Smoothing out variations in microphone levels
When the distance between a vocalist and a mic changes, variations in signal level occur. To smooth out
these variations, start with the 160S adjusted for a low compression ratio (e.g., 4:1) and adjust the
Threshold
control for optimum results, then increase the compression ratio if necessary. Due to the gen-
tle OverEasy characteristic availableon the 160S allows even fairly high ratios to be handled transpar-
ently.
Smoothing out variations in musical instrument levels
To achieve a smoother electric bass sound, compress the instrument's output with a ratio of about 4:1
(the
Compression
ratio control set at approximately 12:00). Compression lessens the loudness varia-
tions among the strings and increases the sustain. Other instruments, such as horns, vary in loudness
depending on the note being played, and benefit similarly.
Note
:
When compressing a stereo program with the 160S, the factors affecting a compression curve and the actu-
al compression ratio and threshold settings are like those previously covered with reference to single chan-
nels of program material. However, it will generally be found that large amounts of compression are more
audible in a mixed stereo program than they might be on the separate tracks that were mixed to create the
program.
Raising a signal out of a mix
Since reducing dynamic range increases the average signal level by a small amount, a single track can
be raised out of a mix by boosting its level slightly and applying compression. It is also possible to sep-
arate certain vocals or instruments from a mono program already mixed by frequency-weighted com-
pression.
Using your EQ to reduce feedback in live settings
You can use your 160S and an EQ (a dbx 20 or 30 Series graphic EQ) to reduce feedback in clubs or
halls by placing the 160S at
∞
:1, hard knee, and a low threshold. Increase the output gain until the first
feedback
ring
occurs. The 160S will catch it, 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 first 3 or 4
ring
fre-
quencies have been compensated for.
Preventing tape saturation
With programs of widely varying levels, compression can prevent recording levels from saturating tape
tracks.
Speaker protection
Compressors are frequently used to prevent excessive program levels from damaging drivers in a sound-
reinforcement system. Limiting also benefits intelligibility by allowing low-level input signals to be repro-
duced through the system at higher volume. In a musical performance, this provides additional intima-
cy as the vocalist's whispers are heard clearly at every seat in the house. The OverEasy curve available
with the 160S permits a very high amount of compression (10:1 or greater) to be used in many situa-
tions. Vocalists and musicians don't get the sense of being held back, but high average levels can be
maintained without speaker damage due to excessive heat buildup.
In circumstances where the 160S is expected to cause no change in gain unless an emergency arises
(wildly excessive levels), some operators set the compression ratio to
∞
:1, the threshold to the highest
Specific Applications
22
160S
notes
Operating
