User manual PRESONUS STUDIO CHANNEL V1.1

[. . . ] STUDIO CHANNEL Vacuum Tube Channel Strip User's Manual Version 1. 1 © 2008, PreSonus Audio Electronics, Inc. All Rights Reserved. PRESONUS LIMITED WARRANTY PreSonus Audio Electronics Inc. warrants this product to be free of defects in material and workmanship for a period of one year from the date of original retail purchase. To be protected by this warranty, the purchaser must complete and return the enclosed warranty card within 14 days of purchase. [. . . ] Your bass doesn't have to be washed out in the low end of the mix. Let the compressor/limiter give your bass the punch it needs to drive the bottom of the mix. Expansion There are two basic types of expansion: dynamic and downward. Expansion increases the dynamic range or level of a signal after the signal crosses the expansion threshold. In fact, broadcasters use dynamic expansion to `undue' compression before transmitting the audio signal. This is commonly referred to as `companding' or COMPression followed by expANDING. In contrast to compression, which decreases the level of a signal after rising above the compression threshold, expansion decreases the level of a signal after the signal goes below the expansion threshold. For example, a 2:1 expansion ratio reduces the level of a signal by a factor of two. if a level drops 5dB below the expansion threshold, the expander will reduce it to 10dB below the threshold. ) Commonly used as noise reduction, expansion is very effective as a simple noise gate. The major difference between expansion and noise gating is the fact that expansion is dependent on the signal level after crossing the threshold, whereas a noise gate works independent of a signal's level after crossing the threshold. Noise Gating Noise gating is the process of removing unwanted sounds from a signal by attenuating all signals below a set threshold. As described above, the `gate' works independent of the audio signal after being `triggered' by the signal crossing the gate threshold. The gate will remain open as long as the signal is above the threshold. How fast the gate opens to let the `good' signal through is determined by the attack time. How long the gate stays open after the signal has gone below the threshold is determined by the hold time. How much the gate attenuates the unwanted signal while closed is determined by the range. 14 | PreSonus 2007 OPERATION 3. 2. 3 Vocabulary of Dynamics Processors In scientific research, it is widely accepted that if one needs to master a subject quickly, learn the associated vocabulary and industry terms. We hope this section will help you to get the most benefit from your independent study in the world of music production. When the signal is above the threshold setting, it becomes `eligible' for compression. Basically, as you turn the threshold knob counterclockwise, more of the input signal becomes compressed. For example, if you have the ratio set to 2:1, any signal levels above the threshold setting will be compressed at a compression ratio of 2:1. This simply means that for every 1dB of level increase into the compressor, the output will only increase 1/2dB, thus producing a compression gain reduction of 0. 5dB/dB. As you increase the ratio, the compressor gradually becomes a limiter. A limiter is defined as a processor that limits the level of a signal to the setting of the threshold. [. . . ] Analog VU (Gain Reduction / Output) Equalizer LF Band Controls: Frequency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Variable from 40 Hz to 500 kHz Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Variable between ±10 dB Q. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0. 7 (on `peak' setting) MF Band Controls: Frequency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]