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BSS DPR 522 OPAL

23-Apr-2014

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BSS DPR 522 OPAL



Category:  Products / fx units / audio gate

Added: 15-Mar-02  |  Author: admin

New price: discontinued  |   S/H price: Not listed

BSS DPR 522 OPAL

The DPR-522 Dual Gate has a comprehensive array of creative functions, taking its applications far beyond conventional units. Several major features make setting up the DPR-522 much faster and easier than conventional gates.

Using a parametric key filter means fast and precise tuning of the trigger signal. Quick adjustment by ear, using the KEY LISTEN switch, eliminates hair-trigger threshold settings with ease, and offers considerable scope for special effects.

The CHECK key provides a simple yet highly practical function that will be quickly appreciated in a busy session. It helps the engineer by instantly forcing the gate open, ideal for system line checks. A contact closure input means that this function may also be activated remotely, along with other facilities such as gate status tallies and enable commands. These functions are accessible through a rear panel connector.

The ATTACK, HOLD and RELEASE circuits are equipped with positive (and easily repeatable) controls, a design which minimises the waveform distortion that can be heard in gated signals. Alongside the expected frequency-sensitive gating and ducking functions, further possibilities are open to the engineer from more front panel controls and indicators. For example, advanced metering gives the engineer a clear visual status of the gate, with a signal meter that shows the key signal strength relative to the pre-set threshold, and simultaneously a 2-led GATE OPEN/SHUT indicator. This combines with the ADE (Auto Dynamic Enhancement) enhancing the transient leading edge portion of the signal, with two settings providing the option of bold or subtle emphasis. Conventional gates may lose this information as the gate triggers.

The STEREO LINK facility acts in the same way as that on the DPR-422.

What the DPR-522 can do:
  • In live sound mixing, highlight instruments such as lead and bass guitar whilst keeping amplifier noise down during quiet passages and breaks.
  • 'Clean up' multi-miked drums or percussion set-ups, eliminating spill from backline and monitors on stage, as well as from adjacent percussion instruments.
  • Eliminate uncontrolled room reverberations when recording multiple close-mic configurations, allowing the engineer to mix this in accurately from dedicated ambience mics.
  • Eliminate tape noise when mixing from multitrack, or to cut out noise from digital samplers and keyboards. Stereo linking ensures accurate gating without image shift.
  • Produce special effects such as gated reverb or modulation of a synth track by the hi-hat to give accurately synchronised 16th chords, for example.
  • On multiple mono or stereo clean-feed/mix-minus lines in broadcasting, helps cut down background noise when commentators/journalists stop speaking.














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