Redback A 5360 User manual

A 5360
COMPRESSOR

1

INTRODUCTION
ing the Redback A 5360 Compressor / Gate. The A 5360 provides two channels of noise gating,
sof
nd
ating, compression and peak limiting.
e release time and +15dBu maximum threshold.
ended when compressing mixed program
●5360 regardless of any other
●sical manner, much as human hearing does, giving results
●th channels - allow the audio to pass even if the unit is unplugged, and are
●
ks
al to control compression or gating.
oltage controls all
PERATING CONTROLS Front Panel
Congratulations on choos
tcomp or classic hard knee compression and Peak limiting to give complete control of signal dynamics to studios,
sound reinforcement companies, musicians, or anyone who needs quality processing quickly and easily. We recomme
that you take a moment and read through the manual as it provides information that will assist you in using your unit
to its fullest potential. Features Include:
●Stereo or Dual Mono operation of g
●Softcomp/Hard Knee Selection
●Expander/Gate Circuit - with variabl
●Selectable Low Frequency Shelf (via Contour button) in the Sidechain Path - recomm
material to prevent low frequency energy from “punching holes” in the sound.
Peak Limiting - provides control of maximum peak levels at the output of the A
control. Peak comes after the compression, gating and other circuitry including the output gain, so it sets an
absolute limit for peak excursions before they reach the output.
True RMS Level Detection - senses the power in the program in a mu
superior to peak or average detection.
Hardwire System Bypass Buttons on bo
also useful for comparing the processed and unprocessed signals.
10-Segment LED Display for GAIN REDUCTION (up to 30dB).
●Electronically Balanced XLR and 1/4” TRS Input and Output Jac
●Separate Sidechain Inserts - enables an outboard processor or sign
●DC-Controlled Parameters - the signal does not pass thru any of the parameter controls. Instead a DC v
functions; this eliminates any possibility of potentiometer noise developing over time.
O
EXPANDER/GATE Section and LEDs (BELOW/ABOVE):
llow the signal at the input to pass through to the
out
ed LED
ligh
t - fast
Note: tifacts normally associated with common
IDECHAIN (SC) ENABLE Switch and LED:
of the sidechain, allowing external processing of the detector signal. It
has is
xpander/Gate RELEASE Control:
which the gate closes once the signal at the INPUT or SIDECHAIN INSERT falls
bel T
dB/Sec rate continually increases as the gate closes.
Expander/Gate THRESHOLD Control
Adjusting this control sets the level at which the gate will open and a
put. Turning the knob fully counterclockwise (to OFF) allows the gate to pass signals unattenuated, effectively
bypassing the gate. Turning the knob fully clockwise causes the gate to attenuate input signals below +15dBu.
The two Expander/Gate LEDs indicate the relationship of the input signal level to the threshold setting. The r
ts when the signal is BELOW threshold, the green LED lights when the signal is ABOVE threshold.
Note: The A 5360’s expander/gate attack rate (which controls how fast the signal is restored after being attenuated) is internally set to be very fas
enough to allow all of the transient at the beginning of a note, vocal or spoken word to come through.
The A 5360’s expansion ratio is internally fixed, at approximately 10:1. This ratio helps to eliminate the ar
switch gates. Attenuation is >50dB.
S
This switch enables the 1/4” TRS connector
no effect if there is nothing plugged into the sidechain loop; however the switch will still light indicating the sidechain
enabled.
E
This control determines the rate at
ow the threshold. SLOW settings are useful for gating out noise present behind vocals and acoustic instruments. FAS
settings are useful for tightening up the sound of percussion (e.g., kick or snare drum) and drying up leakage from
other instruments into percussion tracks.
Note: The gate release rate is “accelerating” in that the
2

CONTOUR Button and LED:
the A 5360’s detection circuitry less sensitive to low frequency energy, preventing this
ene ’s
OMPRESSOR Section
much the signal is being attenuated by the compressor and the gate.
ompressor THRESHOLD LEDs:
lationship of the input signal level to the threshold of compression. The green LED is
On
Com
n from -40dBu (7.8mVrms) to +20dBu (7.8Vrms). Setting the
Co tting
d Knee mode (Softcomp button out), the THRESHOLD sets a reference level above which input signals will be
pro
tcomp button depressed), signals begin to gradually activate the A 5360’s gain change circuitry
as
r
n and LED:
ct the Softcomp compression characteristic. The yellow THRESHOLD LED turns On when
the
above which the output level no longer
cha
fined as the middle of the Softcomp threshold region, that is,
“ha
:
to increase the amount of compression from 1:1 (no compression) up to ∞:1 (no increase
in o
Depress this button to make
rgy from “punching holes” in the sound, especially with mixed program. With the CONTOUR button Out, the A 5360
detector is frequency-independent. The CONTOUR LED turns On when the CONTOUR button is depressed.
C
GAIN REDUCTION Meter:
This meter displays how
C
These three LEDs indicate the re
when the signal is below threshold and the red LED is On when the signal is above threshold. When the A 5360 is
switched to Softcomp mode, the yellow LED is On when the signal is in the softcomp region.
Note: Even though no input signal is being applied, it is normal for the LEDs to flicker when the power is applied or removed.
pressor THRESHOLD Control:
Adjust this knob to set the threshold of compressio
mpressor THRESHOLD control to +20dB will prevent all but the highest level peaks from being compressed. (Se
the Compressor RATIO to 1:1 will turn the Compressor off, regardless of the setting of the Compressor THRESHOLD
control.)
In Har
cessed by the A 5360’s gain change circuitry in the manner defined by the setting of the RATIO control. Input signals
which fall below this level will pass through the A 5360 unprocessed (except for fixed gain changes directed by the
OUTPUT GAIN control).
In Softcomp mode (Sof
they approach the THRESHOLD reference level and they do not get fully processed in the manner defined by the
RATIO control until they have passed somewhat above the THRESHOLD reference level. In Softcomp mode there is no
distinct point at which processing begins, and the THRESHOLD setting corresponds to a point on the input/output transfe
curve midway between the onset of processing and that point at which the transfer curve corresponds to the setting of the
RATIO control.
Softcomp Butto
Depress this button to sele
signal is in the Softcomp region. When this button is in the Out position, the A 5360 operates as a hard knee
compressor/limiter. (Yellow Softcomp LED is active only in Softcomp Mode.)
In Hard Knee mode, the threshold of compression is defined as that point
nges on a 1:1 basis with changes in the input level.
In Softcomp mode, the threshold of compression is de
lf-way” into compression.
Compressor RATIO Control
Rotate this control clockwise
utput level, regardless of input level increases above threshold.)
Figure 1: Hard Knee Compression Curve Figure 2: Softcomp Compression Curve
andThresholdLEDs andThresholdLEDs
3

