Expander/Gate; Using The Four Processors In Different Combinations - dbx 286A Bedienungsanleitung

Mic Preamp/
Processor
286A
Using the Four Processors in
Different Combinations
As you increase the amount of LF Detail, the circuitry boosts lower bass frequencies
while simultaneously cutting problem frequencies in the upper bass/low midrange
region which often makes program material muddy. Use LF Detail to create a "big,"
chesty, male voice or to add fullness and power to lower frequency percussives (e.g.,
kick, toms, timpani).
A Gate is essentially a device that controls the level of an input signal by "opening"

Expander/Gate

and "closing." A user-selected level, called THRESHOLD, helps determine when the
gate opens and closes. If the input signal is above the threshold, the gate is "open,"
allowing the signal to pass. If the input signal is below the threshold, the gate "clos-
es" and the input signal is attenuated. With sufficient attenuation, it effectively cuts
that signal off. On the 286A, the amount of attenuation is set with the EXPANSION
RATIO control.
The 286A's gate provides more flexibility than traditional switch gates because it
actually functions as a combination gate/expander. Where switch gates are generally
only suitable for a limited number of uses (e.g., gating percussion), the gate on the
286A acts as a gentle downward expander at low EXPANSION RATIO settings (suit-
able for vocals, guitar, etc.) and can effectively work as a switch gate when used at
high EXPANSION RATIO settings.
When an input signal exceeds the user-selected THRESHOLD, signals pass unaffect-
ed. However, when part of a signal is below THRESHOLD, that part is downward
expanded. (This differs from gating in that the attenuation effect of downward
expansion is gentle.) Downward expansion works well with program material that
has a less defined attack and release. Use downward expansion with voice - as
opposed to percussive sounds which have a quick, defined attach and release.
Adjust the Expander/Gate THRESHOLD and EXPANSION RATIO controls to pre-
vent headphone leakage or to cut the background noise when gain is added at all the
preceding stages of the 286A.
Note: Too high of a THRESHOLD setting with expansion (i.e., lower EXPANSION RATIOs), may cause the
286A to attenuate the desired portion of the signal, as well as the undesired portion. Too high of an
EXPANSION RATIO setting my cause undesirable effects with highly modulated program material like
vocals.
Note: The following example is provided as a guide to highlight how the 286A's front panel controls can be
used simultaneously for multiple purposes. Suggested settings are specific to this example. Once you
have connected the 286A to your system (see page 7), adjust the 286A's controls as required to support
your setup and to achieve your desired results (refer to Suggested Settings/Usages, below).
An Example: You are using a condenser microphone to record a vocalist whose "sss"
sounds sting while the overall character of the vocal part is rather dull and the vocal-
ist is constantly changing his/her distance from the microphone, and your studio is
complete with hum from bad cabling, and noise from heavy construction work near-
by. The 286A can be used to rectify each of these problems and also provide addi-
tional processing to highlight the best qualities of the vocal performance.
Press the PHANTOM POWER button in to support the phantom power mic (after
reducing playback gain).
Press the HIGHPASS button in to reduce the hum.
Adjust the Compressor DRIVE and DENSITY controls to smooth out the vocal per-
formance. To slow the compressor's release time, set the DENSITY control to 0.
Set the De-Esser frequency control to 4kHz (12:00 position).
Adjust the De-Esser THRESHOLD control to reduce the vocalist's sibilance.
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