Bedienungsanleitung Focusrite VoiceMaster Pro (Seite 6 von 88) (Deutsch, Englisch, Französisch, Italienisch, Spanisch)

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the LINE INPUT selected, the gain is adjustable from –10 dB to +10 dB. Setting the

LEVEL control to the 12 o'clock position will not alter the gain of a line level input

signal.

INSERT (rear panel connections) - The INSERT connectors on the rear

panel allow an additional external signal processor to be inserted into the signal chain

between the pre-amp and the other processing sections of the VoiceMaster Pro.

Connect the INSERT SEND to the line input of the external processor, and connect

the processor’s line output to the INSERT RETURN. Like all inserts, the signal

returned to the INSERT RETURN jack will rejoin the signal path at the same point

from which it was sent, after the benefit of external processing.

OPTICAL EXPANDER

The OPTICAL EXPANDER reduces the volume of quiet sections in the

performance, by reducing the gain of the signal when it falls below the threshold set by

the user. This is a similar principle to a noise gate, but rather than muting the signal

altogether, an expander simply ‘turns the volume down’. Use it to get rid of

background noise, either while recording, (for example, getting rid of bleed from

headphones into the microphone,) or while mixing down, (for example, getting rid of

tape hiss). The expander has a gentle noise-reducing effect: you can set it so that it

reduces background noise without affecting the beginning and end of vocal passages.

IN (switch) - Switches the OPTICAL EXPANDER into the signal path. When

engaged, the red LED in the switch cap is lit.

THRESHOLD (knob) - Determines the signal level at which noise reduction

begins. The higher the threshold, the more low-level noise is reduced. The range is

–60 dB to –20 dB

RELEASE (knob) - Determines the time taken for the gain reduction to return to

normal once the signal exceeds the threshold. The range is 0.25 seconds to 4 seconds.

GAIN REDUCTION (LED meter) - Shows how much noise reduction is

being applied, and should light progressively during quiet passages. During louder

sections, the lights should go out. By watching the meter when a vocal passage is

starting and finishing, you can check that the OPTICAL EXPANDER is not affecting

the vocals – if the meter stays lit during the vocal, reduce the THRESHOLD control.

VINTAGE HARMONICS

An all-new enhancement tool, this section simulates the original-tape based

enhancement method for vocals used by many famous engineers and producers during

the 1970s. A historical footnote: many tape machines came with Dolby™ noise

reduction units which compressed the signal into the quiet region of the tape track.

During playback the Dolby™ would then expand the signal back to its original

dynamic range. Some enterprising producers and engineers found that if vocals were

recorded with the Dolby™ unit switched on, (compression applied relative to

frequency,) but were then played back with Dolby™ unit switched off, (with no

expansion,) a pleasing emphasis was added to the source material.

The Focusrite VINTAGE HARMONICS section reproduces this effect during record

by compressing (relative to frequency) all signals below the threshold point for both

mid- and high- frequency bands. The original technique relied upon the skill of the

engineer to vary the input level to tape to get the desired effect from the Dolby™

unit, which only had a single fixed threshold point. The Focusrite VINTAGE

HARMONICS however, has the added benefit of variable threshold for both bands,

plus a depth switch so the effect can be simply tailored for any voice. The VINTAGE

HARMONICS section splits the audio into three bands: Low Band (below 100 Hz -

this band is never affected or controlled by the Vintage Harmonics - buy a Focusrite

Compounder if you need to hear bass as you have never heard it before!), Mid Band,

and High Band.

How the VINTAGE HARMONICS threshold control works

This control is calibrated from –40 dB to –10 dB (fully clockwise). When the audio

passing through the circuit is above the threshold level (set by the knob) the audio is

unaffected and it remains flat. When the audio signal falls BELOW the threshold set on

the front panel knob, the audio band (either Mid or High) is compressed by a ratio of

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