When an inpu ines the number of
dec
ompressor ATTACK and RELEASE Control:
takes the A 5360 to begin compressing a signal once the detector has
sen
uit returns the input to its original level. The RELEASE rate is
fro
solute right way to set the ATTACK and RELEASE controls. However, in general, you will want them set
slo
n
:ATTACK and RELEASE controls operate together and in conjunction with the RATIO control. Changing one control may necessitate changing another setting.
UTO Switch and LED:
oth the ATTACK and RELEASE controls and enables preset program-dependent attack and
rele
UTPUT GAIN Control:
ry the amount of fixed gain (up to ±20dB) in the A 5360’s output amplifier stage. The OUTPUT
GA
for the RMS level decrease which results from the A
536
l to
in can be added at the A 5360 output, it is possible to cause clipping even when the input level is within the specified range.
tput
YPASS Button and LED:
rd-wire bypass” the A 5360’s circuitry,(i.e., unaltered input signal will pass through the unit
eve
directly to the output, bypassing the A 5360’s processing and controls and presenting
una
ass mode if the A 5360 is being provided with AC power.
d LED:
e maximum peak output level of the A 5360 regardless of any other control. Peak
com
ill
o the gentleness of compression; its
t signal is above the THRESHOLD reference level, the setting of this control determ
ibels (dB) by which the input signal must change in level to produce a 1dB increase in the signal level at the output of
the A 5360. A setting of 2:1 indicates an input:output ratio wherein a 2dB increase in signal (above threshold) will produce
a 1dB increase in output signal. A setting of ∞:1 indicates that an infinite increase in input level would be required to raise
the output level by 1dB. In other words, the output level stays constant when the input signal rises above threshold.
C
The ATTACK control sets the amount of time it
sed a signal above threshold. The ATTACK range is from FAST (for a tighter and more noticeable compression effect
with very little overshoot) to SLOW (for more delayed, gradual compression). A very fast ATTACK setting will cause the A
5360 to act like a peak limiter even though RMS detection circuitry is used. Slower ATTACK settings cause the A 5360 to
act like an RMS or averaging detecting compressor/limiter.
The RELEASE control sets how fast the compression circ
m FAST (where compression follows the envelope of the program material very tightly) to SLOW (for very smooth
compression).
There is no ab
w enough to avoid pumping or breathing sounds caused when background sounds are audibly modulated by the
dominant signal energy, yet the release must be fast enough to avoid suppression of the desired signal after a sudde
transient or loud note has decayed. For low frequency tones (e.g., bass guitar), set RELEASE and ATTACK to 2:00 or
slower.
Note
A
This switch overrides b
ase times. These times are derived from the input signal and continuously change to match its dynamics. The switch
lights indicating the attack and release times are being automatically adjusted in a program-dependent fashion.
O
Adjust this control to va
IN control does not interact with the threshold of compression.
The OUTPUT GAIN control is especially useful to compensate
0’s dynamic processing effects. After you adjust the A 5360’s controls for the desired amount of compression (and
gating), set the OUTPUT GAIN to add the same amount of gain that is shown on the GAIN REDUCTION meters. For
example, if the average amount of gain reduction shown on the meters is 10dB, then setting the OUTPUT GAIN contro
10dB will compensate for the 10dB average level reduction at the output. Note that the OUTPUT GAIN control comes
before the Peak circuit.
Note: Because +20dB of ga
For example, when the COMPRESSION RATIO is set at a low number, extreme clockwise rotation of the OUTPUT GAIN may cause the A 5360 ou
stage to clip program peaks.
B
Depress this button to “ha
n if it is unplugged). Note that BYPASS works independently for each channel, even when the unit is stereo-coupled
(via the STEREO COUPLE button).
In Bypass mode, the input is sent
ltered input signal at the A 5360’s OUTPUT. Bypass mode is especially useful for making comparisons between
processed and unprocessed signals.
The BYPASS LED turns On in Byp
LIMITER Section
PEAK LEVEL Control an
This control allows you to set th
es after the compression, gating and output gain circuitry; this provides for an absolute limit to be put on the peak
excursions at the output. Peak works instantaneously; you can apply moderate amounts of A 5360 compression and st
be protected from large transients, other short-term overloads and overmodulation.
Peak is a smooth well-controlled soft clipper whose behavior is sonically similar t
4

