Elysia alpha compressor Manuel d'utilisateur Page 20
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- MARQUE LIVRES
Noté. / 5. Basé sur avis des utilisateurs
20
18
1,5
3,0
5,0
12
16
20
1,0
2,0
4,0
6,0
8,5
9,5
11
14
7,5
1,0
1,5
2,0
16
18
20
3,0
4,0
5,0
6,0
7,5
8,5
9,5
11
12
14
Soft Clip
Gain Reduction
M/S Mode
Active Channel Link
Mix
Dir
10
%
20
30
60
70
80
90
Com
100
50
Gain
0
0,5
dB
1,5
2,0
4,5
6,0
8,0
10
12
11
3,5
EQ Freq
Hz
20
22
30
40
140 170
500
220
300
2k0
1k0
SC Gain
dB
LP
-12
-5
-2
-1
-0,3 -0,3
-2
-5
-12
HP
SC Freq
Hz
30
40
50
80
280 340
430
2k0
3k3
EQ Gain
Lo
2,7
2,2
1,6
1,0
0,3
1,6
2,2
2,7
Hi
dB
0,3
Auto Fast
Feed Forward
On
Auto Fast
x10
On
Transformer
Direct
Compressed
On
Thresh
+20
+18
dB
+15
+11
0
-3
-6
-9
-13
-12
+4
Attack
0,01
2,0
ms
7,0
13
28
50
70
110
150
130
24
Release
60
75
ms
100
150
430
570
800
1k1
1k8
1k5
300
Ratio
1,1
1,2
1:X
1,3
1,4
1,7
1,8
1,9
2,1
2,4
2,2
1,6
Soft Clip
25
24
dB
21
19
14
11
8,0
5,5
3,0
16
4,0
Mix
Dir
10
%
20
30
60
70
80
90
Com
100
50
Gain
0
0,5
dB
1,5
2,0
4,5
6,0
8,0
10
12
11
3,5
EQ Freq
Hz
20
22
30
40
140 170
500
220
300
2k0
1k0
SC Gain
dB
LP
-12
-5
-2
-1
-0,3 -0,3
-2
-5
-12
HP
EQ Gain
Lo
2,7
1,0
0,3
1,6
2,2
2,7
Hi
dB
0,3
Auto Fast
Feed Forward
On
Auto Fast
x10
On
Transformer
Direct
Compressed
On
Thresh
+20
+18
dB
+15
+11
0
-3
-6
-9
-13
-12
+4
Attack
0,01
2,0
ms
7,0
13
28
50
70
110
150
130
24
Release
60
75
ms
100
150
430
570
800
1k1
1k8
1k5
300
Ratio
1,1
1,2
1:X
1,3
1,4
1,7
1,8
1,9
2,1
2,4
2,2
1,6
Soft Clip
25
24
dB
21
19
14
11
8,0
5,5
3,0
16
4,0
SC Freq
Hz
30
40
50
80
280 340
430
2k0
3k3
500
800
18
1,5
3,0
5,0
12
16
20
1,0
2,0
4,0
6,0
8,5
9,5
11
14
7,5
1,0
1,5
2,0
16
18
20
3,0
4,0
5,0
6,0
7,5
8,5
9,5
11
12
14
Soft Clip
Gain Reduction
M/S Mode Active Channel Link
Mix
Dir
10
%
20
30
60
70
80
90
Com
100
50
Gain
0
0,5
dB
1,5
2,0
4,5
6,0
8,0
10
12
11
3,5
EQ Freq
Hz
20
22
30
40
140 170
500
220
300
2k0
1k0
SC Gain
dB
LP
-12
-5
-2
-1
-0,3 -0,3
-2
-5
-12
HP
SC Freq
Hz
30
40
50
80
280 340
430
2k0
3k3
EQ Gain
Lo
2,7
2,2
1,6
1,0
0,3
1,6
2,2
2,7
Hi
dB
0,3
Auto Fast
Feed Forward
On
Auto Fast
x10
On
Transformer
Direct
Compressed
On
Thresh
+20
+18
dB
+15
+11
0
-3
-6
-9
-13
-12
+4
Attack
0,01
2,0
ms
7,0
13
28
50
70
110
150
130
24
Release
60
75
ms
100
150
430
570
800
1k1
1k8
1k5
300
Ratio
1,1
1,2
1:X
1,3
1,4
1,7
1,8
1,9
2,1
2,4
2,2
1,6
Soft Clip
25
24
dB
21
19
14
11
8,0
5,5
3,0
16
4,0
Mix
Dir
10
%
20
30
60
70
80
90
Com
100
50
Gain
0
0,5
dB
1,5
2,0
4,5
6,0
8,0
10
12
11
3,5
EQ Freq
Hz
20
22
30
40
140 170
500
220
300
2k0
1k0
SC Gain
dB
LP
-12
-5
-2
-1
-0,3 -0,3
-2
-5
-12
HP
EQ Gain
Lo
2,7
1,0
0,3
1,6
2,2
2,7
Hi
dB
0,3
Auto Fast
Feed Forward
On
Auto Fast
x10
On
Transformer
Direct
Compressed
On
Thresh
+20
+18
dB
+15
+11
0
-3
-6
-9
-13
-12
+4
Attack
0,01
2,0
ms
7,0
13
28
50
70
110
150
130
24
Release
60
75
ms
100
150
430
570
800
1k1
1k8
1k5
300
Ratio
1,1
1,2
1:X
1,3
1,4
1,7
1,8
1,9
2,1
2,4
2,2
1,6
Soft Clip
25
24
dB
21
19
14
11
8,0
5,5
3,0
16
4,0
SC Freq
Hz
30
40
50
80
280 340
430
2k0
3k3
500
800
SCENARIOS – Stereo Linked & M/S Linked
Stereo Linked
This setting is especially useful for tracks in which the instruments are not placed straight in the
middle of the stereo spectrum – when a recording has been made by using classic stereo miking
