Manual

LOW TYPE
BELL
HIGH TYPE
CUT
LOW MID Q
1.9
HIGH MID Q
1.8
LOW MID FREQ
0.41 kHz
HIGH MID FREQ
3.6 kHz
LOW MID GAIN
-14 dB
HIGH MID GAIN
14.6 dB
HIGH FREQUENCY
16.0 kHz
HIGH GAIN
0.0 dB
LOW FREQ
200 Hz
LOW GAIN
15.8 dB
ATTACK
0.02 ms
RATI O
4.0
PARALLEL
12 %
RELEASE
358 ms
THRESHOLD
-28 dB
SIDECHAIN
FILT E RS
HIGH CUT
OFF
LOW CUT
135 Hz
INPUT GAIN
14.0 dB
FILT E RS TO
COMPRESSOR
PHASE INVERT
DRIVE
DYN. SHAPE →
EQUALIZER →
COMPRESSOR
7. 8
CHARACTER
-5.0
VOLUME
-10.8 dB
PANL R
0
SOLO MUTE
GATE RELEASE
0.6 s
GATE
-35 dB
GATE HARD
SUSTA I N
-9.0 dB
PUNCH
12.3 dB
20
15
-15
-6
0
6
50 100 200 500 1k 2k 5k 10k 20k
-20 -6
0 6 20 dB
-20 10
6 3 0 dB
Vocals (16)
Input Dynamic Shape Equalizer
Compressor
Output
Drums OH
2
BD
1
Clave
3
Tamb
4
Claps 1
5
Claps 2
6
Claps 3
7
―
8
Bass
9
―
10
Piano
11
Piano Solo
12
―
13
Guitar
14
Rhythm
guitar
15
Vocals
16
Vox
Backing
17
Reverb
M
18
Ambiance
19
Master
20
+6
0
-6
-12
-24
-60
+6
0
-6
-12
-24
-60

CONSOLE 1
Compressor section on the
On-Screen Display.
exceeded the threshold
at its original level before
the compressor reacts and
turns down the output.
Release
e Release setting de-
termines how quickly the
compressor will return
to its normal gain after
having reduced it. A fast
release may give a more
obviously compressed
sound, while a slow
release may sound more
natural, and not be as
clearly perceived as being
compressed.
Parallel Dry/Wet
Parallel Dry/Wet lets
you blend the compressed
and uncompressed signal
with a single knob. When this is turned fully coun-
terclockwise (which is the default state), you only
hear the compressed signal. By turning it clockwise,
you gradually mix in the uncompressed sound. e
percentage expressed in the On-Screen Display
indicates the portion of uncompressed sound. One
common use of the Parallel Dry/Wet function is to
compress the sound heavily with a fast attack, and
then blend in some of the original (uncompressed)
signal. When set carefully, this may yield a nice
balance between a sound that has a nice presence in
the mix, but still sounds alive and dynamic.
Filtering the Compressor Sidechain
As mentioned in “Filters to Compressor” on page
27, you can route the High and Low Cut lters
to the compressor’s sidechain instead of applying
them directly on the signal (by turning on Filters
to Compressor). is is useful in a number of cases.
It is for example a common trick to cut low end
frequencies out of the compressor’s sidechain signal.
Low frequencies often have a lot of energy and can
cause the compressor to react stronger than one
might nd pleasing.
Bass Drum Compressor Filtering
For example, a bass drum can cause a compressor
across the drum bus to make the cymbals ”duck”
with every bass drum
hit. Applying Low
Cut to the compressor
sidechain would make
the compressor ”deaf ”
to the lower frequen-
cies of the kick drum,
and it would conse-
quently not respond as
strongly to them.
De-essing Example
You can also use both
High and Low Cut
lters across the com-
pressor sidechain to
create a tight frequen-
cy window, which will
be all the compres-
sor responds to. Most de-essers work this way, by
narrowing down the frequency of the compressor’s
sidechain so it only detects and responds to the s-
sounds. is could also work to reduce hi-hat bleed
in a snare drum microphone. When this setting is
active, the LED next to the Filters to Compressor
button will light up, and it will also be indicated in
the On-Screen Display.
