DI COMPRESSION

GATE
The first ETI Sound Processor is a unit combining compressor,
noise gate and direct inject box, designed by Allan Bradford of
Time Machine Sound Engineering.

The combination of com-

pressor and noise gate is a
useful one. The 'pumping'
noise associated with high levels
of compression can be eliminated
by the gate, while the 'topping and
tailing' facility afforded by the
compressor makes the gate an
excellent feedback-killer for PA
systems. Comprehensive envelope
shaping of sounds for special
effects is also possible.
The compressor has a wide
range exponential control charac-
teristic which produces a smooth
response in the management of
'peaky' signals, with full control Inputs are low impedance mic- matched to 0 dBm line and mic
over release or recovery time. rophone level and outputs are line levels.
Attack time is preset for general level. Inputs and outputs can be Two parallel output jack
use, but a front panel screwdriver balanced or unbalanced via jack or sockets are provided, allowing
adjustment enables it to be XLR sockets. The unit uses an simultaneous connection to more
slowed to allow'punch-through' external power supply for reasons than one piece of equipment
effects. Subsequent stages in the both of economy and hum without the need for splitters.
audio chain are still protected prevention. Inputs are also pro- These outputs are line level and
from overload by an independent vided for direct injection of instru- are unbalanced. A balanced XLR
fast limiter riding 12 dB above the ments and of amplifier line level output is also provided.
compression threshold. Gain loudspeaker outputs. The latter
reduction and limiting are will be of particular interest to
displayed on four LEDs. guitarists wishing to exploit the Cold Compressor
The Noise Gate has an attack sound of valve amplifiers while The compressor controls the
fast enough for drum kits (but can maintaining complete isolation maximum signal level by reducing
be slowed right down for 'violat- from other instruments. At 1 MO gain progressively above a certain
ing' sounds) and release time is impedance the DI inputs place fixed level known as the threshold.
fully variable to suit the program
material. An internal time constant
eliminates modulation of the
-
negligible load on any instruments
plugged into them particularly
important if a guitar is to be
Most sounds fluctuate in
amplitude and the effect of com-
pression is to reduce the size of
signal due to individual waveforms plugged into the line input, in signal peaks and to boost average
when short release times are order to preserve the natural signal level relative to the peaks
employed. The depth of noise - sustain of the instrument. A (Fig. 1). The dynamic range of the
gating is preset at -60 dB but parallel line jack is provided in signal is therefore reduced, and
again a front panel screwdriver order simultaneously to connect this can have several important
adjustment permits this to be the instrument to a monitor applications.
softened. amplifier. LIMITING: This means protec-
Side -chain inputs are provided A switch is provided to reduce tion from overload by suppression
both for control of compression the overall sensitivity of the unit of unacceptable transients. The
(for voice-over effects and 'de- by 10 dB. With the compressor ATTACK preset is usually set not
essing' and for triggering the noise RELEASE knob pushed in the com-
gate. Two compression gates can
be cross -linked for stereo
pression gate is matched to -10
dBm line and mic level signals.
1 ms) -
quite fully anticlockwise (around
but for maximum overload
protection in critical applications it
operation. With it pulled out the unit is may be turned fully anticlockwise,
46 ETI DECEMBER 1985

