Manual

175 PRO X User Manual
Compressor types and their input channel controls (control surface and GUI)
Item Control Function
1 ON switch
Enables the compressor in the signal path. When switched o, compressor is bypassed. (Both the comp and
gate switches can be on at the same time.)
2 listen LED
To aid set up, the compressor has a side chain listen that sends the side chain onto a solo bus.
The listen LED illuminates to warn you that soloed material is from the side chain, and not the main channel.
For information on the side chain, see “Side chain”.
3 threshold control knob Sets the signal level above which gain reduction starts to be applied. Range is from -50 dB to +25 dB.
4
comp/gate up and
down selectbuttons
Swaps dynamic section control from compressor to gate, and the reverse.
5
make up gain
control knob
Compensates for the reduced loudness of a compressed signal. Range is from 0dB to 24dB.
6 KNEE switch
Controls how compressor starts to apply gain as the signal goes through the threshold; see “Knee type”.
For a description of the options, see Table below. For more information, see “Knee” in Appendix A.
7
ratio/range/[ratio]
control knob
Adjusts amount of compression applied to signals above threshold. Range is from innity (∞) to 1:1.
When set to maximum (1:1), sets compressor to limiter mode.
8 attack control knob Adjusts time for compressor to respond after an over-threshold signal. Range is from 0.2 ms to 20 ms (milliseconds).
9 MODE switch
Selects compressor mode. There are four compressor types available: corrective, adaptive,
creative vintage and shimmer. See “PRO modes (dynamic)” in Appendix A for details.
10 release control knob
Adjusts time for compressor to recover after programme material falls back below threshold.
Range is from 0.05s to 3.00s (seconds).
11 Gain reduction meter Mimics the gain reduction meter at the top of the input channel’s fast strip (see “Input metering”).
12 Graph See “Compressor graph”.
13 Presence Boosts the upper mid-range frequencies to give added depth to voices and instruments with similar tonal ranges.
14 MOR
As a default (and even though they are dierent) all the compressor signatures have been designed to sound as pure and
natural as possible. To achieve this, many of the undesirable artifact that are commonplace amongst analogue compressors
have been eliminated; most notably the negative eects of soft knee and/or high signal amplitude. There are circumstances
when this correction process is not desirable and the MORE switch can be used as an override to get greater character from
the compressor signatures. This tends to accentuate the dierences between them and emphasizes transients as well as
increasing pumping and distortion. This can notably change the sound of the source as well as providing dynamic control.
Creative
Vintage
Corrective
Adaptive
8
3
7
5
10
14
9
6
11 12
5
1
2
4
9
8
7
6
10
3
D zone