clip
e
excursions above the
set
Peak level and are reduced in amplitude. If the Peak
LE
ASTER Section n and LED:
stereo and dual mono operation. Press the STEREO COUPLE button In for stereo
ope
unit functions as two separate mono compressor/gates, each with its own
ind
PLE LED indicates that the A 5360 is stereo-coupled.
Rear Panel
P
jack and XLR-type jack are wired in parallel; either INPUT will accept an audio signal for
pro
(-)
Only one input jack should be used at a time, except for “splitter” applications where one input jack is used as an input
ted
PERATING LEVEL Switch:
a -10dBV and +4dBu nominal operating level. When the switch is in the in position, a
-10 e
g
unp
UTPUT (BALANCED) Jacks:
ck and XLR-type jack are wired in parallel; either OUTPUT will send an audio signal to a
loa
or
ote: A given pair of channel output jacks (e.g., Channel 1 XLR OUTPUT and Channel 1 1/4” OUTPUT) are internally connected (TIP = Pin 2, RING = Pin
ping is much preferable to a power amp’s or analog-to-digital converter’s. Peak rounds the corners of a peak rather
than cutting it off sharply. By making a signal’s leading and trailing edges curved instead of sharply angled, it reduces th
amount of higher odd-order, offensive-sounding harmonics that conventional hard clipping causes.
The level at which PEAK is activated is adjustable from +0dBu to +20dBu. Note that small signal
value of PEAK are possible, to allow the rounding to occur. Therefore, for applications where you must not exceed a
given ceiling, set the PEAK control 1dB to 2dB below the ceiling.
The PEAK LED illuminates whenever peaks attempt to exceed
D illuminates when the PEAK LEVEL control is set to +20dBu, the headroom capabilities of the A 5360 are being
exceeded and hard clipping is occurring.
M
STEREO COUPLE Butto
This button toggles the unit between
ration where Channel 1 becomes the master controller for both channels. All of Channel 2’s controls, buttons, and
LEDs will be disabled (except for Channel 2’s BYPASS, SIDECHAIN ENABLE, and CONTOUR buttons, and its GAIN
REDUCTION LEDs), since Channel 2 is the “slave.” Note that the detection circuitry senses the true RMS levels of the
combined signal, so it is unaffected by phase shifts (or other discrepancies) between the channels. This ensures stereo
compression without loss of imaging stability.
With the STEREO COUPLE button Out, the
ependent controls.
The STEREO COU
IN UT (BALANCED) Jacks:
The Tip/Ring/Sleeve phone
cessing by the A 5360. The phone jack accepts a standard TRS 1/4” phone plug for a balanced input source, or a
2-circuit(Tip/Sleeve) 1/4” phone plug for an unbalanced source. The XLR-type jack is wired pin 2 HOT (+), pin 3 COLD
and pin 1 GROUND.
Note:
and the other input jack is used as an output (see “Using the SIDECHAIN INSERT” section on page 16). Since a given pair of
channel input jacks (e.g., Channel 1 XLR INPUT and Channel 1 1/4” INPUT) are internally connected (TIP = Pin 2, RING =
Pin 3, SLEEVE = Pin 1), if one of the jacks is unbalanced, then the other jack will be unbalanced. For example, if a 1/4”
INPUT jack is used with a mono cable, and is therefore unbalanced, the XLR INPUT jack will also be unbalanced (Pin 3 shor
to ground).
O
This switch selects between
dBV operating level is selected. When it is in the out position +4dBu is selected. A -10dBV operating level should b
selected when interfacing with “semi-pro” or low level equipment, while a +4dBu level should be selected when interfacin
with “pro” equipment. The switch simultaneously changes the operating levels for both the input and output circuits.
Note that the switch is slightly recessed to prevent accidental switching of operating levels while plugging in or
lugging cables.
O
The Tip/Ring/Sleeve phone ja
d. The phone jack accepts a standard TRS 1/4” phone plug for a balanced output load, or a 2-circuit (Tip/Sleeve) 1/4”
phone plug for an unbalanced load. The XLR-type jack is wired pin 2 HOT(+), pin 3 COLD (-) and pin 1 GROUND. For
proper unbalanced operation, the unused pin (either pin 2 or 3) must be grounded. Nominal output signal level is +4dBu
-10dBV into 600Ω, and typical maximum output level is +20dBu into 600Ω(+20dBm).
N
3, SLEEVE = Pin 1) and can simultaneously deliver the same signal to two separate loads, but if one of the jacks is unbalanced, then the other jack will be
unbalanced. For example, if a 1/4” OUTPUT jack is used with a mono cable, and is therefore unbalanced, the XLR OUTPUT jack will also be unbalanced
(Pin 3 shorted to ground). If using both outputs of a given pair simultaneously, the total parallel load on the output should be 600 minimum.
5

