11.0

582 EFFECTS MENU
The following options concern fine settings of the master section:
Limiter
Detection (feed forward <> feed back: Limiter switching is selectable without stages,
whether the signal envelopes are to be gained directly from the input signal (forward), or
whether they are drawn from existing amplitude process generated control voltage (feed
back). The latter approach often leads to a calmer, more balanced sound image and
weights transients higher than slower signal sections. The resulting threshold of the limiter
will be simultaneously rounded off a little more (soft-knee). This can lead in most cases to a
slightly reduced total volume. Generally it can be said that the sound image in "forward
mode" is a little more direct and gripping. Sometimes, however, the effects are quite subtile
and in some circumstances are only perceivable when levels are substantially reduced.
Attack time: Normally, a limiter should feature an extremely fast response time. In the case
of so-called "look ahead" circuits that work with delay in the signal path, the attack time
can be relatively long analog to the delay, thereby supplying the limiter with enough air to
work correctly. With a "zero-latency" design such as ours, on the other hand, it basically
has to be assumed that the limiter does not get any time at all to adjust. Theoretically, it
has to be infinitely fast.
am-munition trusts the cooperation of limiting and clipping. The clipper should block at the
output that which the limiter lets through lets though from the signal's engaging process.
Sometimes the attack time can be accordingly generous. Lower values of less than 5ms
are available if small level changes are to be smoothed out individually. Larger values, for
instance percussion, can be placed in the forefront of the total signal in contrast to
complete instruments or groups. With an adequately long attack time a snare, for example,
can maintain its punch in a complex signal and the complete sound can be kept loud and
compact, in spite of this. Conventional applications include harder rock or metal
productions (a clipper at the output is a better partner than a Brickwall limiter anyway, since
a limiter tends to swallow up important transients). The combination applied in am-
munition, on the other hand, is in the position to transform amplitude energy into spectral
energy.
Dual-band clip stage
Crossover frequency: This parameter defines the separation frequency at which the signal
separates into a bass or higher range.
Upper-band / lower-band saturation: When this controller is set to the minimum setting,
a hard clipping sound will take place as full overdrive is achieved. A high level of additional
overtones/harmonics occurs at the clipping boundary, and below this threshold the sound
image will remain completely neutral, nevertheless.
Larger values of this parameter lead to a softer clipping, or to a saturation of the signal.
Initially, this highlights only even-numbered harmonics substantially of the lower orders
(mainly so-called k3 harmonics). For example, a sine pattern of 1kHz is added to an
overtone of 3kHz and lower amplitude. At 100% saturation the overtone spectrum is quite
similar to that of analog reel-to-reel machines, if driven via saturation of the tape as with full
overdrive at the limit.
Output clip stage
Here the balance between hard clipping and softer saturation can be fine tuned.