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When recording cymbals and tom-to
tap
e saturation. The equalizer can be adjusted for boost with a peak of about 5kHz, causing the cymbal to be compressed
on a very loud crash, stopping tape saturation at high frequencies, where there is less headroom. However, gentle tapping
of a drumstick or brushing of the cymbal will not be affected. Assuming the tom-tom is a lower frequency instrument and
can be better tolerated by the tape, it has less need for compression. Equalization in the Sidechain circuit means that the
compressor is not triggered as readily by a loud tom-tom beat as by an equally loud cymbal crash.
The converse of the above EQ technique may be used: dipping the equalizer bands causes any
ene
rgy in the affected register to pull the level up because the A 5360 will detect a need for less compression.
D
e-Essing
To apply de
-essing to vocals (i.e., a reduction of sibilance), use a parametric equalizer in the SIDECHAIN circuit and
set
it to boost the specific frequency range where the vocal "hiss" or lisp occurs (generally in the 4kHz - 6kHz region). This
pre-emphasizes the already "hissy" vocal input to the Sidechain. Used in conjunction with a moderate to high
THRESHOLD and RATIO, and a fast Attack and Release setting, this arrangement greatly attenuates the "ess
affecting the basic sound quality or balance of the voice. While it is true that all frequencies are lowered in level when the
compressor is triggered, generally the "sss" sound occurs alone, before or after the dominant tone in the voice.
In
creasing Sustain
To increase the sustai
boo
st the EQ in the dominant frequency range of the instrument. Set the A 5360 for slow Hard Knee compression, with a
fairly low THRESHOLD and a moderate RATIO.
M
ulti-Way Speaker Systems
If a single compressor is to be use
sys
tem operator is faced with the problem of keeping levels below the point of damage of the most sensitive part of the
system. If, for example, mid-range drivers are frequently damaged, the whole system must be operated at a lower
sound-pressure level, or additional mid-range drivers must be added. By inserting an equalizer in the Sidechain path
A 5360, it can be made more sensitive to frequencies in the range handled by the sensitive drivers. The system can then
be run at higher levels and will only be dropped back when damaging signals are present.
U
sing a Filter in the Sidechain Circuit
The results of inserting a filter in the Sidechain
pre
viously described. Those frequencies passed by the filter are subject to compression (or at least they are subjec
considerably more compression than those frequencies outside the passband). Because a passive filter can have inserti
loss, it may be necessary to lower the A 5360's THRESHOLD setting to maintain a given amount of gain reduction within
the filter passband; this can be determined by monitoring the A 5360's THRESHOLD LEDs.
P
re-Emphasis for Broadcast Applications
By inserting a pre-emphasis filter network in the Sid
lev
els can be run within the headroom limitations of the broadcast chain.
Figure 3: Frequency-W
ms, a compressor with an equalizer in the S
n of a musical instrument (e.g., a guitar or bass), use an equalizer in the Sidechain circuit and
d with a multi-way speaker system (i.e., before the crossover, after the EQ), the
circuit are basically the same as obtained with an equalizer, as
e
ighted Compression
echain path of a A 5360 processing pre-emphasized audio, higher
idechain path can help prevent analog
sound with dominant
ing" without
to the
t to
on
9
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