LOW TYPE
BELL
HIGH TYPE
CUT
LOW MID Q
1.9
HIGH MID Q
1.8
LOW MID FREQ
0.41 kHz
HIGH MID FREQ
3.6 kHz
LOW MID GAIN
-14 dB
HIGH MID GAIN
14.6 dB
HIGH FREQUENCY
16.0 kHz
HIGH GAIN
0.0 dB
LOW FREQ
200 Hz
LOW GAIN
15.8 dB
ATTACK
0.02 ms
RATIO
4.0
PARALLEL
12 %
RELEASE
358 ms
THRESHOLD
-28 dB
SIDECHAIN
FILTER S
HIGH CUT
OFF
LOW CUT
135 Hz
INPUT GAIN
14.0 dB
FILTER S TO
COMPRESSOR
PHASE INVERT
DRIVE
7. 8
CHARACTER
-5.0
VOLUME
-10.8 dB
PAN BALANCE
0
SOLO MUTE
GATE RELEASE
0.6 s
GATE
-35 dB
GATE HARD
SUSTAIN
-9.0 dB
PUNCH
12.3 dB
20
15
-15
-6
0
6
50 100 200 500 1k 2k 5k 10k 20k
-20 -10
0 10 20 dB
-20 10
6 3 0 dB
Vocals (16)
Input Dynamic Shape Equalizer Compressor Output
SIGNAL CHAIN: SHAPE → COMPRESSOR → EQ
Drums OH
2
BD
1
Clave
3
Tamb
4
Claps 1
5
Claps 2
6
Claps 3
7
―
8
Bass
9
―
10
Piano
11
Piano Solo
12
―
13
Guitar
14
―
15
Vocals
16
―
17
Reverb
18
Ambiance
19
Master
20
+6
0
-6
-12
-24
-60
+6
0
-6
-12
-24
-60
Activating Filters to
Compressor lights up the
Sidechain Filters indicator in the
Compressor section (top) and the
Filters to Compressor indicator
in the Input section (bottom).
LOW TYPE
BELL
HIGH TYPE
CUT
LOW MID Q
1.9
HIGH MID Q
1.8
LOW MID FREQ
0.41 kHz
HIGH MID FREQ
3.6 kHz
LOW MID GAIN
-14 dB
HIGH MID GAIN
14.6 dB
HIGH FREQUENCY
16.0 kHz
HIGH GAIN
0.0 dB
LOW FREQ
200 Hz
LOW GAIN
15.8 dB
ATTACK
0.02 ms
RATIO
4.0
PARALLEL
12 %
RELEASE
358 ms
THRESHOLD
-28 dB
SIDECHAIN
FILT ER S
HIGH CUT
OFF
LOW CUT
135 Hz
INPUT GAIN
14.0 dB
FILT ER S TO
COMPRESSOR
PHASE INVERT
DRIVE
7. 8
CHARACTER
-5.0
VOLUME
-10.8 dB
PAN BALANCE
0
SOLO MUTE
GATE RELEASE
0.6 s
GATE
-35 dB
GATE HARD
SUSTAIN
-9.0 dB
PUNCH
12.3 dB
20
15
-15
-6
0
6
50 100 200 500 1k 2k 5k 10k 20k
-20 -10
0 10 20 dB
-20 10
6 3 0 dB
Vocals (16)
Input Dynamic Shape Equalizer Compressor Output
SIGNAL CHAIN: SHAPE → COMPRESSOR → EQ
Drums OH
2
BD
1
Clave
3
Tam b
4
Claps 1
5
Claps 2
6
Claps 3
7
―
8
Bass
9
―
10
Piano
11
Piano Solo
12
―
13
Guitar
14
―
15
Vocals
16
―
17
Reverb
18
Ambiance
19
Master
20
+6
0
-6
-12
-24
-60
+6
0
-6
-12
-24
-60