dbx 1066 - Manual (Page 14)

10
Applications
Equalization in the Sidechain circuit means that the compressor is not triggered as readily by a loud tom-tom
beat as by an equally loud cymbal crash.
For drum kit submixes (e.g., mixing multiple drum tracks to two tracks while using both channels of a 1066
for compression), consider backing off the RATIO on each channel (down to 2:1) to avoid an excess of cymbal
“splattering.” In larger multitracking systems, compress the kick and snare separately. A further possibility is to
heavily compress a stereo submix of toms and leave the remaining percussives unaffected.
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. Start with a 2:1 RATIO and a relatively low
THRESHOLD setting (-20 dB). Adjust both controls as necessary.
Compressors have also been used to bring vocals to the forefront of a mix in volume-restricted studios (e.g.
home studios). Start by adding a foam windscreen to the mic (if it doesn’t have one). Set the RATIO to 10:1 and
the THRESHOLD to -10 dB. With your mouth approximately 2 inches from the mic, sing the vocal part, but with
less volume than normal. Use phrasing to give the part some intensity. An equalizer (e.g., a dbx 242 Parametric
Equalizer, dbx 30 Series Graphic Equalizers) or a vocal effects device (e.g., reverb, delay, distortion) can be
added to further define the performance.
It is also possible to separate certain vocals or instruments from a mono program already mixed: refer to fre-
quency-weighted compression on page 12.
Note: When compressing a stereo program with a 1066, the factors affecting a compression curve and
the actual RATIO and THRESHOLD settings, are the same as those previously covered with reference to
single channels of program material. However, it will generally be found that large amounts of compres-
sion are more audible in a mixed stereo program than they might be on the separate tracks that were
mixed to create the program.
Smoothing out microphone levels
When distance is created between the vocalist and the microphone there will be a variation in the signal level.
Start with low compression (around 2:1) to smooth out any variations. Limiting also benefits intelligibility by
allowing low-level input signals to be reproduced through the system at higher volume.
Smoothing out musical instrument levels
Compression smooths out the variations of loudness among instruments. Using the 1066 can also increase the
instruments sustain. Compress the instrument’s output with a ratio of about 4:1.
Preventing analog tape saturation
With programs of widely varying levels, compression can prevent recording levels from saturating tape tracks
(see Frequency-weighted compression, page 12).
Speaker protection
Compressors are frequently used to prevent excessive program levels from distorting power amps and/or damag-
ing drivers in a sound-reinforcement system (whether you’re doing auditorium, church, or club sound engineer-
ing, or are a mobile DJ, or like to push the limits of your home’s audio entertainment center). Set the 1066 for
limiting (Hard Knee mode On, with a RATIO of 10:1 or greater) and adjust the THRESHOLD to provide 15 dB or
more of compression (just a few dB below the input clip). For low-level signals, the 1066 won’t change gain,
but if large signals come along, the gain will be reduced to prevent clipping and save sensitive system compo-
nents from excessive heat buildup or other type of damage.
Note: PeakStopPlus™ Limiting can also be used to prevent speaker damage.