562E
16
false triggering by the hi-hat.
With the O
UTPUT
A
SSIGN
switch still in the G
ATE
/E
XP
. position, have the drummer play the snare
again, but this time with kick drum accompaniment. If the kick drum is falsely triggering the snare
gate, rotate the L
OW
C
UT
control towards the clockwise position until the kick drum no longer
triggers the gate.
Gated Reverb
You knew this was coming, didn’t you?
The obvious method to gate reverb is to feed the reverb to the input of the 562E, and to use the
internal triggering. However, if you use a H
OLD
T
IME
setting that is too short, you can run into
jitter problems when the reverb signal starts to decay.
To avoid this, and still be able to use a short H
OLD
T
IME
setting, feed a separate send of only the
dry signal to the K
EY
I
N
of the 562E. Set the E
XT
. K
EY
/B
YPASS
/I
N
switch to the E
XT
.K
EY
position.
Feed the reverb to the audio input of the 562E. This will give the gate a trigger with a well-defined
beginning and end.
Be sure to experiment with the W
INDOW
A
DVANCE
feature, especially on instrument sounds with a
sharp attack, such as drums.
Set the other controls as shown in the following illustration.
Noise Reduction and Feedback Control In Vocal Monitors
Here is one of the golden uses of the 562E - increasing gain before feedback and cleaning up the
audio in stage monitor systems. This use of the 562E requires some fine tuning of the T
HRESHOLD
,
L
OW
C
UT
and H
IGH
C
UT
controls, but it can make a huge contribution towards ease of life for the
monitor mixing engineer.
First, set up the 562E, using the downward expander, with a fairly fast release time. The threshold
should be set to trigger on normal level speech.
Set the O
UTPUT
A
SSIGN
switch to K
EY
L
ISTEN
W/F
ILTER
. If the stage setup does not include a drum
kit, you can skip the next step.
If the stage setup includes a drum kit, start turning the H
IGH
C
UT
control from fully clockwise
toward counterclockwise until you have eliminated as much of the sound of the cymbals as
possible, without detracting from the vocals.
If you wish, apply some rolloff to the lows using the L
OW
C
UT
control. This will help prevent the
downward expander from triggering if the singer likes to rock the mic stand.
CHANNEL 1
TIME
GATE RANGE
EXPANDER RATIO
500ms
0
HOLD
TIME
ATTACK
TIME
60ms
1 Sec
RELEASE
1:3
2.5 Sec
80dB
4 Sec
300ms
50ms
30ms
(dB)
THRESHOLD
ABOVE
BELOW
0
HIGH CUT
WINDOW
30
MAX
12
20K
4K
ADVANCE
3
REDUCTI0N
GAIN (dB)
-40
+20
60
OFF
40K
400Hz
MIN
AUTO
LOW CUT
OUTPUT
200Hz
15Hz
ASSIGN
20Hz
50Hz
EXT.KEY
KEY LISTEN
1K
10Hz
IN
GATE/EXP.
BYPASS
W/FILTER
CH1 SIDECHAIN PROCESSING
1K
CHANNEL 1
TIME
GATE RANGE
EXPANDER RATIO
500ms
0
HOLD
TIME
ATTACK
TIME
60ms
1 Sec
RELEASE
1:3
2.5 Sec
80dB
4 Sec
300ms
50ms
30ms
(dB)
THRESHOLD
ABOVE
BELOW
0
HIGH CUT
WINDOW
30
MAX
12
20K
4K
ADVANCE
3
REDUCTI0N
GAIN (dB)
-40
+20
60
OFF
40K
400Hz
MIN
AUTO
LOW CUT
OUTPUT
200Hz
15Hz
ASSIGN
20Hz
50Hz
EXT.KEY
KEY LISTEN
1K
10Hz
IN
GATE/EXP.
BYPASS
W/FILTER
CH1 SIDECHAIN PROCESSING
1K