SIDEC
rd TRS 1/4” phone plug and provides a connection to the A 5360 detector path. The RING
act
st
60’s detection circuitry.
PERATING OTES
a starting point. Adjust them for your requirements.
ating Dry Percussive Sounds (e.g., Snare Drum, Kick Drum)
set the A 5360’s gate controls to ensure
tha
E
ering.” Because the A 5360 is capable of extremely fast gating, make sure the
E time to
Thes ring” from some drums, or gating
out
ating Sounds That Have Longer Decay (e.g., Cymbal, Piano)
et the RELEASE control slow enough to
allo
reverb or ambience. Set the RELEASE control
so
hanging Sound Quality
ely change the sonic character of a sound because it can reduce or otherwise alter the
qua
eyed Gating
at is, controlling the gating of one signal by another, can be used to add dynamics to a sound (e.g.,
cre ).
syn mix and
This
gnal to key an oscillator which is set to an appropriate frequency
to “
ust the compressor accordingly or bypass it by setting the Compressor RATIO fully counterclockwise
Frequency-Sensitive Gating
u use the SIDECHAIN INSERT to tune the response of the gating action. For
exa an
HAIN INSERT Jack:
This jack accepts a standa
s as a Send, carrying a buffered version of the signal present at the A 5360 INPUT jack, at an impedance of 2kΩ. The
TIP acts as a Return for equipment to feed the A 5360’s detector circuitry, such as an equalizer for de-essing or
frequencysensitive gating/compression. You can also drive the A 5360 SIDECHAIN INSERT with the output of mo
equipment, by using a 1/4” mono phone plug. Input impedance is greater than 10kΩ.
Note: When a cable is plugged into this jack, it automatically breaks the connection from the INPUT circuit to the A 53
Note: The following Operating Notes section contains several applications for using the sidechain circuit.
O N
Expander/Gate Applications
Note: Control settings for each application are suggested as
G
To effectively gate percussive sounds with high-level transients, you need to
t the gate is less sensitive to nearby signals that would cause the gate to open or “false trigger.” Set the RELEASE
setting fast enough to enable the gate to close very quickly once the signal falls under the THRESHOLD. The RELEAS
can also be used to shape the envelope of the sound.
Note: Fast gating of sustained low frequency signals can result in “chatt
RELEASE time is longer than one full cycle of the gated signal’s fundamental frequency. To eliminate any “chattering,” simply adjust the RELEAS
a longer time (slower rate). The proper THRESHOLD setting will also minimize false triggering and “chattering.”
e types of settings are most useful for tightening up drum tracks, removing the “
the leakage of one drum through another’s mic.
G
To effectively gate sounds which have more decay after the initial transient, s
w the gate to remain open and capture the signal’s entire envelope.
The gate can also be used to “dry up” a track or mix that has too much
that the natural decay of the sound is somewhat truncated.
C
The A 5360’s gate can effectiv
lity of instrumental ambience and reverb. For example, as an instrument stops, its reverberation level will fall through
the A 5360’s THRESHOLD setting. It can now be made to die out more quickly - faster than the natural decay (of the
sound). Experiment with different THRESHOLD and RELEASE settings to change the “tail” of the sound; a FAST
RELEASE setting will nearly eliminate reverb.
K
Keyed gating, th
ating perfectly in-sync playing and overdubbing among individual instruments or “fattening” a dynamically weak track
To create two distinct channels of bass guitar for your mix (by splitting the bass signal into two channels and
chronizing one channel of bass guitar with the kick drum), start by feeding one channel of bass directly into the
the other into the A 5360’s INPUT. Then key the gate with a signal from the kick drum (connected to the SIDECHAIN
INSERT - adjust controls as needed). The gated bass track will now open with each kick, adding punch and dynamics.
can really tighten up the tracks and add life to the mix.
Another example of keyed gating is using the drum si
tune” and “punch up” the drum sound.
Note: For all keyed gating applications, be aware to adj
to 1:1
Frequency-sensitive gating lets yo
mple, if you’re gating a kick drum in a track with lots of leakage, you can tune in to the frequency of the kick with
outboard EQ and the gate will respond only to that drum. Feed the kick drum signal both directly into the gate and also
through an equalizer which is connected to the SIDECHAIN INSERT. With the equalizer adjusted so that only the desired
signal is strong at the SIDECHAIN INSERT, the gate becomes even more selective in opening.
6

