Ashly LIMITER/COMPRESSORS CL-100 Owner's Manual - Page 14

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vicinity of the sibilant, the limiter's detector circuit becomes more sensitive to

this particular range of frequencies, and so will limit the bothersome

sibilants more than other frequencies.

Realize that this technique is very different from simple equalization.

Equalizing a sibilant vocal by cutting high frequencies would result in a loss

of important high frequency information at all times, whereas de-essing has

no effect whatsoever on the signal except at the instant of the sibilant. At

that moment, the Ashly limiter will reduce overall gain. Frequency response

is unaffected, and the sibilant is controlled.

'De-Essing' with the CL-50E

The Compressor/Limiter As A Special Effects Device

Loudness Enhancement

Compression has long been used as a tool to make an audio signal

appear louder. A good example is in broadcasting, where competing stations

with identical transmitters and power attempt to sound louder than each

other. Since they are all restricted with respect to maximum audio level

(modulation), their best tactic is to squeeze the dynamic range of their

programs to just a few dB. The audio output level of the station virtually

never changes, and the listener perceives this continuous high-level sound as

being louder than the same material in an uncompressed form. Although

both compressed and uncompressed programs reach the same peak levels,

the compressed signal stays near peak level more of the time, and thus

appears louder. This technique makes the broadcast more intelligible over

the road noise in your car, and increases the geographical area over which

the broadcast is audible to the home listener. A similar, if less pronounced,

effect can be used in sound reinforcement and recording applications.

In general, use a gentle compression RATIO, say 4:1, with a 10ms.

ATTACK time, 0.1 sec. RELEASE

time, and enough GAIN to cause 6 to 10

dB of GAIN REDUCTION. Try using this effect to help bring out a lead vocal

or instrumental solo in a cluttered mix. The compressor is also a great

corrective tool when working with singers whose own dynamic control is less

than adequate. A little compression helps to keep their quieter lines from

becoming buried in the mix.

Altering The Texture Of Musical Instruments

It would be impossible to mention here all of the ways that compression is

used to create new sounds with familiar instruments. Some typical uses are:

1. Creating a "fatter" kick drum or snare sound.

2. "Thickening" acoustic guitars and electric pianos.

3. Adding punch and sustain to electric bass.

4. Lengthening the sustain of an electric guitar.

In general, slow attack times, fast release times, and large ratios will

work well for these techniques. Experimentation is highly recommended.

Using The CL-Series On Stage

To use the Ashly compressor/limiter with, for example, a guitar,

accompany it with an instrument preamp such as the Ashly BP-41. The

compressor/limiter is placed between the preamp and power amp, or in the

effects loop of the preamp.

Send

Return.

L INSTRUMENT PREAMP

666

The CL-50E inserted into the effects loop of a

musical instrument preamplifier.