AEA 1029 (01) PDF Document

Along with your AEA 1029 compressor, you should find:

• This Manual

• 5-Pin XLR Switching Power Supply

• IEC Cable

• Rubber Bumpers (for desktop use)

• 1 x 8/32 3/8″ Screw (for mounting in a universal rack tray)

The front panel of the AEA 1029 features the following controls:

1) Peak/RMS Switch: Switches between a peak detector and an average detector with three different time constant settings:

• Peak Fast: 4ms Attack, 17ms Release

• RMS: 12ms Attack, 50ms Release

• Peak Slow: 4ms Attack, 200ms Release

2) Threshold: Sets the dBu input level at which the audio begins to compress. Turning the knob clockwise results in more compression.

3) Threshold indicator: This LED illuminates when the input signal to the sidechain goes above the threshold. Note that the LED will illuminate whether or not compression is actually occurring. The gain reduction meters show if compression is happening.

4) Ratio: Controls the ratio at which audio above the threshold is compressed. It is variable from 1:1 to limiting.

5) Makeup Gain: Adds gain only to the wet signal, post-compression. This is variable from 0 dB to 20 dB.

6) Dry/Wet Blend Control: Blends the wet (compressed + makeup gain) signal and the dry (uncompressed) signal together. Counter-clockwise is fully dry, and clockwise is fully wet (more compression).

7) Compressor In Switch: Pressing the ‘Compressor In’ button switches the compressor into the audio circuit. When the switch is out or the unit is off, high-quality relays connect the input XLRs to the output XLRs in bypass mode.

8) Metering Section: This section includes three sets of meters:

• GR: The gain reduction meter illuminates from right to left to show the amount of reduction in the wet signal level.

• IN: These meters show the summed input signals, from left to right. The CLIP LED illuminates at +22 dBu, which is 4 dB before actual clipping.

• OUT: These meters show the summed output signals, from left to right. The CLIP LED illuminates at +22dBu, 4dB before actual clipping.

9) Power switch: The red power switch turns the unit on. The LED above the power switch indicates that the unit is on.

To maintain the best performance from your new AEA 1029 compressor, take note of these two requirements:

1) Never place the compressor in close proximity to electromagnetic fields or hot surfaces. Electromagnetic fields created by power transformers, motors, or RF transmitters can potentially damage or interfere with the compressor’s functionality. Make sure to keep your unit away from these sources in addition to hot surfaces.

2) Before turning on the power, all connections to the 1029 should be made. Be sure to examine your signal chain before powering up the 1029 to ensure sudden loud noises are not emitted, which could damage your system or hearing.

The rear panel of the AEA 1029 has one Neutrik 3-pin XLR input per channel. Line-level input connections are made via female XLR connectors with Pin-2 + or high, Pin-3 – or low, and Pin-1 ground.

The output emulates a transformer-coupled output and can be used as either a balanced or unbalanced signal.

• When balanced, the maximum output level before clipping is +26 dBu.

• When unbalanced, the maximum level before clipping is +22 dBu.

These levels are measured into a 600 Ohm load; the recommended load is > 10K Ohms.

When unbalancing the XLR Output, pin-3 must be tied to ground at the receiving end (i.e., the input of the following device). Do not tie pin-3 to ground directly at the output of the 1029.

The AEA 1029 can be used as a stereo unit for compressing signals from:

• Stereo microphones (like the AEA R88 or N28)

• Stereo pairs of microphones (like the N8 stereo pair)

• Mono microphones (by leaving one channel unused)

• Stereo buses

A good place to begin is with the Threshold, Ratio, and Makeup Gain knobs turned counter-clockwise and the Dry/Wet knob turned clockwise.

1. First, note that the 1029 is normally in bypass mode, so if the unit is turned off, you will get a pure dry signal through the unit. Ensure the unit is turned on before you begin turning knobs and making judgments.

2. As audio is traveling through your unit, increase the Threshold to the point where the Threshold LED is illuminating. For mild compression, set the Threshold so the LED illuminates just at the louder dynamic portions of the song. For more intense compression, turn the Threshold even more.

3. Next, set the Ratio to the desired level, using the Gain Reduction meters on the right to see how much compression is being applied.

4. Then set the Makeup Gain to a level where the Output level matches the Input. This ensures you’re adding compression to the mix and not compression plus gain.

5. Optionally, you can turn the Dry/Wet knob counter-clockwise for parallel compression, which can add more naturalness to the recording.

6. Finally, go back to the left-hand side and switch between the 3 different time constant settings: ‘Peak Fast’ for fast attack and fast release, ‘RMS’ for an “averaging” mode, and ‘Peak Slow’ for fast attack and slower release.

You can bypass the compressor as needed using the ‘Compressor In’ button under the AEA logo.