Drawmer MX PRO MX60 Operator's Manual - Page 13

Browse online or download pdf Operator's Manual for Processor Drawmer MX PRO MX60. Drawmer MX PRO MX60 20 pages. Front end one audio processor
Also for Drawmer MX PRO MX60: Operator's Manual (15 pages)

Print Page

1. Control Descriptions

OPERATION

Preamp

For use as a front end, the MX60 may be connected directly to the line input of

a tape recorder, hard disk recorder, mixer or other line level compatible

device. However, by using the line input or the insert return as an input, the

MX60 may be used in the insert loop of a mixing console to provide dynamic

processing, equalisation or Tubesound processing. In this latter application,

ensure that the insert send and return level on your console matches the

MX60 input/output sockets that are being used.

When setting the input level, observe the level meter and adjust the Gain

control so that the -10dB LED lights frequently with the 0dB LED lighting

infrequently on signal peaks. If the Clip LED comes on at all, the gain setting

should be reduced.

Dynamics

Setting up the compressor is easiest if the gate and de-esser are initially

turned off and the signal kept below the level at which the peak limiter

operates. This allows the compressor to be set up in isolation. The ideal 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. If in

doubt, start off with a ratio of around 4. The programme adaptive attack and

release time constants will automatically adjust to suit the material being

processed.

In general, the threshold should be set to give a maximum reading on the gain

reduction meter of between 8dB and 12dB, though the MX60 can compress

more heavily if required to do so. In order to avoid over compression, it is

worth considering applying a more cautious amount of compression during

recording and then apply further compression while mixing.

Compressing during a mix will increase the subjective level of 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. The gate threshold should always be

set as low as possible while still attenuating noise during pauses. If the

threshold is set higher than necessary, some of the wanted signal may be cut

off making the gate action audible.

Finally, set the compressor's Gain control to give the required output level

using the output level meter (with the Output control in its 0dB calibrated

position) and the limit activity LEDs to guide you. The limiter LEDs should only

light briefly on extreme signal peaks unless you're deliberately driving the

limiter hard to create a special effect.

Setting the de-esser is very straightforward as most of the hard work is done

by the intelligent circuitry. Select Male or Female according to the vocal style

of the performer and increase the amount of de-essing just enough to reduce

the sibilance to an acceptable level. If the de-ess level is set too high, there