Drawmer Three-Sum Multi-Band Interface - Manual (Page 9)

9 DRAWMER T
HREE -S UM O PERATOR’S M ANUAL
Using Multi-Band Compression on Single Instruments.
The Drawmer Three-Sum can be used to very good effect
during the recording stages. Because the signal is split
into three each band can be compressed and modified
much more precisely to add bass, or enhanced top end
brightness of a single instrument, such as a piano or drum
kit. Obviously, all instruments are different and require
different settings. As before a good starting point is to
mute the unwanted bands and to tune into the required
frequencies using the "Low Split Frequency" and "High
Split Frequency" controls. This ensures that the overall
sonal quality of the instrument is compressed, but the
unwanted noises, such as rumble from traffic, or amplifier
hiss etc. are not. On vocals multi-band compressors can
be used to alter the timbre. Compressing the lower band
will provide a much thicker voice giving it presence, whilst
compressing the top band will improve air and give a more
sweet sound to what was a quite dull voice. Remember,
any gain should be controlled by the three individual
compresses before being summed by the Three-Sum.
Subtlety is the key.
Other Uses.
The Drawmer Three-Sum has primarily been designed for
use as a three band compressor, however, the fact that it
uses external compressors after splitting the signal into
its three bands opens up endless other uses. The signal
need not pass to a compressor, try using it to add distortion
or reverb to only the bass of a guitar or other instrument.
Imagine having a lead guitar with over driven bottom strings,
but a clear crisp tone to the top strings.
setting a crossover point in the middle of the vocal range
can completely mess up the vocal sound. In general it's
best to set the low crossover point below the vocal
frequency range (about 150Hz to 250Hz) and set the high
crossover point between 5kHz and 8kHz (but no lower
3kHz) to catch the brightness of an acoustic guitar or
cymbals etc, and embellish the feeling of detail and air,
creating an effect similar to that of using an enhancer.
In all cases listen to the audio and try to determine where
the signal is lacking, the different ranges covered by the
various instruments and sounds and adjust the crossover
points accordingly. However, try to be subtle, remember
that the more make-up gain you apply, the more you will
be bringing up the background noise — tape hiss etc.
Careful selection of crossover points and ratio/threshold
settings can help to subdue any adverse effects, but
remember, over processing is always damaging to a piece
of music.