Redback A 5360 User Manual page 8

Basic Compressor Applications
Note: Control settings for each application are suggested as a starting point. Adjust them for your requirements. In general, the "smoothest" compression is achieved with
the Softcomp and AUTO buttons In, while the most "aggressive" compression is achieved with a Hard Knee fast setting (i.e.,Softcomp button Out with fast
ATTACK and RELEASE times).
To compress a mix, begin with a low RATIO setting, THRESHOLD set for a few dB of Gain Reduction, and SLOW
Att ack and Release, Softcomp and CONTOUR buttons In.
S moothing Out Variations in Microphone Levels
Variations in signal level can occur when the distance betwe
a v oice changes relative to a vocalist's range. To smooth out these variations, start with the A 5360 in Softcomp mode
(Softcomp button In) with a medium attack time and a fairly slow release time and adjusted for a low to medium
compression RATIO (e.g., 4:1). Many people prefer the use of AUTO mode for vocals rather than setting the atta
release controls manually. Adjust the THRESHOLD control so that the GAIN REDUCTION meters show 6dB to 10dB of
gain reduction, then increase the RATIO if necessary. Due to the gentle Softcomp characteristic of you're A 5360 you wil
find that even fairly high ratios are handled transparently. If the lower energy of the vocals is compressed too much (e.g., if
the voice sounds too thin or its lower register presence is lost), press the CONTOUR button In to allow more of the original
low energy to pass through the A 5360 unaffected.
S moothing Out Variations (and Increasing Sustain) in Musical Instrument Levels
(e.g., Bass Guitar, Electric Guitar, Synthesizer)
To achieve a smoother electric (or electronic) bass sound,
app roximately 4:1, then adjust the THRESHOLD control for 10dB to 12dB of gain reduction. Compression lessens the
loudness variations among the strings and increases the bass' inherent sustain. Other instruments, such as horns, vary
loudness depending on the note being played, and benefit similarly. Note that if the compressed bass sounds smooth, but
too thin for your needs, try pressing In the CONTOUR button to thicken the sound.
To control untimely volume shifts in "hot" guitar or synth parts and to keep them
mix er during recording and live performances, start with a slow Hard Knee compression, the RATIO at approximately 5:1
and the THRESHOLD set to the average maximum level of the track - this will ensure that only the offending "hot" part is
compressed. Use CONTOUR, if necessary.
To add sustain to guitar or synthesizer string
TH RESHOLD control to taste. For example, to alter the envelope of a synthesizer sound that has a bite on its attack, bu
ends with a long release time, begin by playing slow, but steady, synth stabs or chords, while compressing the sound
heavily (with a higher RATIO). Heavy compression of guitars and synths, as they are being recorded to digital formats,
often help revive their sense of "analog life."
F attening Kick Drums and Compressing Other Drums
Weak, flabby kick drums often have too much boom, and not enough sla
adj usted for a medium to high RATIO (e.g., 6:1), adjust the THRESHOLD control so that the GAIN REDUCTION meters
show 15dB of gain reduction, then increase the RATIO if necessary.
66XL COMPRESSOR / GATE
Raising a Signal Out of a
Since reducing dynamic range incre
a m ix by boosting its level slightly and applying compression. Start with a 2:1 RATIO and a relatively low THRESHOLD
setting (-20dBu). Adjust both controls as necessary.
Compressors have also been used to bring vocals
stu dios). Start by adding a foam windscreen to the mic (if it doesn't have one). Set the RATIO to 10:1 and the
THRESHOLD to -10dBu. With your mouth approximately 2 inches from the mic, sing the vocal part, but with les
than normal. Use phrasing to give the part some intensity. An equalizer or a vocal effects device (e.g., reverb, delay,
distortion) can be added to further define the performance.
It is also possible to separate certain vocals or instrument
Note: When compressing a stereo program with a A 5360, the factors affecting a compression curve and the actual RATIO and THRESHO
previously covered with reference to single channels of program material. However, it will generally be found that large amounts of compression are more audibl
in a mixed stereo program than they might be on the separate tracks that were mixed to create the program.
sounds, begin with a higher RATIO (from 10:1 to ∞:1), then adjust the
Mix
ases the average signal level by a small amount, a single track can be raised out of
to the forefront of a mix in volume-restricted studios (e.g. home
en a vocalist and a mic changes, or when the dynamics of
compress the instrument's output with a RATIO of
from overloading your tape deck or
p. To tighten them up, start with the A 5360
bx
s from a mono program already mixed.
ck and
l
in
t
can
s volume
LD settings, are like those
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7