SIDEC
rd TRS 1/4” phone plug and provides a connection to the A 5360 detector path. The RING
act
st
60’s detection circuitry.
PERATING
OTES
a starting point. Adjust them for your requirements.
ating Dry Percussive Sounds (e.g., Snare Drum, Kick Drum)
set the A 5360’s gate controls to ensure
tha
E
ering.” Because the A 5360 is capable of extremely fast gating, make sure the
E time to
Thes
ring” from some drums, or gating
out
ating Sounds That Have Longer Decay (e.g., Cymbal, Piano)
et the RELEASE control slow enough to
allo
reverb or ambience. Set the RELEASE control
so
hanging Sound Quality
ely change the sonic character of a sound because it can reduce or otherwise alter the
qua
eyed Gating
at is, controlling the gating of one signal by another, can be used to add dynamics to a sound (e.g.,
cre
).
syn
mix and
This
gnal to key an oscillator which is set to an appropriate frequency
to “
ust the compressor accordingly or bypass it by setting the Compressor RATIO fully counterclockwise
Frequency-Sensitive Gating
u use the SIDECHAIN INSERT to tune the response of the gating action. For
exa
an
HAIN INSERT Jack:
This jack accepts a standa
s as a Send, carrying a buffered version of the signal present at the A 5360 INPUT jack, at an impedance of 2k
Ω
. The
TIP acts as a Return for equipment to feed the A 5360’s detector circuitry, such as an equalizer for de-essing or
frequencysensitive gating/compression. You can also drive the A 5360 SIDECHAIN INSERT with the output of mo
equipment, by using a 1/4” mono phone plug. Input impedance is greater than 10k
Ω
.
Note:
When a cable is plugged into this jack, it automatically breaks the connection from the INPUT circuit to the A 53
Note:
The following Operating Notes section contains several applications for using the sidechain circuit.
O
N
Expander/Gate Applications
Note:
Control settings for each application are suggested as
G
To effectively gate percussive sounds with high-level transients, you need to
t the gate is less sensitive to nearby signals that would cause the gate to open or “false trigger.” Set the RELEASE
setting fast enough to enable the gate to close very quickly once the signal falls under the THRESHOLD. The RELEAS
can also be used to shape the envelope of the sound.
Note:
Fast gating of sustained low frequency signals can result in “chatt
RELEASE time is longer than one full cycle of the gated signal’s fundamental frequency. To eliminate any “chattering,” simply adjust the RELEAS
a longer time (slower rate). The proper THRESHOLD setting will also minimize false triggering and “chattering.”
e types of settings are most useful for tightening up drum tracks, removing the “
the leakage of one drum through another’s mic.
G
To effectively gate sounds which have more decay after the initial transient, s
w the gate to remain open and capture the signal’s entire envelope.
The gate can also be used to “dry up” a track or mix that has too much
that the natural decay of the sound is somewhat truncated.
C
The A 5360’s gate can effectiv
lity of instrumental ambience and reverb. For example, as an instrument stops, its reverberation level will fall through
the A 5360’s THRESHOLD setting. It can now be made to die out more quickly - faster than the natural decay (of the
sound). Experiment with different THRESHOLD and RELEASE settings to change the “tail” of the sound; a FAST
RELEASE setting will nearly eliminate reverb.
K
Keyed gating, th
ating perfectly in-sync playing and overdubbing among individual instruments or “fattening” a dynamically weak track
To create two distinct channels of bass guitar for your mix (by splitting the bass signal into two channels and
chronizing one channel of bass guitar with the kick drum), start by feeding one channel of bass directly into the
the other into the A 5360’s INPUT. Then key the gate with a signal from the kick drum (connected to the SIDECHAIN
INSERT - adjust controls as needed). The gated bass track will now open with each kick, adding punch and dynamics.
can really tighten up the tracks and add life to the mix.
Another example of keyed gating is using the drum si
tune” and “punch up” the drum sound.
Note:
For all keyed gating applications, be aware to adj
to 1:1
Frequency-sensitive gating lets yo
mple, 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
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.
6