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as much as possible. Make sure that you do everything possible to achieve source separation with good
microphone technique. Otherwise the Expander/Gate is not able to undertake clear acoustic separation.
Sometimes, it is necessary to prevent the Expander/Gate from responding to low frequencies (rumbles etc.),
especially if a singer is moving the microphone around on a mic-stand. More information about this topic in
chapter 7.2 THE USE OF AN EQUALIZER IN THE SIDECHAIN PATH.
5.2.2 Initial Settings For The Expander/Gate Section
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Tab. 5.1: Initial settings for the expander/gate section
Begin with very low threshold levels, so that the signal can pass through the unit unaffected. Now turn the
control clockwise until all unwanted noise is removed and only the sound of the desired instrument can be
heard.
To adapt the unit to the program material properly, you can additionally choose between a SLOW or FAST
release time. In the depressed position, the unit works at a slow release time. Percussive material with little
or no reverb, is processed in fast mode, whereas the slow mode is advantageously used for signals with long
durations or signals with heavy ambience. You will find that a fast release time (FAST mode) is preferable for
acoustic separation of most percussive sounds, whilst cymbals and tom toms, normally benefit from the
SLOW mode.
The RATIO control determines the ratio between input and output level, for all signals below the selected
point of threshold. Use this control to determine whether the section works as an expander or as a gate (Ratio
1:8).
If the controls are set correctly, the drum sounds will be dry, sharp and clearly defined. If you do not have
enough mics (or COMPOSER PRO channels!) to record each instrument separately, try to create sub-
groups: put the snare and mid-toms together, and group the side-toms, bass drum and cymbals together with
the help of a mixing console.
The aim is to set up the Expander/Gate and to position the group mics so that each strike on an instrument
opens a specific mic and so only that instrument is recorded, whilst the other mics remain muted.
5.2.3 Reducing Leakage In Stage Mics
The COMPOSER PRO has many uses in live-work, on stage and in multi-miking situations: a well set up
Expander/Gate can effectively suppress background noise, compressor type pumping noise and microphone
leakage etc. without producing any undesirable side effects. Expander/gates are commonly used for process-
ing vocals. When specifically used with a compressor, the distance and position of the mic in relation to the
singer is very critical: the further the distance, the more sensitive the mic is to background noise. Use the
Expander/Gate section in the slow release mode to inaudibly eliminate background noise, that occurs in
pauses between singing. When used in live situations, leakage of miked instrumentation is substantially
reduced, as well as other acoustic contaminants in various recording situations.
5.2.4 Reducing Feedback In Stage Mics
When a singer is using a vocal mic, their voice effectively stops other sounds from entering the mic. But in
pauses between the singing, the mic will pick up noise from the house PA and monitors, which can lead to
unpleasant feedback problems. If the COMPOSER PRO is inserted into the mic channel, it will shut off the
channel when it is not being used, reducing the possibility of feedback. Principally all mics should be included
in this application.
5. APPLICATIONS
