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NOTE: You cannot plug a microphone directly into the
XLR input with a PUMP Module. Use a Mic Preamp before
the PUMP to boost the mic signal up to line level, which
is where it likes to work.
Example Settings
Generally, it is difficult to make the unit sound unnatural due
to its vintage topology. The ratio and release times are the
most critical settings. Again, around .2s on the release knob
is a good starting spot. The attack is variable from 50uS to
40mS. The release is variable from 50mS to 3 seconds. For
percussive material, if you need to add attack, add attack.
That is, slow the attack by turning the knob clockwise towards
10. Conversely, if you need to get rid of some pick noise, or
over transient sounds, the fast attack and release is the way
to go. With these tools, an engineer can mold the envelope of
sounds in a very controlled manner, adding or softening
attack, sustaining, smoothing, and evening until the sounds fit
into the mix as desired.
Vocals – The PUMP loves vocals! All of ELI’s “Knee
compressors” work magic on voices at a wide variety of
settings. For tracking, it’s best to use Ratios below 8:1, and
avoid doing more than 10dB of GR (Gain Reduction) even
though the PUMP can sound natural with 20dB or more. You
want to be conservative during tracking, unless… you are
experienced and feel sure higher compression fits the song.
What you track cannot be undone, and vocals are usually the
single most important tracks.
But while mixing, have no fear! Try 6:1 Ratio to 6:1 or less,
Attack 10ms, Release .15ms. Adjust input to produce
anywhere from 3 to 17 dB of compression. The "Opto" release
mode is guaranteed to allow you a classic compression curve.
A nice OPTO Mode setting is 3:1, ATT 10ms, REL Opto.
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