Ashly LIMITER/COMPRESSORS CL-100 - Manual (Page 14)

vicinity of the sibilant, the limiter’s detector circuit becomes more sensitive to
this particular range of frequencies, and so will limit the bothersome
sibilants more than other frequencies.
Realize that this technique is very different from simple equalization.
Equalizing a sibilant vocal by cutting high frequencies would result in a loss
of important high frequency information at all times, whereas de-essing has
no effect whatsoever on the signal except at the instant of the sibilant. At
that moment, the Ashly limiter will reduce overall gain. Frequency response
is unaffected, and the sibilant is controlled.
’’De-Essing" with the CL-50E
The CompressorAfmiter As A Special Effects Device
Loudness Enhancement
Compression has long been used as a tool to make an audio signal
appear louder. A good example is in broadcasting, where competing stations
with identical transmitters and power attempt to sound louder than each
other. Since they are aU restricted with respect to maximum audio level
(modulation), their best tactic is to squeeze the dynamic range of their
programs to just a few dB. The audio output level of the station virtually
never changes, and the listener perceives this continuous high-level sound as
being louder than the same material in an uncompressed form. Although
both compressed and uncompressed programs reach the same peak levels,
the compressed signal stays near peak level more of the time, and thus
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appears louder. This technique makes the broadcast more intelligible over
the road noise in your car, and increases the geographical area over which
the broadcast is audible to the home listener. A similar, if less pronounced,
effect can be used in sound reinforcement and recording applications.
In general, use a gentle compression RATIO, say 4:1, with a 10ms.
ATTACK time, 0.1 sec. RELEASE time, and enough GAIN to cause 6 to 10
dB of GAIN REDUCTION. Try using this effect to help bring out a lead vocal
or instrumental solo in a cluttered mix. The compressor is also a great
corrective tool when working with singers whose own dynamic control is less
than adequate. A little compression helps to keep their quieter lines from
becoming buried in the mix.
Altering The Texture Of Musical Instnunents
It would be impossible to mention here aU of the ways that compression is
used to create new sounds with familiar instruments. Some ^ical uses are:
1. Creating a “fatter” kick drum or snare sound.
2. “Thtckening” acoustic guitars and electric pianos.
3. Adding punch and sustain to electric bass.
4. Lengthening the sustain of an electric guitar.
In general, slow attack times, fast release times, and large ratios will
work well for these techniques. Elxperimentation is highly recommended.
Using The CL-Series On Stage
To use the Ashly compressor/limiter with, for example, a guitar,
accompany it with an instrument preamp such as the Ashly BP-41. The
compressor/limiter is placed between the preamp and power amp, or in the
effects loop of the preamp.
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