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The
gating
features
permit
the
422A/424A
to
handle
noise or
low-level
program
material
differently than
it
handles
high-level
program
material.
The
gating feature
is
not
the
same
as a conventional "noise gate":
It
is
not intended to
reduce
noise
or
other
undesired
sounds
below
the
level
at
which
they
exist
in
the
original
program.
Its
purpose
is
to
prevent compression
from
unnaturally
exaggerating such
material.
If
needed, a conventional
noise
gate
can be used before
the
422A/424A.
The
gating
feature
is
activated
whenever
the
GATED
lamp
is
on.
This
lamp
will
turn
on
whenever
the
input
level
drops
below
a
threshold
set
with
the
GATE
THRESHold
control.
(In
its
OFF
postion,
this
control
totally
defeats
the gating
feature.)
When
the
GATED
lamp
is
on,
the gain
of
the
Compressor/Limiter
moves
slowly to
a
point
set
by
the
IDLE
GAIN
control. This gain
change
is
indicated
on
the
GAIN
REDUCTION
meter.
If
the
IDLE
GAIN
control
is
set
at
a
point
equal
to
the
average amount
of
gain reduction occurring,
then gain
will
neither
increase
nor
decrease
during
low-level
program
materal
or
pauses.
In
particular,
noise
will
not
be
"pumped
up"
as
in
a
conventional
compressor.
For example,
if
you
are
compressing
a
particular
track
in
a
multitrack
mixdown,
tape
hiss
or
low-level
material
below
the gating threshold
will
not
be
increased
in
level
at the beginning
of
the
mix
(before
high-level
program
material
first
appears on
the
track),
or
during pauses
in
the
track.
If
the
IDLE
GAIN
control
is
set
lower than the
average
gain
reduction,
then
it
can
leave
a
"hole"
when
high-level
program
material
reappears
and
turns
the
GATED
lamp
off.
This
is
because
the
Compressor/Limiter must
recover
to
a higher
gain
to
produce
full
loudness,
and
this
cannot happen
instantaneously:
The
time
necessary
for
recovery
is
determined by
the
RELEASE
TIME
control.
To Use
The
De-esser:
To
use
the
De-esser,
switch
the
DE-ESSER
OPERATE/DEFEAT
switch
to
OPERATE
and
adjust
the
De-esser
SENSITIVITY
control
until
"esses"
sound
naturally
balanced
with
the
rest
of
the
voice.
The
threshold
of
de-essing
is
fixed
by
the
SENSITIVITY
control,
and does
not track
the
average
vocal
level
(as
in
the
Orban
dedicated
de-essers).
For
consistent de-
essing,
it
is
important
that
the
level
presented
to
the
De-esser
be
relatively
constant.
This
is
ordinarily
achieved
by
compressing
the
voice
with
the
Compressor/Limiter, which
is
functionally
ahead
of the De-esser.
It
is
sometimes
possible
to
de-ess
vocals
which have been
mixed
with
other
material.
Each
case
must be
evaluated by
ear.
The
DE-ESSER
OPERATE/DEFEAT
switch does
not introduce
clicks,
pops, or discontinuities
into
the
program,
so
the
De-esser can
be keyed
in
or
out
in
the
middle
of
program
material as
required.
This
may
be
the
best
way
to
handle
a
few problem
"esses"
in
mixed program
material.
3
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