Preventing Analog Tape Saturation
pression can prevent recording levels (e.g., cymbal tracks in a final mix or
dru
reventing Digital Overload
duce audible distortion when they exceed their headroom (i.e., the range above their
ma
peaker Protection (Auditoriums, Churches, Mobile DJs and Sound Systems)
and/or damaging
driv
e
ossible in the signal chain. If the A 5360 is
pla
eo
aising Average Level in PA Systems
so benefits intelligibility by allowing low-level input signals to be
rep
sing Your EQ to Reduce Feedback in Live Settings (Indoor and Outdoor Concerts,
e you’re A 5360 and EQ (equalizer) to reduce feedback in clubs, churches, outdoor concerts and other live
set
ted
he A 5360 as a Line Amplifier
adjust the RATIO control fully counterclockwise (1:1 position), THRESHOLD fully
clo
RATIO and
requency-Weighted Compression (Sidechain Application)
uency-weighted compression. With an
equ
ising certain frequencies on the equalizer causes them to be suppressed in the audio signal.
A r
’s
is not
With programs of widely varying levels, com
m kit submix) from saturating tape tracks.
P
Digital recorders and samplers pro
ximum operating level). The A 5360 effectively ensures that audio input does not overload a digital recorder’s A/D
(analog-to-digital) converters. The A 5360 can perform this function quietly enough for all digital media.
Note:
Peak limiting can also be used to prevent raucous-sounding digital overload.
S
Compressors are frequently used to prevent excessive program levels from distorting power amps
ers in a sound-reinforcement system (whether you’re doing auditorium, church, or club sound engineering, or are a
mobile DJ, or like to push the limits of your home’s audio entertainment center). Set the A 5360 for limiting and adjust th
THRESHOLD to provide 15dB or more of compression (just a few dB below the input clip). For low-level signals, the A
5360 won’t change gain, but if large signals come along, the gain will be reduced to prevent clipping and save sensitive
system components from excessive heat buildup or other type of damage.
As a general rule, compressors should be as close to the amplifiers as p
ced before the EQ (equalizer), for example, a potentially damaging boost in the EQ won’t be seen by the A 5360 and
the speakers may be damaged. (see Multi-way speaker systems). For maximum sound pressure levels, large sound
reinforcement systems frequently use a separate compressor on each output of the electronic crossover(s). For a ster
sound-reinforcement system, one A 5360 can be used for each stereo band (low, low-mid, mid, etc.).
R
Limiting (i.e., compression at high ratios like
∞
:1) al
roduced through the system at higher volume. In a musical performance, this provides additional intimacy so that a
vocalist’s whispers are heard more clearly. The Softcomp curve available with the A 5360 permits a very high amount of
compression (RATIO of 10:1 or greater) to be used in many situations. This allows dynamic speakers, vocalists and other
musicians to concentrate on their presentation or performance without worrying about the ill effects of volume changes.
U
Churches)
You can us
tings.Patch or insert the A 5360 into the main output of a mixer, set the A 5360 to Hard Knee mode and slowly increase
OUTPUT GAIN until the first feedback “ring” occurs, then set up the A 5360 with its RATIO at
∞
:1 and THRESHOLD low.
The A 5360 will catch the first feedback ring and hold it as a constant tone so you can adjust your EQ to minimize it.
Continue to increase your console gain and set your EQ until the next 3 or 4 “ring” frequencies have been compensa
for.
T
To use the A 5360 as a line amplifier,
ckwise (+20), Peak Limit to +20 and OUTPUT GAIN to whatever setting is required for the application.
Remember, excessive gain may lead to output clipping of high level signals. To add compression, adjust the
the THRESHOLD controls to the desired settings.
F
It is possible to separate certain vocals and instruments from a mix by freq
alizer inline ahead of the SIDECHAIN INSERT (but not in the audio path), the equalization settings do not shift the
timbre or frequency response of the audio signal. They merely alter the threshold response of the compressor on a
“frequency-weighted” basis.
With this arrangement, ra
elatively high THRESHOLD setting can allow normal sounds to be unaffected while solo and very loud sounds are
compressed. (Of course, when compression occurs, the level of the entire program is affected - however, if the A 5360
CONTOUR button is pressed in, even more of the signal’s lower energy can be preserved.) Depending on the
THRESHOLD setting, lower amplitude fundamentals or harmonics will not cause compression, and the program
subject to the phase shift normally caused by program equalization.
8