like in Jazz, for example. In order to come up to such styles of music, one should make sure to cre-
ate an unobtrusive and smooth kind of compression. This can be achieved by setting a long attack
time and a ratio value in the lower control range, at which only a very few dB of gain reduction
are required. If necessary, you can use the mix controllers to apply the eect of the compressor
in even ner doses (both direct and compressed buttons have to be activated for this). Moreover,
you can kick in the audio lters to make additional sonic corrections. Note: Look after setting the
mix, gain and lter controllers at the same values when working in stereo mode. The link function
only aects the control mode of the actual compressor section. Of course the linked stereo mode
can also be used for many other styles of music, but then you will often be able to achieve even
better results in M/S mode.
M/S Linked
The function of the compressor in linked M/S mode is quite similar to its function in linked stereo
mode, and the resulting gain reduction in the middle and the side channel is exactly the same.
An attack time of 30-40 ms ensures that transients from percussion instruments are hardly com-
pressed, while the release time of 250 ms lets the compressor decrease its gain reduction fast
enough. Variations of the release time are especially eective in controlling the amount of loud-
ness. Here, activating the Auto Fast function should be preferred to setting a very fast release time.
The generated gain reduction is primarily aected by matching the threshold and ratio param-
eters. A ratio of 1:1.7 has often proved to be a good start. But what is the essential advantage of
the linked M/S mode compared to the linked stereo mode? The levels of M and S can be set dier-
ently, which makes it very easy to perform changes of the stereo width (Mix too narrow? More gain
to the side channel. Not enough punch? Add gain to the middle). Furthermore, a left/right drift
caused by possible unequal settings of the gain controllers is impossible in this mode.
SCENARIOS
- Dear friend of audio culture 4
- BASICS – Controls 6
- BASICS – Connnectors 8
- BASICS – Getting Started 9
- M/S Mode Active Channel Link 10
- BASICS – Link Mode 11
- BASICS – Stereo Compression 12
- BASICS – Auto Fast 13
- Feed Forward 14
- Transformer 14
- BASICS – M/S Matrix 15
- BASICS – Sidechain Filter 16
- BASICS – Audio Filter 17
- BASICS – Mix Controller 18
- BASICS – Soft Clip Limiter 19
- Stereo Linked 20
- M/S Linked 20
- SCENARIOS 20
- M/S Unlinked 21
- Upward Leveling 21
- M/S Leveling 22
- Groove Compression 22
- Vocal Down 23
- DeEssing 23
- Parallel Compression 24
- Stereo Enhancer 24
- LoFi Compression 25
- Extreme Settings 25
- Threshold Oset 26
- Threshold 26
- REFERENCE 26
- Auto Fast Attack 27
- Auto Fast Release 28
- Ratio Feedback 29
- Ratio Feed Forward 29
- EQ Gain Low 30
- EQ Gain High 30
- EQ Frequency 31
- SC Low Pass 32
- SC High Pass 32
- Soft Clip 33
- APPENDIX – Level Problems 34
- Level Problems 34
- APPENDIX 34
- Technical Data 35
- APPENDIX – Technical Data 35
- APPENDIX – Warranty 36
- „Let there 38
- be sound“ 38
- And there 38
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