Aphex 320D Compellor - Manual (Page 18)

320D
Compellor
Page 18 Page 19
7.1 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.
7.2 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.
7.3 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.
7.4 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
7. Operation