Basic Compressor Applications
Note: Control settings for each application are suggested as a starting point. Adjust them for your requirements. In general, the “smoothest” compression is achieved with
To compress a mix, begin with a low RATIO setting, THRESHOLD set for a few dB of Gain Reduction, and SLOW
Att
moothing Out Variations in Microphone Levels
en a vocalist and a mic changes, or when the dynamics of
a v
ck and
l
moothing Out Variations (and Increasing Sustain) in Musical Instrument Levels
compress the instrument’s output with a RATIO of
app
in
from overloading your tape deck or
mix
sounds, begin with a higher RATIO (from 10:1 to ∞:1), then adjust the
TH t
can
attening Kick Drums and Compressing Other Drums
p. To tighten them up, start with the A 5360
adj
Mix
ases the average signal level by a small amount, a single track can be raised out of
a m
to the forefront of a mix in volume-restricted studios (e.g. home
stu
s volume
s from a mono program already mixed.
LD settings, are like those
e
the Softcomp and AUTO buttons In, while the most “aggressive” compression is achieved with a Hard Knee fast setting (i.e.,Softcomp button Out with fast
ATTACK and RELEASE times).
ack and Release, Softcomp and CONTOUR buttons In.
S
Variations in signal level can occur when the distance betwe
oice changes relative to a vocalist’s range. To smooth out these variations, start with the A 5360 in Softcomp mode
(Softcomp button In) with a medium attack time and a fairly slow release time and adjusted for a low to medium
compression RATIO (e.g., 4:1). Many people prefer the use of AUTO mode for vocals rather than setting the atta
release controls manually. Adjust the THRESHOLD control so that the GAIN REDUCTION meters show 6dB to 10dB of
gain reduction, then increase the RATIO if necessary. Due to the gentle Softcomp characteristic of you’re A 5360 you wil
find that even fairly high ratios are handled transparently. If the lower energy of the vocals is compressed too much (e.g., if
the voice sounds too thin or its lower register presence is lost), press the CONTOUR button In to allow more of the original
low energy to pass through the A 5360 unaffected.
S
(e.g., Bass Guitar, Electric Guitar, Synthesizer)
To achieve a smoother electric (or electronic) bass sound,
roximately 4:1, then adjust the THRESHOLD control for 10dB to 12dB of gain reduction. Compression lessens the
loudness variations among the strings and increases the bass’ inherent sustain. Other instruments, such as horns, vary
loudness depending on the note being played, and benefit similarly. Note that if the compressed bass sounds smooth, but
too thin for your needs, try pressing In the CONTOUR button to thicken the sound.
To control untimely volume shifts in “hot” guitar or synth parts and to keep them
er during recording and live performances, start with a slow Hard Knee compression, the RATIO at approximately 5:1
and the THRESHOLD set to the average maximum level of the track - this will ensure that only the offending “hot” part is
compressed. Use CONTOUR, if necessary.
To add sustain to guitar or synthesizer string
RESHOLD control to taste. For example, to alter the envelope of a synthesizer sound that has a bite on its attack, bu
ends with a long release time, begin by playing slow, but steady, synth stabs or chords, while compressing the sound
heavily (with a higher RATIO). Heavy compression of guitars and synths, as they are being recorded to digital formats,
often help revive their sense of “analog life.”
F
Weak, flabby kick drums often have too much boom, and not enough sla
usted for a medium to high RATIO (e.g., 6:1), adjust the THRESHOLD control so that the GAIN REDUCTION meters
show 15dB of gain reduction, then increase the RATIO if necessary. bx
66XL COMPRESSOR / GATE
Raising a Signal Out of a
Since reducing dynamic range incre
ix by boosting its level slightly and applying compression. Start with a 2:1 RATIO and a relatively low THRESHOLD
setting (-20dBu). Adjust both controls as necessary.
Compressors have also been used to bring vocals
dios). Start by adding a foam windscreen to the mic (if it doesn’t have one). Set the RATIO to 10:1 and the
THRESHOLD to -10dBu. With your mouth approximately 2 inches from the mic, sing the vocal part, but with les
than normal. Use phrasing to give the part some intensity. An equalizer or a vocal effects device (e.g., reverb, delay,
distortion) can be added to further define the performance.
It is also possible to separate certain vocals or instrument
Note: When compressing a stereo program with a A 5360, the factors affecting a compression curve and the actual RATIO and THRESHO
previously covered with reference to single channels of program material. However, it will generally be found that large amounts of compression are more audibl
in a mixed stereo program than they might be on the separate tracks that were mixed to create the program.
7

Preventing Analog Tape Saturation
pression can prevent recording levels (e.g., cymbal tracks in a final mix or
dru
reventing Digital Overload
duce audible distortion when they exceed their headroom (i.e., the range above their
ma
peaker Protection (Auditoriums, Churches, Mobile DJs and Sound Systems)
and/or damaging
driv
e
ossible in the signal chain. If the A 5360 is
pla
eo
aising Average Level in PA Systems
so benefits intelligibility by allowing low-level input signals to be
rep
sing Your EQ to Reduce Feedback in Live Settings (Indoor and Outdoor Concerts,
e you’re A 5360 and EQ (equalizer) to reduce feedback in clubs, churches, outdoor concerts and other live
set
ted
he A 5360 as a Line Amplifier
adjust the RATIO control fully counterclockwise (1:1 position), THRESHOLD fully
clo
RATIO and
requency-Weighted Compression (Sidechain Application)
uency-weighted compression. With an
equ
ising certain frequencies on the equalizer causes them to be suppressed in the audio signal.
A r
’s
is not
With programs of widely varying levels, com
m kit submix) from saturating tape tracks.
P
Digital recorders and samplers pro
ximum operating level). The A 5360 effectively ensures that audio input does not overload a digital recorder’s A/D
(analog-to-digital) converters. The A 5360 can perform this function quietly enough for all digital media.
Note: Peak limiting can also be used to prevent raucous-sounding digital overload.
S
Compressors are frequently used to prevent excessive program levels from distorting power amps
ers in a sound-reinforcement system (whether you’re doing auditorium, church, or club sound engineering, or are a
mobile DJ, or like to push the limits of your home’s audio entertainment center). Set the A 5360 for limiting and adjust th
THRESHOLD to provide 15dB or more of compression (just a few dB below the input clip). For low-level signals, the A
5360 won’t change gain, but if large signals come along, the gain will be reduced to prevent clipping and save sensitive
system components from excessive heat buildup or other type of damage.
As a general rule, compressors should be as close to the amplifiers as p
ced before the EQ (equalizer), for example, a potentially damaging boost in the EQ won’t be seen by the A 5360 and
the speakers may be damaged. (see Multi-way speaker systems). For maximum sound pressure levels, large sound
reinforcement systems frequently use a separate compressor on each output of the electronic crossover(s). For a ster
sound-reinforcement system, one A 5360 can be used for each stereo band (low, low-mid, mid, etc.).
R
Limiting (i.e., compression at high ratios like ∞:1) al
roduced through the system at higher volume. In a musical performance, this provides additional intimacy so that a
vocalist’s whispers are heard more clearly. The Softcomp curve available with the A 5360 permits a very high amount of
compression (RATIO of 10:1 or greater) to be used in many situations. This allows dynamic speakers, vocalists and other
musicians to concentrate on their presentation or performance without worrying about the ill effects of volume changes.
U
Churches)
You can us
tings.Patch or insert the A 5360 into the main output of a mixer, set the A 5360 to Hard Knee mode and slowly increase
OUTPUT GAIN until the first feedback “ring” occurs, then set up the A 5360 with its RATIO at ∞:1 and THRESHOLD low.
The A 5360 will catch the first feedback ring and hold it as a constant tone so you can adjust your EQ to minimize it.
Continue to increase your console gain and set your EQ until the next 3 or 4 “ring” frequencies have been compensa
for.
T
To use the A 5360 as a line amplifier,
ckwise (+20), Peak Limit to +20 and OUTPUT GAIN to whatever setting is required for the application.
Remember, excessive gain may lead to output clipping of high level signals. To add compression, adjust the
the THRESHOLD controls to the desired settings.
F
It is possible to separate certain vocals and instruments from a mix by freq
alizer inline ahead of the SIDECHAIN INSERT (but not in the audio path), the equalization settings do not shift the
timbre or frequency response of the audio signal. They merely alter the threshold response of the compressor on a
“frequency-weighted” basis.
With this arrangement, ra
elatively high THRESHOLD setting can allow normal sounds to be unaffected while solo and very loud sounds are
compressed. (Of course, when compression occurs, the level of the entire program is affected - however, if the A 5360
CONTOUR button is pressed in, even more of the signal’s lower energy can be preserved.) Depending on the
THRESHOLD setting, lower amplitude fundamentals or harmonics will not cause compression, and the program
subject to the phase shift normally caused by program equalization.
8

