To set up the Compressor quickly use the Presets A, B, or C. In these modes the Attack,
Release, and Shape controls are not operational. Leave the Pk Threshold in the off
position. With Pk Threshold left in off position, the only decision regarding the Preset
Switch is whether or not to use Program Dependent Release (PDR). PDR is the left half of
the Preset Switch, non-PDR is the right half. (See Preset Switch layout, page 5)
PDR can be thought of as Auto Release. The Threshold control governs the amount of gain
reduction.
A was designed for Vocal sound.
B was designed for Bass or to make the attack of a
sound "Punch".
C was designed for Program Averaging or Volume
Control.
Deciding whether or not to use PDR is easy. Do you want to bring up the "soft"
sounds between words or notes when compressing a voice-like sound leg. mouth noise, finger
noises on an acoustic guitar)? There are times you will want to bring out these sounds;
there are times when you won't. Using PDR these sounds will remain quiet in volume
(depending on release time). When not using PDR ,the in-between sounds will be increased
in volume by a greater amount.
PDR is very useful in level or volume control applications. PDR also creates a
"softer' sound. It is best to experiment. Some applications work better with PDR,
others are better without. The bottom line with PDR is to use your ears to determine what
you like.
If you desire a "warmer" sound, try the KI position of the Mode Switch. The
amount of effect depends somewhat on the Attack time and mostly on the Release time.
Faster settings result in more effect. The KI position is especially useful on voice,
bass, horns, and program. KI warms the sound by adding second harmonic and gives a sound
option that is unavailable in any other compressor-limiter. KI is most effective in
Presets A, B and Variable Mode. It is less effective in the C Preset.
In the Variable Setting the Attack, Release, and Shape controls are active. They are
not active in the A, B, or C Preset Settings.
The shape control changes the gain reduction curve. The higher the setting, the more
aggressive the compressor becomes, the higher the ratios become (see graphs 1 & 2 on
page 7). If you think of the GR curve as the knee shape, you can think of the shape
control as a way to change the shape of the knee.
Table A below shows the relationship between the A, B, and C Presets and the Variable
settings. This is useful information when starting with a preset and then wanting to fine
tune for a particular sound.
*NOTE It is important to note that the Gain Reduction curve , as determined by the shape
control, modifies the attack and release times.