13
USB 7706
Compressor Dual Channel
4. THE COMPRESSOR IN BROADCAST
The main aim of processing sound recordings for commercial radio and television is to achieve maximum transmission volu-
me at all costs. This is because radio and television stations strive to get bigger audience ratings, and, as a general rule,
listeners prefer programs that are louder than the average. What is volume? Volume is defined as the relationship between
the average level of program material to peak-to peak level, in response to amplitude and duration. The higher the aver-
age level and the time it remains at a high level, the louder the program material will be perceived by the listener.
If you want to run your broadcast station at maximum average volume proceed as per section
SPECIAL APPLICATI-
ONS
, 1.2:"The compressor In Mastering". Please make sure that the maximum peak level is below the threshold of the
transmitters limiter, otherwise this could lead to very hard and audible use of the transmission limiters. Keep in mind that
a heavy increase in average volume by means of compression always leads to a loss in dynamics and an increased per-
ception of side effects.
The moderate use of the compressor and the limiter functions of the COMPRESSOR will result in higher average volumes,
free of distortion.
5. USING THE COMPRESSOR TO CHANGE SOUND
5.1 Reshaping Sampled Sounds
With the help of the COMPRESSOR, existing or new sampled sounds can be brightened up, changed or used to create
new sound. The attack times and the dynamics of the sounds can be changed as desired.
5.2 Altering The Texture Of Musical Instruments
It would be impossible to mention here all the ways that compression can be used to create new sounds. However, some
typical uses are listed below:
1. Creating a "fatter" snare or kick drum sound
2. "Thickening" acoustic guitars and electric pianos
3. Adding more "punch" to bass guitars
4. Lengthening sustain of electric guitars etc.
EXTERNAL SIDECHAIN APPLICATIONS
1. THE DETECTOR LOOP CONNECTOR
The COMPRESSOR offers exceptionally versatile external control by using the DETECTOR LOOP connector. By using this
external control input, the compressor control path is disconnected from the audio input and therefore interrupted. The
audio input is routed to the DETECTOR SEND output (ring of the DETECTOR connector) and the DETECTOR RETURN input
(tip of the DETECTOR connector) will now receive the new control signal derived from an inserted effects processor.
If you want to use the DETECTOR connector as a control input, just insert a simple mono jack plug. If you intend to use
it as a combined input and output (insert), it is necessary to utilize a special "insert cable". It splits up one stereo jack
plug into two mono jack plugs and is available in most music stores. The stereo end is used for the DETECTOR connec-
tor while the two mono jack plugs will be connected, for example, to an equalizer. Ensure that your connections are cor-
rectly made. The DETECTOR SEND output should be connected to the input of the equalizer and the DETECTOR RETURN
input is routed to the output of the equalizer. (Note: The wiring for AC powered units must be carefully checked in order
to avoid ground loops, as the key inputs and outputs are unbalanced. The operating level of external units must be at line
level (-20 to + 10 dBu) and at unity gain.)
2. USING AN EQUALIZER IN THE SIDECHAIN PATH
It is very common to make the response threshold of a compressor frequency-dependent by connecting a graphic or para-
metric equalizer to the sidechain path. To retain the threshold setting of the compressor unwanted frequencies should be
reduced by an equalizer and the desired frequencies should be kept at the same level. Should for example, the compres-
sor be controlled by a narrow mid-frequency band, it is advisable to lower the bass and treble controls. The middle fre-
quency control remains at unity gain.
© US Blaster Europe BV
