Manley СORE REFERENCE CHANNEL STRIP - MCORE001-025 4/2014 - 5/2014 - Manual (Page 6)

c o r e
MAX MIN
COMPRESSION
IN
BYPASS
FAST
ATTACK
SLOW FAST
COMPRESSOR
SLOW
RELEASE
Diagram 3
The Compressor utilizes our famous circuit topology as
® ® found in the VOXBOX , and is also similar to the ELOP and SLAM
limiters.
The COMPRESSION (Threshold) control determines at what level
the compressor begins to act. Clockwise rotation makes the
compressor reduce the signal.
With the meter in the “GR” position, the amount of gain reduction
can be displayed. (Refer to Diagram 6, pg.6)
The ATTACK control determines how long the compressor takes to
respond to signals above the threshold.
The RELEASE control determines how long the compressor takes to
recover after the signal falls below the threshold level.
The BYPASS switch can be used to bypass the compressor section.
It may be used during recording as the switching process is silent.
The output after this stage is available on XLR O/P 1, and the
INSERT SEND. (Refer to Diagram 7, pg.8) This audio level can be
monitored on the VU Meter.
® ELOP
5. Compressor ® ELOP
6. Equalizer
Diagram 4
The LOW and HI Shelf controls are Baxandall shelves centered
around 90 Hz and 12kHz respectively. +/- 12db
The Mid-frequency EQ is a bell shaped curve, with a range
control in the low position of 100Hz to 1kHz, and in the high
position, between 1kHz and 10kHz. The desired range is selected
using the toggle switch. One can then boost or cut at the
selected frequency by approximately 10dB.
The FREQUENCY control allows continuous sweepable frequency
of the selected range.
The controls that run vertically through the middle of the EQ
section, MID FREQUENCY EQ, TOGGLE RANGE SWITCH &
FREQUENCY SWEEP, all operate together. There is substantial
overlap available between the shelf and peaking controls,
allowing a large amount of EQ control.
FREQUENCY
100Hz-1kHz
1kHz-10kHz
0
-10 +10 dB LOW
0 0
-12 +12
dB
MIN MAX
E Q
HI
-12 +12
dB
5
While compression is one of the most powerful tools
in recording, it is possible to overdo it. And, unlike
EQ, it's not reversible. Although there are really no
rules when it comes to creativity and the recording
process, a few guidelines can be helpful. When it
comes to vocals, you might not need more than a
couple dB of gain-reduction. It's better to adjust the
singing style or distance from the mic than to rely on
compression to get a totally even performance.
That said, there is no harm in really burying the GR
needle if that's the sound you're going for. Try starting with the attack and release knobs in
the 12 o'clock position and go for a dB or three of
gain-reduction. If there are still peaks that are
sounding too loud, move the attack more clockwise
to the faster settings. For percussive sounds,
starting with a faster attack can also be good.
Putting the attack and release fully clockwise and
really getting a lot of gain-reduction is also an
interesting sound. Consider combining a track
processed this way with one done at minimal
compression.