily compressed drum track seem to dip in level whenever a loud

bass drum or snare drum beat occurs.

At this point, the Gate Threshold may be set up and you should try both release time

settings to see which is least obtrusive in operation. For all but sharp percussive

sounds, the longer setting is likely to give the best results. Set the threshold using a

piece of program material that contains pauses, and adjust the threshold to be as low

a dB level as possible while still attenuating the noise during pauses. Listen carefully

to how the sounds come in after the pauses and how cleanly they fade away again: if

you can hear the gate changing the sound in an unacceptable way, then the threshold

is probably set too high.