ighted Compression
When recording cymbals and tom-to idechain path can help prevent analog
tap
sound with dominant
ene
e-Essing
-essing to vocals (i.e., a reduction of sibilance), use a parametric equalizer in the SIDECHAIN circuit and
set
ing” without
creasing Sustain
n of a musical instrument (e.g., a guitar or bass), use an equalizer in the Sidechain circuit and
boo
ulti-Way Speaker Systems
d with a multi-way speaker system (i.e., before the crossover, after the EQ), the
sys
to the
sing a Filter in the Sidechain Circuit
circuit are basically the same as obtained with an equalizer, as
pre t to
on
re-Emphasis for Broadcast Applications
echain path of a A 5360 processing pre-emphasized audio, higher
lev
eFigure 3: Frequency-W
ms, a compressor with an equalizer in the S
e 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 headroom. However, gentle tapping
of a drumstick or brushing of the cymbal will not be affected. Assuming the tom-tom is a lower frequency instrument and
can be better tolerated by the tape, it has less need for compression. 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
rgy in the affected register to pull the level up because the A 5360 will detect a need for less compression.
D
To apply de
it to boost the specific frequency range where the vocal “hiss” or lisp occurs (generally in the 4kHz - 6kHz region). This
pre-emphasizes the already “hissy” vocal input to the Sidechain. Used in conjunction with a moderate to high
THRESHOLD and RATIO, and a fast Attack and Release setting, this arrangement greatly attenuates the “ess
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
To increase the sustai
st the EQ in the dominant frequency range of the instrument. Set the A 5360 for slow Hard Knee compression, with a
fairly low THRESHOLD and a moderate RATIO.
M
If a single compressor is to be use
tem operator is faced with the problem of keeping levels below the point of damage of the most sensitive part of the
system. If, for example, mid-range drivers are frequently damaged, the whole system must be operated at a lower
sound-pressure level, or additional mid-range drivers must be added. By inserting an equalizer in the Sidechain path
A 5360, it can be made more sensitive to frequencies in the range handled by the sensitive drivers. The system can then
be run at higher levels and will only be dropped back when damaging signals are present.
U
The results of inserting a filter in the Sidechain
viously described. Those frequencies passed by the filter are subject to compression (or at least they are subjec
considerably more compression than those frequencies outside the passband). Because a passive filter can have inserti
loss, it may be necessary to lower the A 5360’s THRESHOLD setting to maintain a given amount of gain reduction within
the filter passband; this can be determined by monitoring the A 5360’s THRESHOLD LEDs.
P
By inserting a pre-emphasis filter network in the Sid
els can be run within the headroom limitations of the broadcast chain.
9

