320A

6. Operation

Compellor

6.1 Introduction

The “Quick Start” guide in the front of this manual is the best way to begin using your Compellor. You will get a good feel for what is going on, and you will have a signal going through the processor, ready for fine tuning. We strongly recommend reading section 8 describing the Compellor’s features and controls in order to understand what all the settings mean. For the present purposes, we will discuss specific applications of a Compellor and give you suggestions on how to tune it for best results.

6.2 Recording

Regardless of how consistent a musician or a vocalist may be, when there is a ‘take’ the levels can vary dramatically from the rehearsals. Trying to ride faders in real time is impractical, if not impossible. You want to have real time control over the levels, but not change the musical character of what you are recording. The Compellor is the perfect solution.

Set up the Compellor for no more than 4 to 6dB of gain reduction with nominal ‘0’ VU in, use fast leveling speed with Process Balance at 12 to 1 o’clock. This setting will give you 4 to 6dB of increase in the lowest level signals and keep overly enthusiastic performers from overload- ing the recorder. When using the Compellor as a dual mono unit make sure that the Stereo Enhance is off and the Unlinked is in.

Using the Compellor while recording will give you more consistent levels to work with when you mix, thus making the mix process faster and easier. It will also allow you to maintain better signal to noise performance in the recording medium.

6.3 Mixing

Layering elements within a mix so that each ‘sits’ in its own pocket, not interfering with other elements is a critical part of assembling a high quality mix. Typical multitrack mix downs become very complex. Gain adjustments on the different elements can be manually made through the mix, programmed through automation, or the Compellor can be used. By using the Compellor on an individual track or subgroup, that element can be ‘fit’ into the mix more easily and require less attention from the mix engineer.

A background vocal subgroup, for example, may disappear into the noise or become lead vocals. By using the Compellor, the background vocals stay in the background, but at the right level.

Use one channel of the Compellor as a pre-fader insert, or on the output of a buss and return the buss into a fader. This will give you the ability to automatically control the levels of the element and also adjust the level of the return if necessary. Note: If you insert the Compellor post-fader, the Compellor will ‘unwind’ any fader moves.

Using the Drive control, adjust the amount of total gain reduction for the amount you want to bring up the lowest level signal (usually no more than 6 to 8dB). Process Balance should be set more towards Leveling (CCW) for a more dynamic sound and more towards Compress for tighter instantaneous dynamics.

6.4 Mastering

A recording studio is not the typical listening environment. Most listening is done in a higher noise environment with less than optimal acoustics (e.g.- a car). Monitoring in a studio is usually done at higher levels than in a typical playback situation. Furthermore, if the master

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Aphex Systems 320A owner manual Introduction, Recording, Mixing, Mastering
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320A specifications

The Aphex Systems 320A is a dynamic processor designed to enhance the quality of audio recordings in professional settings. Known for its exceptional performance and versatility, the 320A offers a unique combination of compression, limiting, and expansion functionalities. This unit is an essential tool for sound engineers and producers looking to achieve polished sound.

One of the standout features of the 320A is its dual channel processing capability. This allows users to apply dynamic processing to two separate audio signals simultaneously, making it ideal for stereo or dual mono setups. The 320A offers a range of controls, including threshold, ratio, attack, release, and gain, allowing precise adjustments to be made according to the needs of any project.

The 320A utilizes Aphex's proprietary Intelligent Clipping technology, which helps to prevent distortion at high signal levels. This feature is particularly beneficial when working with dynamic sources like vocals and percussive instruments. Intelligent Clipping ensures that the audio remains smooth and clear, even when processed aggressively.

In terms of connectivity, the Aphex 320A is equipped with balanced XLR and TRS inputs and outputs, ensuring compatibility with various audio sources and devices. The unit supports both line-level and mic-level signals, providing flexibility for different recording scenarios. Additionally, its low noise operation ensures that the final output retains pristine audio quality.

Another significant characteristic of the 320A is its user-friendly interface. The front panel features easy-to-read meters and clearly defined controls, making it straightforward for users to monitor the audio levels and adjust settings in real-time.

The 320A also includes a sidechain capability, allowing users to trigger compression or expansion from an external source. This feature is useful for achieving effects like ducking or creating rhythmic dynamics in a mix.

In summary, the Aphex Systems 320A is a feature-packed dynamic processor that serves as an invaluable tool for audio professionals. With its dual channel processing, Intelligent Clipping technology, flexible connectivity options, and user-friendly design, the 320A stands out in the realm of audio processing equipment, delivering high-quality performance for a variety of recording and mixing applications.
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