44X32 DIGITAL MIXER Preliminary User Manual

7.2.4Home Screen: Dynamics Tab

The dynamics tab displays all aspects of the channel compressor and allows for very deep control of the effect. Whereas the top panel’s dedicated compressor section allows control of the threshold and in/out status, the compressor tab offers many more controls. This tab can also be accessed directly by pressing the “View” button in the top panel Dynamics section.

The dynamics tab contains the following parameters that can be adjusted using the six rotary-push encoders:

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1.Adjust the 1st encoder to set the input threshold of the compressor.

2.Tap the 1st encoder to toggle the compressor in/out of the signal path.

3.Adjust the 2nd encoder to set the ratio of the compressor.

4.Tap the 2nd encoder to switch the channel dynamics effect between compression and expansion.

5.Adjust the 3rd encoder to set the attack time of the compressor effect.

6.Tap the 3rd encoder to switch the compressor between Peak and RMS (root-mean-squared) mode, where the average level of the signal is evaluated more than any specific peak of the channel material.

•PEAK: A peak sensing compressor responds to the instantaneous level of the input signal. While providing tighter peak control, peak sensing might yield very quick changes in gain reduction, more evident compression, or sometimes even distortion. This mode is very suitable for control/limiting of dynamic material.

•RMS: In this mode, the compressor applies an averaging function on the input signal before its level is compared to the threshold. This allows

a more relaxed compression that also more closely relates to our perception of loudness. Sharp dynamic transients will be less affected in this mode. This mode is good for controlling levels in a mix.

7.Adjust the 4th encoder to adjust the “hold” time of the compressor.

•“Hold” time is a parameter not often found on commercial units, but is very handy. If a compressor is set to use a very fast attack/release time, audible distortion can occur, because the compressor is trying to work on individual waveform cycles of the signal instead of sound envelope as a whole. The “hold” parameter works around this issue by providing a short delay. This delay prevents the compressor from releasing until a certain time has passed.

8.Tap the 4th encoder to switch between Linear and Logarithmic modes for the compressor. Following are some brief definitions of these different modes:

•LOG: This mode is used in many well-respected compressors and is the natural result of more recent analogue units employing logarithmic side chains and resistor/capacitor time constants. The exponential/ dB law has some interesting characteristics. Firstly, the time taken to complete a compression event tends to stay the same however large the dynamic signal excursion is. Also, since the peak rate of gain change increases with dynamic excursion, the resulting harmonic content due to compression tends to follow the loudness of the program in a way the ear expects. This helps to mask the effects of the compression and thus provides the most forgiving solution, being tolerant to differing timing settings and program material. This makes it the best choice for general compression use and overall dynamic control of complex musical program.

•Linear: In this mode, the rate of gain change is constant (as set by the timing controls). Therefore, the greater the signal dynamic excursion, the longer the compressor will take to complete a gain change.

Also, since the total time that the compressor spends in attack or decay is proportional to the size of the gain excursion, the harmonic content of the compression artifacts will seem to reduce in frequency content. The louder the signal excursion is. This type of compressor is useful for generating dynamic sound effects because the sonic character of the compression is much more affected by time control settings and program material than the exponential type.

9.Adjust the 5th encoder to set the release time of the compressor.

10.Adjust the 6th encoder to set the makeup gain of the compressor,

useful when the compression effect has reduced the overall signal level of the channel too much.

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1.Encoders 1 and 2 function the same on pages 1 and 2.

2.Adjust the 3rd encoder to set the steepness of the compressor “knee” between five separate settings. Adjust this control to switch between a “harder” sounding or more transparent compression effect.

3.Tap the 3rd encoder to move the compressor effect before or after the equalizer in the channel signal path.

4.Adjust the 4th encoder to set the frequency of the key filter that can be used to trigger the compressor.

5.Tap the 4th encoder to toggle the key filter on/off, allowing a specific frequency to control the compressor.

6.Adjust the 5th encoder to set the steepness of the EQ slope used in the compressor.

7.Tap the 5th encoder to send the key source to the solo bus, allowing the key source to be monitored and evaluated.

8.Adjust the 6th encoder to select the specific key source to be used. Choices include “self” (the channel’s own signal) as well as any other input/output of the console.

9.Tap the 6th encoder to assign the selected key source to the compressor.