CONNECTING THE A 5360 TO YOUR SYSTEM
Basic Connection
The A 5360 has balanced inputs and outputs, and can be used with any line-level device. Some common examples
include: mixing consoles, musical instruments, patch bays and other signal processors.
For all connections, refer to the following steps:
1. Turn Off all equipment before making any connections.
2. Mount the A 5360 in a 1U rack space (Optional).
The A 5360 requires one rack space (height) and 1 rack space (width). It can be mounted above or below anything that
doesn’t generate heat, since it requires no special ventilation. Ambient temperatures should not exceed 45°C when
equipment is powered.
Caution: Never remove the cover. There are no user-serviceable parts inside, and you run the risk of an electric shock.
3. Make connections via XLR or 1/4” TRS jacks according to your requirements.
Typical patch points include: a mixer’s channel or subgroup inserts when using the A 5360 on individual instruments or
tracks; the mixer’s main outputs or bus inserts when mixing; an instrument preamp’s effects loop when using the A 5360
for guitar or bass; main outs of a submixer (e.g., keyboard mixer) as the signal is sent to main mixer; between a DAT’s
output and an analog cassette input. When using a chain of processors, the A 5360 may be placed either before or after
effects or dynamic processors. However, if you are using the A 5360 for speaker protection, the compressor should be as
close to the amplifier as possible in the signal chain. We recommend you use common sense and experiment with different
setups to see which one provides the best results for your needs.
Note: Never connect the A 5360’s input to the speaker output of an instrument or power amplifier.
4. Power On the unit: Securely connect the AC power cord to the unit and mains power.
Note: Check the line voltage. The unit is shipped for 240V operation. Refer to the unit’s rear panel to verify your unit’s precise line voltage.
Using the SIDECHAIN INSERT
The SIDECHAIN INSERT can be used to control the compressor or the expander/gate by signals other than the audio
input (via an auxiliary device, such as an equalizer). Common Sidechain applications include keyed gating,
frequency-sensitive gating and frequency-weighted compression. These topics are covered in detail in the previous pages
of this manual. Certain Sidechain applications may require special cabling.
For example, to set up you’re A 5360 for frequency-sensitive gating or frequency-weighted compression, you must feed
an equalizer’s input with the same signal fed to the A 5360’s INPUT, and then connect the equalizer’s output to the A
5360’s SIDECHAIN INSERT jack (Figure 3). Providing the signal to both the A 5360’s INPUT and the equalizer can be
accomplished in several different ways: (1) use an insert cable plugged into the SIDECHAIN INSERT jack. The SEND
goes to the input of the EQ. The RETURN goes to the output of the EQ; (2) use a Y-cable to feed the audio source to both
the A5360 INPUT and the equalizer input; (3) feed the signal to one of the A 5360’s INPUT jacks and use the compressor
channel’s parallel INPUT jack to drive the equalizer (e.g., if the audio source feeds into Channel 1’s 1/4” INPUT jack, use
Channel 1’s XLR INPUT jack to feed the signal to the equalizer); (4) if the audio source can internally split its output signal
(e.g., some synthesizers can send the same signal from two outputs), plug a cable into each output and feed one cable to
the A 5360 INPUT and the other to the equalizer.
Specific System Connections
The A 5360 has balanced inputs and outputs, and can be used with any balanced or unbalanced line-level device.
Some common examples include: mixing consoles, musical instruments, patch bays, and other signal processors.
Mixing Board
If you wish to compress a particular track of a multitrack recording or one channel of a live performance, connect the A
5360 INPUT to the audio source’s output jack while the A5360 OUTPUT can be directly connected to a line input jack
(balanced or not) or the A 5360’s INPUT and OUTPUT can be wired to an Insert point. In the latter case, the signals will
most likely be unbalanced.
It is important to note that the amount of compression is directly related to the level of the input signal. However,
depending upon your system’s setup, it may not always be clear as to what volume controls in your chain affect input level
and which affect output level. If the A 5360 is connected so that compression occurs before the mixer’s volume controls
10

(e.g., the A 5360 is connected directly between an audio source and the mixer input, or the A 5360 is connected to mixer
inserts that are “pre-fader”), you can boost or cut the input level by adjusting the source’s volume control (e.g., a
synthesizer’s volume control) and boost the track’s output level using the A 5360’s OUTPUT GAIN control or the mixer’s
volume fader (the latter here is great for track fade-outs). However, if the A 5360 is connected to “post fader” mixer inserts,
adjusting the mixer’s volume fader changes the input level and the amount of compression. If you would rather have this
volume fader control output, we suggest that you set up the compressor directly between the source and the mixer
channel’s input. This way, you can use the instrument’s volume control to define the input level and amount of
compression and the mixer’s volume fader to change only the overall volume of the track.
Musical Instruments (e.g., Electric Guitar, Bass, Keyboards, Electric-Acoustic
Instruments)
The output of an electric guitar is sometimes not “hot” enough to drive the A 5360’s INPUT. When this is the case,
switch the rear panel +4/-10 switch to the IN position which will boost the low level signal by approximately 12dB.
Microphones, bass guitars, and electric-acoustic instruments, also typically have low-level outputs. With most setups
they require signal boost to drive the A 5360’s INPUT. For example, when recording voice directly to a portable tape deck,
a mic preamp placed between the mic and the A 5360 (which is then fed to one of the recorder’s inputs) can boost the
signal for the A 5360 as well as provide a high level signal to the tape deck.
Keyboards, samplers, drum machines and sound modules typically produce a line-level signal and can be connected
directly from the instrument’s output to the A 5360’s INPUT.
Note: DO NOT CONNECT the A 5360’s input to the speaker output of an instrument or power amplifier. Severe damage to system components may result.
Patch Bay
In the studio, the A 5360 may be connected to a patch bay to allow it to be used anywhere in the studio system. If your
studio is not fully balanced, you must ground the unused balanced output conductor: XLR pin (either pin 2 or 3) or the ring
of a 1/4” stereo phone jack. Note that grounding pin 2 of the XLR jack reverses the phase through the A 5360.
dbx 166XL COMRESSOR / GATE
Sound Reinforcement
To compress a live mix or to protect loudspeakers, connect the A 5360 between the source (mixing board or distribution
amp) and the power amp(s). If multi-way loudspeakers with low-level electronic crossovers are used, the A 5360 should go
after the crossover(s). For a stereo system, you can separately stereo couple the two high band crossovers, low band
crossovers, etc. If limitations require that you use a single A 5360 channel before a crossover, adding an equalizer to the
sidechain may provide some additional protection to your high frequency components.
INSTALLATION CONSIDERATIONS
Input/Output Cable Configurations
Hookups and Cabling
The A 5360 is a balanced (differential) unit designed for nominal +4dBu or -10dBV levels; inputs and outputs are 1/4”
tip/ring/sleeve (TRS) phone jacks and XLR-type jacks. The A 5360 can be used with either balanced or unbalanced
sources and outputs can be used with either balanced or unbalanced loads, provided you use proper cabling.
A balanced line is defined as two-conductor shielded cable with the two center conductors carrying the same signal but
of opposite polarity with respect to ground. An unbalanced line is generally a single-conductor shielded cable with the
center conductor carrying the signal and the shield at ground potential.
Input Cable Configurations
The A 5360 has an actual input impedance of >40kΩin balanced or unbalanced configurations. This makes the A 5360
audio input suitable for use with virtually any source impedance, low or high. The A 5360’s input jacks are wired in parallel.
The phone jack TIP (+) connection is internally wired to the XLR pin 2, the RING (-) is wired to pin 3, and the SLEEVE
(shield) is wired to pin 1.
Reversing the input wires to the input terminals will result in the output signal polarity being the opposite of the input
signal (“180° out of phase”).
11

