2013

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Compression Parameters
Vintage Mode
In this mode, you can intuitively (by ear) use the dynamic editing features with just
three knobs. Do whatever you want, but keep in mind: less is sometimes more...
• Drive: You can use the "drive" potentiometer to control the amplification factor in
the feedback loop, i.e. the signal strength which the detection circuit calculates.
Furthermore, the internal "ratio" changes within a limit, the more "drive" there is,
the higher the compression ratio.
• Attack and release: The same basic conditions as VCA mode apply here.
However, not only do you change the actual control response time after
detection, but the "temporal window" in the detector must be adjusted as well.
Additionally, the feedback arrangement method does cause a certain amount of
unpredictability. You should expect less control over the device in this mode, but
more leniency on its part.
VCA Mode
The regular set of parameters of dynamic compressors is available in this mode:
• Threshold: The threshold above which dynamic reduction begins.
• Check the threshold display if necessary (thr): If the input signal reaches the set
threshold, the blue dash will move around the arrow symbols. If this dash moves
upwards, the threshold is below the average level and compression is active.
Inversely, if the dash moves below the marking, the input signal becomes too
quiet to be able to reach the threshold; compression will be applied.
• Ratio: This ratio (1:n) specifies by which factor the signal should be reduced once
the threshold has been reached. For example, if the threshold is set to -20 dB and
the ratio to 1:4, an input signal of -10 dB will only be amplified by 2.5 dB (10 dB : 4
= 2.5 dB).
• Attack: This is the response time, e.g. how long the arrangement takes to execute
the required level reduction. Short attack times intercept level peaks, and longer
ones let them through unimpeded (compression only starts past this value).
• Release: This is the time allocated to the circuit to reach the normal amplification
factor.
Note on attack & release: In general, short attacks are used for moderate
compression and making the transient response softer; longer times retain the "bite"
of a specific instrument at larger compression rates or make the sound a bit
snappier. With more difficult sources, like a very dynamic vocal track (ballads), for
example, you can use a longer attack so that the arrangement runs more smoothly
and quietly; the release time may be trimmed audibly to match the pauses or the
song speed.