The de-esser OPerate/DEFEAT SWITCH defeats the de-essing action.
Because
it defeats the control
loop only,
it
causes
no
clicks, pops, or gain
changes
when operated,
and
can be freely operated in the middle of program material.
For example, if
there
are
a
few
problem "esses"
in
mixed material,
the
de-
esser can be switched-in momentarily as needed, eliminating the danger
of
unwanted effects on other program material.
The NORMal and
HEAVY de-esser
gain reduction lamps indicate,
respectively,
when normal
and
potentially excessive de-essing action
is
occurring.
—
The COUPLED/ INDEPENDENT switch (424A only) permits the use
of
the two-
channel unit either
as
two independent
compressor/limiter/de-essers, or as a
coupled stereo unit.
In
the COUPLED mode, the gain reduction in
both
channels tracks that
channel
calling for the most
gain
reduction
at
any given
instant.
Therefore,
stereo
imaging
is
always
preserved even
if operating
controls are adjusted differently on the two channels. (Ordinarily,
they
would
be adjusted to be
as
identical
as
possible.)
Even in COUPLED mode, the de-essers remain independent. This is because it
has
been
found
that
their short release times
result
in
no
stereo imaging
problems despite
their
independent operation.
The POWER ON/OFF switch is self-explanatory.
Using
The Compressor/Limiter
To use
the
Compressor/Limiter section of
the
424A, switch the compressor/limiter
OPerate/DEFEAT switch
to
OP.
Adjust the ATTACK TIME, RELEASE TIME,
RELEASE SHAPE, and
RATIO controls
to achieve the sound
desired.
(An explanation
of the
operating
controls
is
found
above in Description and Function
of
Front-Panel
Features.)
Adjust the INPUT
ATTENuator control until the desired amount of
gain
reduction
is indicated on the G/R METER. Be careful not
to over-compress such
that the
G/R
METER
enters
the
red section of the scale.
You may
wish
to
readjust the
ATTACK, RELEASE,
and
RATIO
controls to "fine-tune"
the
sound
to your taste.
This
will
often result
in a
change in
the
amount
of
gain
reduction,
and
you
may
wish
to readjust the
INPUT ATTENuator to compensate.
If
you
hear a "hashy" distortion on voice,
or on instruments like
electric bass,
synthesizer,
or Hammond organ, this
can
be completely
eliminated by
slowing down
the attack
time.
(The
"hash"
is
caused
by
the very
fast
release-time
peak
limiting
function modulating the instrument waveforms.
By
slowing
the attack time,
you
produce
less
peak
limiting, forcing the
424A to behave
more like a
pure
compressor.)
If you
hear
unnatural "pumping" or "breathing",
this can be eliminated
by slowing
the release
time
and/or
by using the gating
functions.
in
general,
the peak
level at the 424A output
is relatively
constant regardless of
the
adjustment of the ATTACK and
RELEASE
TIME controls. If
you
choose
a
relatively low RATIO, the
peak level will decrease
at
gain reductions less
than
25dB.
This
prevents VCA clipping
if
the
input
level
rises
sufficiently
to cause a
full
25dB of gain reduction,
since the
output
level
will,
in
this case,
increase
significantly due to the low compression ratio.
16
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