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Controls:
(Note) The following information is quoted from the user manual. It is contained here for informational purposes only.
- Threshold (-40 to +20 dBu)
Sets the level above which signals will be compressed or limited. Rotating
the control clockwise raises the threshold, thus clamping signals at a
higher level and reducing the amount of compression or limiting.
- Ratio (1:1 to ∞:1)
Sets the compression slope, which determines how the output signal will
change in relation to the input signal once the input signal exceeds the
threshold. The first digit indicates how many dB of input change will cause
a 1 dB output change. The higher the ratio, the greater the compression,
and the more "squeezed" the sound.
Examples: With a setting of 2:1, a 2 dB input change for signals above the
threshold results in a 1 dB output change. With a setting of 1:1, a 1 dB
input change results in a 1dB output change (i.e., there is no change to the
signal dynamics). With a setting of ∞:1, the output level remains virtually
constant regardless of input level changes.
- Attack (0.1 ms to 200 ms)
This control works only with the Peak/RMS switch (section 1.5) in Peak
mode. RMS mode automatically adjusts the attack time, depending on the
characteristics of the signals being processed.
In peak mode, this control sets how fast the limiter's internal circuitry reacts to changes in input level. The longer the attack time, the more of a signal's dynamics are "let through" before the limiting action kicks in. With slower attack times, the limiter responds more to average signal level. This produces a smoother sound that tends to retain dynamic character, but the tradeoff is that the 3630 cannot react as rapidly to sudden level shifts.
Examples: Setting a longer attack time with guitar allows more of the pick attack to come through. A longer attack time with kick drum lets through more of the beater "thock." For recording, you may want to trade off response time for smoothness. When used to prevent loudspeaker or power amp clipping, a fast attack time is desirable.
- Release (50 ms to 3 seconds)
This control works only with the Peak/RMS switch (section 1.5) in Peak mode. RMS mode automatically adjusts the release time, depending on the characteristics of the signals being processed.
In peak mode, this control determines how long it takes for the limiter to return to unity gain after going into limiting. With short release times, the limiter tracks every little change in level, producing a potentially uneven or "rippling" effect that decreases dynamics but increases the average output level. Longer release times tend to "squash" the signal more, producing less overall output but retaining more of the signal's dynamics.
Excessive release times can be used as an effect. In the 60s using lots of limiting with long release time on drums was a popular recording technique.
- Output (-20 to +20 dB)
The process of reducing dynamics lowers the signal's overall level. Use this control to compensate by adding output gain.
Example: Limiting a signal by 6 dB will make the signal seem approximately 6 dB softer. Compensate by using this control to increase the level.
In peak mode, this control sets how fast the limiter's internal circuitry reacts to changes in input level. The longer the attack time, the more of a signal's dynamics are "let through" before the limiting action kicks in. With slower attack times, the limiter responds more to average signal level. This produces a smoother sound that tends to retain dynamic character, but the tradeoff is that the 3630 cannot react as rapidly to sudden level shifts.
Examples: Setting a longer attack time with guitar allows more of the pick attack to come through. A longer attack time with kick drum lets through more of the beater "thock." For recording, you may want to trade off response time for smoothness. When used to prevent loudspeaker or power amp clipping, a fast attack time is desirable.
- Release (50 ms to 3 seconds)
This control works only with the Peak/RMS switch (section 1.5) in Peak mode. RMS mode automatically adjusts the release time, depending on the characteristics of the signals being processed.
In peak mode, this control determines how long it takes for the limiter to return to unity gain after going into limiting. With short release times, the limiter tracks every little change in level, producing a potentially uneven or "rippling" effect that decreases dynamics but increases the average output level. Longer release times tend to "squash" the signal more, producing less overall output but retaining more of the signal's dynamics.
Excessive release times can be used as an effect. In the 60s using lots of limiting with long release time on drums was a popular recording technique.
- Output (-20 to +20 dB)
The process of reducing dynamics lowers the signal's overall level. Use this control to compensate by adding output gain.
Example: Limiting a signal by 6 dB will make the signal seem approximately 6 dB softer. Compensate by using this control to increase the level.
Pros:
The Alesis 3630 Rack mount compressor/limiter/gate is one of the most popular low-cost compressor units used in studios and on stage literally all over the world. This unit houses 2 independent units which you can use for any purpose. For example, in a live application, you could use one side for your electric guitar, and the other for a vocal compression. In the studio, you could use the Alesis 3630 to be the final stage of mixing your song. Another possibility would be to apply a "side-chain" to the compressor.
What that looks like is the side-chain goes out to an equalizer that is set to filter out the frequency range of "SSSssss." The Alesis 3630 takes the signal from the side-chain return, and processes it against the original. That is a classic de-esser! It is very convenient to have a de-esser when recording individual tracks in the studio, to create the very best vocal recordings you can. It is great to have a de-esser in a live situation, too in order to create an intelligible vocal presence. This makes the vocals easier to comprehend in a live application.
Cons:
These units have some characteristics of being noisy, with a barely noticeable hissing in the signal. It is increased in intensity depending on the source signal. The noise can be controlled, and is barely a problem. Because these units are inexpensive, they do not possess the sonic quality of the high dollar boutique units. I say, "Who cares, let's jam!"
Find A Deal on Alesis 3630
These units are a true value considering the price you can get them for. About a month ago, I literally paid $20 each for two fully functional units! It was through a really cool guy who had absolutely no use for them, and was simply looking for a way to move them out of his storage unit! Now I have 4 individual mono compressors, or two stereo compressors! All for fourty bucks! Now that's a great deal!
These units typically sell for around $50 used on eBay. The overall price varies depending on condition and shipping.
Power Cord Mod
I’ve owned a total of four Alesis 3630 units, and did a mod on one of the units before I re-sold it. It turns out that the power cord wasn’t included with the eBay auction, so I rummaged around in my box of wall-warts and found one of the correct power value, but with the wrong plug. No biggie…
The power cord mod consisted of simply soldering the power cable inside the unit. I cut the plug off, stripped and tinned the wire and simply soldered the positive wire to the positive terminal and the negative wire to the negative terminal and had a fully functional Alesis 3630 in about 15 minutes. Part of the time was waiting for the solder iron to heat up! I was careful to tape the cable, and provided strain releif inside the chassis to keep the cable from being accidentally pulled out.
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