FRONT OF HOUSE
[ 5 WAYS TO USE DYNAMICS CONTROL | Kent Morris ]
While EQ (equalization) is typically the first distracting unless there is a reason for creating except in cases where the compressed signal
knob techs grab to dial-in a signal, a better that particular sound. gets lost in the mix; but be aware: it is gain and
move may be to start with attentive hearing
it will bite.
and then follow by adjusting dynamics control Downward expanders are more useful than parameters. After proper mic placement, gates for most needs. Think of a downward Use limiting only when the signal is absolutely
correct gain staging, and appropriate high- expander as a gate with loose hinges. It can uncontrollable – i.e., all youth room channels!
pass filter engagement, it is beneficial to just swing partially open or closed. Instead of yes Limiting is a brick-wall signal stop to prevent
listen to the channel in question before turning or no, it is all the maybe in between. Expanders damage to equipment and ears.
any knobs. If the channel sits well in the mix are great on B3 mics since they can keep out and has no tonal vices, let it be. If it needs most of the rotary motor noises but still allow Be aware of how dynamics control alters the
some help in the low-mids, reduce those and soft musical passages to come through. They original sound. It is at the heart of all modern
listen again. The next step is usually to “box it are also perfect for a choir loft where ambient drum sounds. It is common practice to parallel
in” through compression, limiting, gating and noise from HVAC is an issue. process drums with compression and then
downward expansion. Let’s look at some ways
merge the two variants back together into
these tools can help define a sound and deliver Compression is the primary tool to use on a massive sounding rig. While not natural, it
a better mix. vocals. Every compressor has four parameters is the sound people now expect. Phil Collins
to adjust: Threshold (when), Ratio (how much), came up with gated reverb in the ‘80s and it
Use gates only where they make sense. Digital Attack (the grab) and Release (the let-go). On is now enjoying a renaissance. So, put “In the
consoles typically have a gate available on a digital console, it is important to prevent the Air Tonight” on and listen to how it was done
every channel, but in most instances only a signal from exceeding Full Scale level (0). Analog originally. Compression has a dark side, too.
few need a gate’s services. The most common distorts nicely; digital does not. To that end, for Since (with certain settings) it turns down loud
application for a gate is rack and floor toms on typical worship vocals, set the Threshold so the passages and turns up soft passages, applying
a trap kit, and tympani mics in an orchestra. compression begins several dB below 0, say it to wedge monitors can be dangerous. As
A gate essentially operates as an open-and- around -10. Then set the ratio at 3:1 for gentle the vocalist gets soft, the compressor raises
shut device for a signal with the set threshold voices and 5:1 for strong voices. The attack the level and feedback can occur. During
serving as the voltage point between when a can be set around 50ms, and the release about soundcheck, over-compress until the feedback
gate is open or closed. The mic is either on or half a second. These are general settings, so happens and then dial it back down to a safe
off, with the only thing in between considered adjust to suit the need. There may also be a level and note the point of no return (Kansas
undesirable “chatter”. Gates on vocals are Make-Up Gain on the backside. It can be left off used compression well).
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November 2017
WorshipMusician.com