Yamaha 01v Processor Types

Processor Types 167
01V—Owner’s Manual
Processor Types
Dynamics processors are generally used to correct or control signal levels, although
they can also be used creatively to shape a sound’s volume envelope. The follo wing sec-
tions explain the COMP, GATE, DUCKING, EXPAND, COMPANDER-(H), and
COMPANDER-(S) dynamics processors, their parameters, and general applications.
COMP
The COMP processor is a compressor that
attenuates signals above a specified threshold,
providing automatic level control. Vocalists
that tend to move toward and away from the
microphone while singing produce fluctuat-
ing signal levels; sometimes loud, sometimes
soft. Likewise, acoustic instruments with a
large dynamic range produce sound levels
from pianissimo (very soft) through to fortis-
simo (very loud). In these situations, it is
often difficult to set an average fader level that
will allow a voice or instrument to be heard
clearly throughout a song or piece of music.
This is where the compressor comes in with
automatic level control. By automatically reducing high levels, thus effectiv ely reducing
the dynamic range, the compressor makes it much easier to control signals and set
appropriate fader levels. Reducing the dynamic range also means that recording levels
can be set higher, therefore improving signal-to-noise performance.
The COMP processor can also be used as a
limiter, which is essentially a compressor with
a high ratio setting. Compression ratios
above 10:1 are considered to limit signals
rather than compress them. When an input
signal exceeds the specified threshold level, its
level is automatically reduced to the thresh-
old level. This means that the limiter’s output
level never actually exceeds the threshold
level. Limiters are often used to prevent sig-
nals from overloading amplifiers and tape
recorders. A limiter with a relatively high
threshold, for example, could be used with
the stereo outputs to prevent amplifier and
speaker overload.
Parameter Range
THRESHOLD –54 dB to 0 dB (55 steps)
OUT GAIN 0.0 dB to +18.0 dB (0.5 dB steps)
KNEE hard, 1, 2, 3, 4, 5
ATTACK 0–120 ms (1 ms steps)
RELEASE 5 ms–42.3 s (fs = 48 kHz)
6 ms–46 s (fs = 44.1 kHz)
RATIO 1:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2:1, 2.5:1, 3:1, 3.5:1, 4:1, 5:1, 6:1, 8:1,
10:1, 20:1, ∞:1 (16 steps)
–70
–60
–50
–40
–30
–20
–10
0
+10
+20
–70 –60 –50 –40 –30 –20 –10 0 +10 +20
Input Level (dB)
Output Level (dB)
Knee = hard
Threshold = –20dB
Compression ratio = 2:1
–70
–60
–50
–40
–30
–20
–10
0
+10
+20
–70 –60 –50 –40 –30 –20 –10 0 +10 +20
Input Level (dB)
Output Level (dB)
Knee = hard
Threshold = –20dB
Compression ratio = 20:1