Operation Manual

30 Control 2802 Operating Manual
Bus Compressor
RELEASE Time (Continued)
Use faster release times if you want to get the
compressor out of the way quickly, and produce
very obvious compression which can lead to “pumping”. For
your drum bus, try starting at 0.1 sec and then work backwards
until you get a suitable balanced effect.
Longer release times and Auto Release are good
for a vocal bus, piano or the main mix where you
want a more subtle effect.
Auto release alters the release time in a program-dependent
manner. It produces a smooth result, ideal for the main mix bus
or vocal subgroup.
Waveshaping with Fast Attack/Release
If the attack, or release time, is faster than one cycle of the
lowest frequency to be reproduced, then distortion will occur.
This is because the compressor alters the waveshape. You can
calculate this as follows:
One cycle, T (sec) = 1/f (Hz).
So, at 60Hz, one cycle takes approximately 17ms.
The following diagram illustrates typical waveshaping at 60Hz
when a relatively fast attack time is applied (10ms attack; 0.1s
release; ratio of 4:1):
Note that aside from some attack waveshaping, the bus
compressor is very clean!
GAIN Make-Up
This control adjusts the gain after compression, and is variable
from 0 to 20dB. It is very useful for restoring the output level,
which will have been reduced by active compression.
When using the bus compressor on the main mix,
set the GAIN make-up so that there is no change
in level when you press the compressor IN switch (1). You can
now easily compare the compressed and uncompressed mix.
DRY-WET Parallel Compression
This control “crossfades” between the uncompressed
and compressed signal, a technique known as parallel
compression:
● fully anticlockwise = 100% DRY (only uncompressed).
● fully clockwise = 100% WET (only compressed).
● 12 o’clock = 50% DRY + 50% WET (equally balanced).
This popular mix technique allegedly started in New York, and
is fantastic at preserving transient information while adding
body and punch.
Use parallel compression to add energy to your
mix!
You can use this technique with an outboard mix
compressor, by using the MIX INSERT parallel
SUM mode, as described on “Main Mix Bus” on page 26.
Parallel Compression Techniques
There are two useful approaches to parallel compression:
One is to set some gentle compression (low ratio), and turn
up the control to 100% WET. Then edge back to add a small
amount of DRY signal. This will add back some punch.
The other involves setting up a more aggressive compressor
(high ratio, faster attack), and then adjusting the control close
to 100% DRY. Then add a small amount of the WET signal to
add energy and dynamic colour to the mix: