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EFFECTS MENU 557
about complex compression of the signal, which doesn't sound much like dynamic
compression due to the transients that slip through and release at high "drive" levels.
The stated release of the signal, technically known as a ratio reduction, is also brought
about by the centerpiece of the circuitry: the FET. Level reduction works wholly as a
function of its characteristic curve as a result of the non-linear behavior of this element. The
FET virtually comprises part of the input resistance of the compressor circuit. As a result,
the input/output response curve does not create a plateau when "drive" is high, which
would be the case with a reference line with a high ratio or even limiting. A saturated FET
can no longer complete the job it was marked out to do, i.e. to keep its output at low Ohm
values. Once again, signal peaks will pass through the entire circuit undamaged, but the
average level can be compressed strongly. From a technical point of view, the control
process appears incomplete, but sounds pleasantly open and airy depending on its
application.
The entire detection is dependent on the spectral balance in the virtual am-track circuit, the
highs are automatically less strongly compressed, so that even extreme settings sound less
flat and more lively.
It's the same story with deep basses. On closer listening you'll find that with strong
compression, the signal still retains its power, which would otherwise get lost if the
envelope were to follow shortly afterwards.
"Vintage" mode has another feature to offer: At the output of the compressor in the signal
flow an emulation of a transformer-coupled matching-level amplifier can be found. This
contributes to some, if subtle, non-linear distortions at high levels, but is very much
frequency-dependent.
Compression Parameters
VCA mode
The regular set of parameters of dynamic compressors is available in this mode:
• Threshold: the threshold above which dynamic reduction starts working.
• 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 does not happen.
• Ratio: This is a ratio (1:n) which specifies by which factor the signal should be reduced
once the threshold has been reached. For example, if the threshold is set to -20dB and
the ratio to 1:4, an input signal of -10dB will only be amplified by 2.5dB (10dB : 4 =
2.5dB).
• Attack: This is the response time, that is, how long the arrangement takes to execute
the required level reduction. Short attack times intercept level peaks, longer ones let
them through unimpeded (compression only starts after this).
• 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 can be provided to keep the 'bite'
of a specific instrument at larger compression rates or to make the sound a bit snappier.