Aphex Compellor 320D, Owner'S Manual

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320D
Compellor
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has too wide a dynamic range, it can cause broadcast processors (if the processing does not
include the Compellor) to work too hard and generate audible artifacts. These are all reasons
to master a final mix which has a controlled dynamic range.
The goal, of course, is to maintain the sound quality of the studio while you are trying to
‘tighten’ the mix. Adjust the Compellor for 2 to 4dB of gain reduction with the Process Balance
at 11 o’clock. Stereo Enhance should be in and Leveling Link in. If the mix was encoded for
surround or has some other matrix processing, use the Compression and Leveling Link. Note:
If there is one dominant element in your mix, the Compellor will work on that element causing
the lower level elements to be ‘ducked’. It is therefore important to control the elements in the
recording and the mix down before the mastering process.
7.5 Video Post-Production
Speed is of the utmost importance in video production. There is no time to do endless takes
and overdubs, ride faders or program automation level changes. But the demand to have a
quality end product still remains. The Compellor will automatically control and blend levels
from multiple sources and takes.
7.6 Sound Reinforcement:
Each music or speech source can have its own variation of level. Multiple sources
can have extreme variation in levels. Some examples- a ‘fire and brimstone preacher’
followed by a little girl on the same P.A. system, a foreground music system playing
from a juke box and the selections all have different levels, one speaker in a confer-
ence room trying to shout down a more soft-spoken
individual. The Compellor controls the level variations
within a source and the segue between sources is
much smoother in terms of level.
Adjust the Compellor so that the amount of gain reduction
with ‘0’ VU in is the desired amount of gain you want to
add to the lowest level signal. Caution: Since the Compellor is so transparent, even at great
amounts of gain reduction, it is hard to tell when there is too much gain reduction. If there is
an open microphone, there may be feedback if the Compellor brings up too much gain. Make
sure that there is no feedback when the Compellor is fully released (i.e.-no gain reduction).
7.7 Live Concerts
As in a recording environment, artists will often play at much different levels at different times.
Controlling dynamics becomes even more important because there is no way to ‘fix it in the
mix’.
Use the Compellor on individual elements or subgroups and you will not have to work the fad-
ers as often or as hard. The Compellor can be used as a final gain rider so that the average
level of the concert stays within defined dynamic range.
Be careful not to use too much gain reduction on vocals and instruments which are miked so
that you avoid feedback when the Compellor is fully released.
7.8 Broadcast Radio Pre-processing
Levels coming off the studio board are unpredictable, even with an operator watching levels.
Level differences from cart to CD to voice to satellite and back can be dramatic. There are
Houses of Worship
Restaurants
Discos
Paging Systems
Conference Rooms