Houses of Worship
Restaurants
Discos
Paging Systems
Conference Rooms

has too wide a dynamic range, it can cause broadcast processors (if the processing does not include the Compellor) to work too hard and generate audible artifacts. These are all reasons to master a final mix which has a controlled dynamic range.

The goal, of course, is to maintain the sound quality of the studio while you are trying to ‘tighten’ the mix. Adjust the Compellor for 2 to 4dB of gain reduction with the Process Balance at 11 o’clock. Stereo Enhance should be in and Leveling Link in. If the mix was encoded for surround or has some other matrix processing, use the Compression and Leveling Link. Note: If there is one dominant element in your mix, the Compellor will work on that element causing the lower level elements to be ‘ducked’. It is therefore important to control the elements in the recording and the mix down before the mastering process.

6.5 Video Post-Production

Speed is of the utmost importance in video production. There is no time to do endless takes and overdubs, ride faders or program automation level changes. But the demand to have a quality end product still remains. The Compellor will automatically control and blend levels from multiple sources and takes.

6.6 Sound Reinforcement:

Each music or speech source can have its own variation of level. Multiple sources can have extreme variation in levels. Some examples- a ‘fire and brimstone preacher’ followed by a little girl on the same P.A. system, a foreground music system playing from a juke box and the selections all have different levels, one speaker in a confer- ence room trying to shout down a more soft-spoken individual. The Compellor controls the level variations within a source and the segue between sources is

much smoother in terms of level.

Adjust the Compellor so that the amount of gain reduction with ‘0’ VU in is the desired amount of gain you want to add to the lowest level signal. Caution: Since the Compellor is so transparent, even at great

amounts of gain reduction, it is hard to tell when there is too much gain reduction. If there is an open microphone, there may be feedback if the Compellor brings up too much gain. Make sure that there is no feedback when the Compellor is fully released (i.e.-no gain reduction).

6.7 Live Concerts

As in a recording environment, artists will often play at much different levels at different times. Controlling dynamics becomes even more important because there is no way to ‘fix it in the mix’.

Use the Compellor on individual elements or subgroups and you will not have to work the fad- ers as often or as hard. The Compellor can be used as a final gain rider so that the average level of the concert stays within defined dynamic range.

Be careful not to use too much gain reduction on vocals and instruments which are miked so that you avoid feedback when the Compellor is fully released.

6.8 Broadcast Radio Pre-processing

Levels coming off the studio board are unpredictable, even with an operator watching levels. Level differences from cart to CD to voice to satellite and back can be dramatic. There are

Page 17

Page 16 Page 18
Page 17
Image 17
Aphex Systems 320A owner manual Video Post-Production, Live Concerts, Broadcast Radio Pre-processing
Page 16 Page 18

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.
Top Page Image Contents