dbx 166 Snelstarthandleiding - Pagina 13
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Broadcasting
A
preemphasis
filter
network
placed
in
the
sidechain of a
1
66 processing
preemph-
asized audio permits higher
average
signal levels
to be
run
witiiin
the
headroom
limits of
the broadcast
chain.
Filtering
Narrow-band
("notch") filtering for
rumble, feedback,
equipment
noise
(e.g.,
cameras)
may
be
put
in
the
sidechain to
make
the compressor
less
sensitive
to such
problems.
Anticipatory
compression
If
you
feed the
program
directly into
the sidechain
and send
the audio
signal
through
a delay before
the
1
66
audio
input,
the
1
66 can
"anticipate"
the
need
for
gain
change. With experimentation, the effect
can
become
that of "zero" attack
time
at a
given frequency. Additional delay
beyond
this
"zero"
time
will
then cause the
com-
pressor to
finish
reducing the gain before the leading
edge
of
the
loud
passage even
enters
the
166,
which
will
cause the
program
material preceding the loud passage to
be
suppressed.
The
1
66
will
then begin to recover
from compression
(it
will
release,
in
other words) before the loud passage has
dropped back
down
toward
the
set
threshold.
This
will
cause the output
level to
surge as the
note(s)
should
be
decaying.
Such
a special
effect sounds similar to
the
dynamic-envelope
inversion
you
may
be
familiar with
from
reverse tape playback.
See diagram.
166
SOURCE
OUTPUT
Keyed
gating
Controlling the gating
of
one
signal
by another permits perfectly in-synch
playing
and overdubbing
among
individual
instruments
or precise sonic
augmentation
—
"fatten-
ing"
—
of
a
weak
solo.
An
example
of
the
former would be
synchronizing
baiss
guitar
and
drum; an example
of
the
latter
would be
using the
drum
signal
to
key an
oscillator
which
is
set
an an
appropriate frequency
to "tune"
and
'^unch up" the
drum
sound.
See
diagram.
As
noted,
the Release
Rate
switch
is
helpful for
determining the sound
of
the
final
product.
90
TO
TLftC*
DAUU
Ofi
a*SS OUITA^
166
TAr
ICICK-CAUM
TRACK
OR
KICK-0R(M
TRACK WITH
STWCO
eASS
Selective gating
You
can
also
do
frequency*sensitive
gating, letting
you tune
the response of the
gating action*
If
you're gating
a
kick
drum,
for
example,
in
a track with
lots of
leakage,
you can
tune
in
to
the frequency
of
the
kick with
an
EQ
and
the
gate
will
respond only to
the
drum.
Again, see
diagram
below*
166
SOURCE
,
AUDIO
AUDIO
SIDECHAIN
OUTPUT
IhPUT
OUTPUT
FILTER
TiACD
TO
KICK*0«UA
PREQCENCV
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