www.americanradiohistory.com
 PROJECT: DI Compression Gate

running the risk of LF distortion. ing. It's used particularly in record- red LED shows that the fast limiter
The GAIN/COMP control is advan- ing advertising jingles and dico is working, handling transisents too
ced so that one or two green LEDs music. fast to be controlled by the com-
flicker on with the peaks of the SUSTAIN: The compressor may pressor (Fig. 3).
music. The RELEASE control be used to add artificial sustain to A two -pole jack socket is wired
should be set about one quarter instruments (Fig. 2). The gain is with the tip as a control input and'
turn clockwise (about 0.25s). wound right up but the com- the ring as a signal output for
Avoid simultaneous short attack pressor clamps the output signal at external connections to the com-
and release times. Release time compression thresholds. Only pressor. A standard mono jack may
should be sufficiently long to when the amplified signal falls be used. The socket may be used
avoid individual peaks modulating below this level of the compres- either as a control input or as an
the signal as a whole, with a resul- sion threshold will the signal insert point. A line level signal fed
tant rasping distortion. resume its natural decay. RELEASE to the EXT COMP socket will
LIFTING VOCALS: Human should be kept short and the cause a reduction in the level of a
voices can have a very wide GAIN/COMP control advanced to music signal passing through the
dynamic range and the average give the required degree of
level may be substantially below sustain.
the peak level. By compressing It is also possible to combine
vocals the average level may be sustain with a 'punch-through' RED AMBER GREEN
boosted so that they become aud-
ible in a mix. Compression should
be applied to vocals subtly
attack by allowing the amplified
signal to pass unattenuated for a
short time before compression
LIMIT
0 0 0
30dB 20dB 10dB
GAIN
(around 10dB). Too much can takes over. Set the ATTACK preset REDUCTION
make them flat and lifeless. and RELEASE control to around
RECORDING: The human ear mid -position. The fast limiter will Fig. 3 The compressor LED display.
can happily accommodate sounds prevent excessive excursions of
with a dynamic range of 120dB, the signal but 12dB of punch - compression gate ordinarily. This
while the dynamic range of tape
recordings is often only 60dB or
so. To make maximum use of tape,
through is still available to pre-
serve naturally percussive sounds
or add percussion to softer
allows voice-overs or'ducking'.
effects to be achieved easily
one signal controlling the level of
-
without quiet sounds being lost in sounds. one or more others.
noise and loud sounds saturating As an insert point, the EXT
the tape and distorting, some com- Other Features COMP socket can be used to
pression of signals with a large introduce equalisation into the
dynamic range is desirable. The four LEDS form a rever ., control path for'de-essing' and
'Thin' or'peaky' sounding driven bargraph. The right hand 'de -popping', which are dealt with
recordings can be salvaged, per- LED indicates up to 10 dB of gain below.
cussion, for example, often sound- reduction. With this LED on and
ing more solid. 'Mix thickening' the next LED flickering, gain reduc- Noises off
can be used to increase the tion is in the region of 10 to 20dB.
average sound level and obtain Two green LEDs on and the yellow A common hazard of recording
the sort of impact demanded in LED flickering indicate up to 30dB and public address work is the
modern commercial sound record- of gain reduction. The leftmost inclusion of unwanted sounds in
the mix, such as guitar amplifier
noise, hum from keyboards, tape
hiss, low level RF pick
ick up or
'spillage' of sound one
AVERAGE microphone into other mic-
LEVEL rophones. The problem is
PI AK
f VIL
PEAK
LEVEL
aggravated by the high gains
associated with large amounts of
compression.
AFTER COMPRESSION
BUYLINES
RE FORE COMPRESSION
A complete kit of parts including the
Fig. 1 Average and peak signal levels before and after compression. fully finished steel case and associated
hardware is available from TIME
MACHINE Sound Engineering for
£68.00 including VAT, postage and
packing. The double sided, legended
PCB is available separately at £9.00
and the case at £14.00. The ready built
power supply in a plug costs £24.00. A
LEVEL LEVEL stereo pair with dual power supply
and a cross -linking lead costs £154.00
in kit form. All prices include VAT,
postage and packing. Contact:
TIME TIME
TIME MACHINE Sound Engineering,
TIME
Abbotsford, Deer Park Avenue,
GUITAR ENVELOPE GUITAR ENVELOPE
BEFORE COMPRESSION AFTER COMPRESSION
COMPRESSION WITH
'PUNCH THROUGH'
Teignmouth, Devon TQ14 91J.
Telephone 06267 2353.
Fig. 2 Using the compressor to add artificial sustain.

