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Manual-8

COMPressor THRESHOLD, RATIO and GAIN

-20

-10

-40

-30

+20

+10

dBudBn:1

1.55-6 +6

1 +12-12

RATIOGAIN

COMP THRESHOLD

-40 +20-35-30 -25-20 -15-10 -5 0+5+10 +15

Input dBu

-40

+20

-35

-30

-25

-20

-15

-10

-5

+10

+15

Threshold

Ratio

1:1

10:1

e threshold, like crossing through a doorway, is the beginning

point of gain adjustment. When the input signal is below the

threshold, a compressor acts like a straight wire. Above threh-

sold, the side-chain asserts itself and turns the volume down.

In Compressor mode, COMP THRESHOLD denes the

absolute level, adjustable from –40 dBu to +20 dBu, above which

compression begins. If soft-knee settings are used, the threshold

is dened as the point at the center of the knee. (See the KNEE

description for more details).

In Dynamic EQ mode, this control denes the relative dif-

ference between the broadband program material and the band-

pass signal dened by the PEQ. e  pointer between –10 dBu

and –20 dBu shows the typical setting for De-essing.

RATIO denes the ratio of Input change to Output change,

and is adjustable from 1:1 (straight wire, no change) to 10:1

(heavy compression), as shown in Figure 14. For example, a

Ratio of 4:1 means that a 4 dB change at the input causes only a

1 dB change at the output.

e  pointer at 10:1 shows the typical setting for De-

essing.

Figure 14. Input versus Output for various Ratio settings (hard knee)

Once you reduce the dynamic range using compression, you

can increase or decrease the overall loudness by adjusting the

GAIN. is control features a center-detent marking the unity

gain point, with a range of +12 dB or -12 dB on either side.

ATTACK, RELEASE and KNEE

ATTACK determines how fast the gain is turned down once the

signal exceeds reshold, and is adjustable from 25 ms (fast) to

500 ms (slow). e  pointer at 25 ms shows the typical setting

for De-essing.

RELEASE determines the rate of gain increase as less gain

reduction is required, and is adjustable from 25 ms (fast) to

2 seconds (slow). It is important to understand the dierence

between release rate – as determined by this control – and release

time. e Release setting determines how long it takes for the

gain to change by 10 dB, not how long it takes to return to unity

gain (no gain reduction).

Example: with the Release control set to 1 s, when a signal

with 5 dB of gain reduction presently applied suddenly drops

below threshold, the release time is 0.5 s, calculated as follows:

Gain Reduction x

Release

= 5 dB x

1 s

= 0.5 s

10 dB 10 dB

Auto Attack and Release

Unsure about how to set the Attack and Release controls? Venue

doors opening in 15 minutes and you need to speed through

sound check? No problem! Simply rotate the Release control

fully clockwise until Auto is lit, indicating the Attack and Re-

lease settings are appropriately xed for most types of program

material. e C4’s not entirely on auto pilot, though – you still

have full control over the reshold, Ratio, Gain, and Knee set-

tings.

We are the Knights of KNEE

KNEE controls the action of the compressor above and below

the threshold point. Hard knee does nothing until the signal

exceeds the threshold point, then applies full compression. Soft

knee begins applying a small amount of compression just before

the threshold point is reached, continues increasing compres-

sion through the threshold point and beyond, nally applying

full compression to the highest level signals. Depending on the

application and source material, soft knee settings can sound

more natural. On the other hand for maximum loudness before

compression (for equipment protection for instance), use hard

knee settings.

Knee span is adjustable from 0 dB (Hard) to 10 dB (Soft),

with the reshold always being at the center of this span. e

 pointer at the Hard Knee setting shows the typical setting for

De-essing.

msms

500

100

50 250

500

125 1 s

2 s50

RELEASEATTACK KNEE

Auto

SoftHard

1 2 ... 6 7 8 9 10 11 12 13 14 15

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