controls as needed). The gated bass track will now open with each kick, adding punch and
dynamics. This can really tighten up the tracks and add life to the mix.
Another example of keyed gating is using the drum signal to key an oscillator which is set to
an appropriate frequency to “tune” and “punch up” the drum sound.
NOTE:
For all keyed gating applications, be aware to adjust the compressor accordingly or
bypass it by setting the Compressor RATIO fully counterclockwise
to 1:1.
Frequency-Sensitive Gating
Frequency-sensitive gating lets you use the SIDECHAIN INSERT to tune the response of the
gating action. For example, if you’re gating a kick drum in a track with lots of leakage, you
can tune in to the frequency of the kick with an outboard EQ and the gate will respond
only to that drum. Feed the kick drum signal both directly into the gate and also through
an equalizer which is connected to the SIDECHAIN INSERT. With the equalizer adjusted so
that only the desired signal is strong at the SIDECHAIN INSERT, the gate becomes even more
selective in opening.
4.2 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
OVEREASY and AUTO buttons In, while the most “aggressive” compression is achieved with
a Hard Knee fast setting (i.e., OVEREASY 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 Attack and Release, OVEREASY and CONTOUR buttons In.
Smoothing Out Variations in Microphone Levels
Variations in signal level can occur when the distance between a vocalist and a mic changes,
or when the dynamics of a voice changes relative to a vocalist’s range. To smooth out these
variations, start with the 166xs in OverEasy mode (OVEREASY 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 attack and
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
OverEasy characteristic of your 166xs you will 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 166xs unaffected.
Smoothing 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, compress the instrument’s output
with a RATIO of approximately 4:1, then adjust the THRESHOLD control for 10dB to 12dB of
gain reduction. Compression lessens the loudness variations among the strings and increases
Section 4
Operating Notes
15
dbx 166xs