ETI DECEMBER 1985 47

www.americanradiohistory.com
48
Ell DECEMBER 1985
www.americanradiohistory.com
 PROJECT: DI Compression Gate

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 outlined above. The noise gate PARTS LIST
controls can be used to further CAPACITORS
RESISTORS (1% metal oxide)
modify envelopes. Slowing the R1, 2 2k7 Cl, 2, 7, 13, 14, 15 22u 16V minelect
gate ATTACK gives a gradual start R3, 4, 81 82k C3, 1, 4u7 40V minelect
to sounds while a fast RELEASE R5, 7, 10, 27, 28, 10k
gives an abrupt finish to sounds. 51, 55, 58, 62, C4, 20, 21 100n polyester
71, 75 C9 10p ceramic
This latter technique is often used R6, 8, 40, 56, 1M0 C16, 19 47u 16V tantalum
to cut off the 'flap' or reverbera - 59, 61, 72, 73, 76 C17 47u 16V minelect
R9, 69, 74, 78 100k C18 15n polyester
R11, 21, 25 30k C22, 23 10u 40v minelect
GATE COMPRESSOR
ATTACK PUNCH -THROUGH R12 15k
R13, 16, 83, 87, 89 1 k0 SEMICONDUCTORS
GATE R14 5k6 IC1 TL072
RELEASE R15 180k IC2 NE5532
LEVEL COMPRESSOR
SUSTAIN R17, 20, 24, 90 12k IC3 LM13700N
R18, 19, 22, 23, 470R IC4, 5, 6 TL074
GATE Q1-9
DEPTH 44, 45 BC212L
R26, 50, 77 4k7 D1-9 1N914
R29, 30, 31 100R LEDI, 2 Green standard
R32, 33, 34, 35, 36 47k LED
TIME
37, 64, 65, 66, LED3 yellow standard
Fig. 5 The parameters defining the 67, 68, 86 LED
shape of the sound envelope. R38 " 820 R LED4 red standard LED
R39 270 R LED5 Tricolour round
R41, 47 1k5 LED
tion of drums, giving greater R42 47R
impact to the sound. R43, 49 390 R MISCELLANEOUS
The parameters available are R46 33R S K1 Female panel
R48 1 k2
mounting
shown in Fig, 5 and resemble R52 330R XLR
those of ADSR envelope shapers R53 270R SK2,10,11 Stereo break 1/4"
found on sound synthesizers. R54 68 R jack socket
R57, 60, 63, 70 2k2 SK3, 4, 5, 6, 7 Mono 1/4" jack
R79, 80 220k socket
Feedback Suppresion R84, 85 _ 3k3 SK8 Male panel
R88 270k mounting XLR
If the overall gain of a PA SK9 Prof 3 -pin DIN
system exceeds a critical level, the RV1 250k lin pot
PR2, 3 100R min horiz panel socket
criteria for oscillation are met and preset SW1 see RV5
PR4 4k7 vert cermet SW2 see RV6
preset
RV5 100k log pot with Knobs (collet or grub screw, 5off);
push/pull SPST PCB; case; stick-on cabinet feet (4 off);
switch PCB pillars (tapped and studded plus
RV6 10k log pot with nuts, bolts and locking washers, 4 off);
DPDT switch PCB linking pins (63 off); Veropins (35
RV7 47k log pot off), self tap screw (no 4 x 6 mm, 4 off);
RV8 2M2 log pot 6BA nuts, bolts and locking washers (4
RV9 10k vert cermet off); power supply ±15V at 120 mA per
preset rail regulated.

problem and microphones may be

operated with between 6 and
10dB more gain than otherwise. SIGNAL
INPUT

Special Patches
STEREO OPERATION: A pair of
Fig. 6Wiring of the lead required for compression gates may be cross -
stereo operation using two com-
linked for stereo operation using a
pression gates. stereo jack to jack lead wired as
Fig.8 Using the gate to provide shar-
a loud tone is generated. PAs are ply cut-off reverberation.
often ;used in frequency -selective
environments and the feedback shown in Fig. 6, with one end
-
generally occurs at a discrete pitch EST COMP
being plugged into each EXT
the resonant frequency at COMP socket.
which system gain is highest. INPUTS OUTPUTS STEREO DE-ESSING: Incoming
Compression can help by get- left and right signals should be
ting rid of large pulses of sound mixed and then passed through an
pressure which would shock the EST COMP equaliser. This equalised signal is
system into oscillation. In the RIGHT fed into the EXT COMP input of
absence of a useful signal, each compression gate. A treble
however, the gain of a compressor boost will cause low frequency
rises and feedback can 'creep up', components to be compressed
resulting in howl -round even dur- Fig. 7 stereo 'de-essing' arrange- most for suppressing 'rumble' or
ing periods of apparent silence. ment for removing excessive microphone'popping'. In each
The noise gate overcomes this sibilance. case adjust the GAIN/COMP con -
50 ETI DECEMBER 1885