Output Cable Considerations
The model A 5360’s outputs are wired in parallel: either the XLR-type OUTPUT jack or the 1/4” stereo phone jack are
capable of driving a 600Ωload. The phone jack TIP (+) connection is internally wired to the XLR pin 2, the RING (-) is wired
to pin 3, and the SLEEVE (shield) is wired to pin 1.
Figure 4: Signal Flow (Balanced Connection)
Grounding
For maximum hum rejection with a balanced source, avoid common grounding at the A 5360’s input and output. Most
balanced (3-conductor) cables have the shield connected at both ends. This can result in ground loops which cause hum.
If hum is a problem, try disconnecting the shield on one or more of your cables, preferably at the input of a device, not at
the output: Ground the shield of the input cable at the source device (leaving it unconnected at the A 5360’s INPUT) and
ground the shield of the output cable to the ground terminal of the A 5360 (leaving it unconnected at the receiving device).
The shield is pin 1 on the XLR, SLEEVE on a 1/4” TRS.
12

13

SPECIFICATIONS
Floating Balanced; XLR: Pin 2 and TIP HI,
>50kΩbalanced, >25kΩunbalanced
+24dBu, Balanced or Unbalanced
>40dB at 1kHz, typically >55dB
Inputs (1/4” TRS Phone and XLR)
Impedance
Maximum Level
CMRR
Sidechain Insert (1/4” TRS Phone)
Impedance
MaximumLevel
Normalled: Ring = Output (send); Tip = Input (return)
Tip = >10kΩ(Input)
Ring = 2kΩ(Output)
+24dBu
Floating Balanced; XLR: Pin 2 and TIP H
120Ωbalanced, 60Ωunbalanced
+21dBu,>+20 dBm into 600Ω, balanced or unbalanced
20Hz - 20kHz; +0, -0.5dB,Typical 3dB points are 0.35Hz
and 110kHz, unity gain
<-90dBu, 22Hz to 22kHz, no weighting, unity gain
Typically <0.04%; Any Amount of Compression Up to
40dB@1kHz
Outputs (1/4” TRS Phone and XLR)
Impedance
Maximum Level
Frequency Response
Noise
THD+ N
SMPTE IMD
Compressor
-40dBu to +20dBu
Selectable Softcomp or Hard Knee
Variable; 1:1 to Infinity:1; 60dB Maximum Compression
Variable program-dependent; 3ms to 340ms for 15dB gain reduction
Variable program-dependent; 200dB/Sec to 3dB/Sec
Threshold Range
Threshold Characteristic
Compression Ratio
Attack Time
Release Rate
Expander/Gate
Threshold Range OFF to +15dBu
10:1
>60dB
<500μs (from Maximum Depth)
Adjustable, 30ms to 3sec (to 30dB attenuation)
Expansion Ratio
Maximum Depth
Attack Time
Release Time
Peak Limiter
Threshold Range 0dBu to +20dBu
Gain Adjustment Range Variable; -20dB to +20dB
Interchannel Crosstalk <-80dB, 20Hz to 20kHz
Dynamic Range >115 dB
StereoCoupling TrueRMSPowerSumming™
OperatingVoltage 100VAC50/60Hz;120VAC60Hz
230 VAC 50/60 Hz
PowerConsumption 15WattsMaximum
Operating Temperature 0°C to 45°C (32°F to 113°F)
Dimensions(HxWxD) 1.75"x19"x6.75"(4.45cmx48.2cmx17.15cm)
RackSpace 1 Rack Unit (1U High)
Weight Netweight:4.85lb(2.2kg)
Note: 0dBu =0.775Vrms.
Specifications are subject to change.
14