Owner`s manual

Bands 1, 2, and 3: The EQ is a three band parametric which allows adjustments of frequency center, Q, and

level.

Frequency Center from 25Hz to 20kHz: You can choose a center frequency from 25Hz to 20kHz all all three

bands of the EQ.

Q from .25 to 16: “Q” is a setting that measures the width of the effect beyond the center frequency. For exam-

ple, a Q of 8 or 16 will produce a very sharply pointed EQ setting, effecting very few frequencies outside of the

selected frequency center. A Q of .5 or 1 produces a very wide range of effect beyond the center frequency. The

effect is a broad, smoother EQ setting.

MORE ABOUT SIDECHAIN EQ

The sidechain functions are convenient in many applications, such as broadcast engineering, where engineers are

asked to provide “ducking” functions, as well as de-essing. Frequency-specific and sustain-related compression are

also possible with the use of the sidechain functions of the DDP. See figure below for an illustration of the rela-

tionship of the sidechain path to the DDP’s metering points.

It is possible to separate certain vocals and instruments from a mix using frequency-weighted compression. With

the 3-band parametric EQ in the sidechain path, the equalization settings do not shift the timbre or frequency

response of the audio signal. They merely alter the threshold response of the processing section of the DDP on a

frequency-weighted basis.

With this arrangement, raising certain frequencies on the equalizer causes them to be suppressed in the audio sig-

nal. A relatively high threshold setting can allow normal sounds to be unaffected while solo and very loud sounds

are held back. (Of course, when compression does occur, the level of the entire program is affected.) Depending

on the threshold setting, lower level fundamentals or harmonics will not cause compression.

During the recording of cymbals and tom-toms, a compressor with an equalizer in the sidechain path can help

prevent tape saturation. The equalizer can be adjusted for boost with a peak of about 5kHz, causing the cymbal

to be compressed on a very loud crash, stopping tape saturation at high frequencies, where there is less head-

room. However, gentle tapping of a drumstick or brushing of the cymbal will not be held back. Assuming the

tom-tom is a lower frequency instrument and can be better tolerated by the tape, it has less need for compression.

The equalization in the sidechain circuit means that the compressor is not triggered as readily by a loud tom-tom

beat as by an equally loud cymbal crash.

The converse of the above EQ technique may be used: dipping the equalizer bands causes any sound with domi-

nant energy in the affected register to pull the level up because the DDP will detect a need for less compression.

To apply de-essing to vocals without using the De-Esser element, use the parametric equalizer in the sidechain cir-

cuit and set it for high frequency boost in the specific frequency range where the vocal hiss or lisp occurs (gener-

ally in the 4-6kHz region). This pre-emphasizes the already hissy vocal input to the detector. Used in conjunction

with a moderate to high threshold and compression ratio, this arrangement greatly attenuates the essing without

affecting the basic sound quality or balance of the voice. While it is true that all frequencies are lowered in level

when the compressor is triggered, generally the sss sound occurs alone, before or after the dominant tone in the

voice. In the DDP use the factory setup called “De-ess vocal” for this effect.

To increase the sustain of a musical instrument (e.g., a guitar or bass), use the sidechain circuit and boost the EQ

in the dominant frequency range of the instrument, along with a fairly low threshold and a moderate compression

ratio.

DDP

Digital Dynamics Processor

Section 4: Editing / Saving / Recalling Programs