www.americanradiohistory.com
 PROJECT: DI Compression Gate
trol for the best results, keeping
the compressor RELEASE time
short so as not to compress the
section following the offending
sibilant.
GATED REVERB: With the gate
RELEASE fully anti -clockwise,
adjust the gate Trig Level so that
the reverberation cuts off pre-
maturely and abruptly. This is par-
ticularly effective on drums
(Fig. 8).
EXTERNAL GATE: Sending a
signal into the EXT TRIG socket
enables that signal to trigger

SIGNAL 2 SIGNAL 2
COMPRESSION
GATE

EXT TRIG
INPUTS OUTPUTS

SIGNAL 1 SIGNAL 1

Fig. 10 External gating of the unit to

provide voice-over effects.
whatever sound is passing through
the compression gate. Softening
the gate DEPTH by turning the
EXTERNAL preset anti -clockwise makes the
COMPRESSION
nosie gate a'two-level device'.
This is the complement of the
EXTERNAL
TRIGGER
compressor voice-over patch, in
which the presence of a signal at
the EXT TRIG input switches the
signal passing through the com-
pression gate from attenuated to
full (Fig. 9).
Construction
The PCB is double sided and
linking pins are used to make the
through -board connections, their
positions being marked by stars
printed on the component side of
the board. Great care should be
taken to ensure that every pin is
SPEAKER
board -
soldered on both sides of the
work systematically and
check thoroughly as nine out of
ten faults will be found to be due
to a pin not being soldered some-
where, usually on the underside of
the PCB.
Solder components in order of
height: resistors, diodes, IC
sockets, presets, transistors,
capacitors, LEDs and pots. Take
care to observe polarity of diodes
and capacitors as marked. It helps
if the LEDs are the correct way
round, too. The LED leads should
be bent at 90', 5 mm behind the
plastic package and soldered so
that the bends are 5 mm above
Fig. 9 Component overlay of the the PCB.
compression gate PCB. Note that the Alps pots
supplied with the kits solder to
ETI DECEMBER 1985 51
 PROJECT: DI Compression Gate

pins in order to be the correct

height above the board. Solder
Veropins in the pot positions and
attach the PCB mounting pillars to
the board corners using the stud-
ded ends and nuts, then fix the
PCB inside the case by passing
four bolts through the mounting
holes in the bottom of the case.
Next cut the pot spindles to length
(10 mm) and mount them on the
front panel. The pot tags can now
be soldered to their respective
pins and perfect alignment is
ensured. The whole assembly may Fig. 12 Wiring of the connectors on the rear panel.
tions to the sockets are shown in Using a voltmeter on its most
Fig. 11 but it is probably wise to sensitive range, adjust RV2 to set
complete the setting up and to IC2 pin 7 to precisely OV. Next set
bench test the completed board gate ATTACK and RELEASE at
prior to wiring it into the case. minimum and the DEPTH preset
The Dl compression gate fully clockwise, then either feed a
is designed to run from any sine wave into a line input or use a
Fig. 11 Wiring
RV5 and RV6.
of the switches on regulated power supply providing
± 15V at up to 120mA per rail. A
custom power supply built into a
Noise Gate -
microphone in order to trigger the
adjust the
THRESHOLD control so that the
now be removed from the case for mains plug case and with a 2metre gate opens and closes as the
testing. lead terminated in a 3 -pin DIN incoming signal goes up and down
Pins should also be used for the plug is available from the kit in volume. A click will be heard as
off -board connections as well as manufacturers. the gate opens and closes and
the connections to the switches on The only setting up required is RV3 should be adjusted until this
RV5 and RV6 (Fig. 10). Connec- of the two presets RV2 and RV3. is minimized. ETI

52 ETI DECEMBER 1985

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