dbx 1066, Руководство по эксплуатации

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®
Applications
directly into the mix and the other into the gate’s INPUT. Then key the gate with a signal from the kick
drum (connected to the SIDECHAIN INPUT - adjust 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 appro-
priate 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 INPUT 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 INPUT. With the equalizer adjusted so that only the desired signal is emphasized at the
SIDECHAIN INPUT, the gate becomes even more selective in opening.
Frequency-weighted compression
It is possible to separate certain vocals and instruments from a mix by frequency-weighted compression.
With an equalizer inserted ahead of the detector input (in the sidechain, not the audio path), the equal-
ization settings do not shift the timbre of frequency response of the audio signal. They merely alter the
threshold response of the compressor on a “frequency-weighted” basis. With this arrangement, raising
certain frequencies on the equalizer causes them to be suppressed in the audio signal. A relatively high
threshold setting can allow normal sounds to be unaffected while solo and very loud sounds are held
back. (Of course, when compression does occur, the level of the entire program is affected.) Depending
on the threshold setting, lower level fundamentals or harmonics will not cause compression, and the pro-
gram is not subject to the phase shift normally caused by program equalization.
During the recording of cymbals and tom-toms, a compressor with an equalizer in the detector path can
help prevent tape saturation. The equalizer can be adjusted for boost with a peak of about 5kHz, caus-
ing the cymbal to be compressed on a very loud crash, stopping tape saturation or digital overload at
high frequencies, where there is less headroom. However, gentle tapping of a drumstick or brushing of
the cymbal will not be held back. Assuming the tom-tom is a lower frequency instrument and can be bet-
ter tolerated by the tape, it has less need for compression. The equalization in the detector circuit means
that the compressor is not triggered as readily by a loud tom-tom beat as by an equally loud cymbal
crash.
The converse of the above EQ technique can be used: dipping the equalizer bands causes any sound
with dominant energy in the affected register to pull the level up because the 1066 will detect a need for
less compression.
Frequency-weighted compression for Multi-way Speaker Systems
If a single compressor is to be used with a multi-way speaker system (i.e., before the crossover, after
EQ), the system operator is faced with the problem of keeping levels below the point of destruction of
the most sensitive part of the system. If, for example, mid-range drivers are frequently damaged, the
whole system must be operated at a lower sound-pressure level, or additional mid-range drivers must be
added. But inserting an equalizer in the detector path (sidechain) of the 1066, it can be made more sen-
sitive to frequencies in the range handled by the sensitive drivers. The system can then be run at higher
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