CompressorLimiterCLA-2A压缩器
Daking Compressor-Limiter V.1 用户手册说明书
Comp II Compressor-Limiter User Manual V.1/Safety Considerations• Read, follow and keep these instructions.• Heed all warnings. Install in accordance with the manufacturer’s instructions. • Protect device from liquids and spills.• Clean only with a soft, dry cloth• Do not block any ventilation openings.• Do not install near any heat sources such as radiators, heat registers, stoves or other devices (including amplifiers) that produce heat.• Do not defeat the safety purpose of the grounding-type plug. A grounding-type plug has two blades and a third grounding prong. The third prong is provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.• Protect the power cord and all connecting cables from being walked on or pinched, particularly at plugs, receptacles, and the point where they exit from the device.• Only use attachments or accessories specified by the manufacturer.• Unplug this device when unused for long periods of time.• Refer all servicing to qualified service personnel. There are no user-serviceable parts inside. Servicing is required when the apparatus has been damaged, such as when a power-supply cord or plug is damaged, objects have fallen into the apparatus, the apparatus has been exposed to moisture, does not operate normally, or has been dropped.• Do not overload wall outlets and extension cords as this can result in a risk of fire or electric shock.1.0 About Daking AudioCongratulations! You’ve purchased a Comp II, a very high-end piece of gear! The Comp II uses discrete transistor Class A circuits, VCAs, THAT Corporation differential amps and printed circuit board-mounted switches. Signal capacitors are precision polypropylene or ultra low-leakage electrolytic types. Our boards are assembled on a mil-spec assembly line. The chassis are stainless steel for maximum RF and hum rejection and a long-lasting finish. Every unit is hand-finished, tested, burned in, and tested again in a second facility.Also, we just couldn’t stand to use plastic knobs, so we designed our own anodized, engraved aluminum knobs that give a much more precise and quality feel. We designed our gear to be gear you’ll own for life, not some passing fancy you’ll leave in the dust once you figure out what the good stuff sounds like. This IS the good stuff.-Geoff Daking1.1 In The Box•Daking Audio Comp II 19” rack-mount single-space Compressor-Limiter •Outboard power supply with attached connecting cable•Power cable•.050” hex wrench for knob set screws1.2 What Is a Compressor-Limiter?A compressor is a device that helps control the dynamic range of a track you’re recording or mixing. Example: if you’re recording a vocal and the singer is going from very soft to very loud, a compressor can make the loud parts not quite as loud. Then you can turn up the overall level of the vocal to hear the soft parts better. As a result your vocal will have a more consistent level in your mix, while still retaining its expressiveness. Compressors are also frequently used on guitars, bass, piano, and other instruments for the same reason - to record a consistent level that will hold its place better in your mix. Used sparingly a compressor is transparent - the listener can’t hear it working. Used poorly it can suck all the life out of whatever you’re recording, and that can’t be undone by any amount of later processing. Some people will use compression aggressively as an effect, and that’s perfectly valid if it’s what you want. Always listen and keep an eye on the gain reduction meter. Try aiming for -3dB to -5dB of compression as a starting place when recording a vocal. Remember: you can add more compression later, but you can’t take it away.When mixing many engineers use a stereo compressor to run the entire mix through. It can make your mix more aggressive and more alive sounding, more integrated. “Glue” is a term many engineers use for mix compression. Again, too much compression can ruin your mix, so use your ears.A limiter is a compressor with a higher ratio (greater than 10:1) that literally puts a limit on how loud you can make something. It comes from the days of radio when there was a legal limit to how loud a broadcast could be, but radio stations still wanted to seem as loud or louder than their competitors. A limiter raises the average level of a track or mix while not letting the peaks go beyond a fixed level - into the red, for instance. Like compression, limiting can make your mix more exciting or ruin it completely. Listen!There are four basic types of compressors: Tube, Optical, FET and VCA. You may be familiar with our popular FET Compressor, the FET III. VCA compressors don’t have a great reputation among professional engineers for good reason - they are mostly feed-forward designs utilizing cheap RMS detector chips and low-quality monolithic current-to-voltage convertors. The Comp II is a very different, more complex VCA design that uses feedback, a peak detector and an all-discrete Class A follower. We use the VCA like a FET to get the sound we all love without the thermal instability and other problems associated with FETS.1.3 Front PanelCompression KnobThe Compression knob controls how much you compress the signal, from Less to More. What is happening is that as you turn the control towards More you are lowering the threshold at which compression begins. The lower the threshold the more you compress a given signal. If the meter in the Comp position shows too much compression with the Compression knob fully down then the level coming into the compressor is too high and should be turned down at the stage before. For instance, at the output of the mic preamp before the Comp II when recording vocals.Output KnobThe Output knob controls the amount of gain added to the signal after compression. It goes from ~, no output, to 11. Since a compressor lowers the peaks, the Output control raises the average level of the signal to compensate. This is called “gain make-up”.AttackAttack controls the speed at which the Comp II responds to peaks in the signal. Slow allows transients to go through uncompressed but reduces the gain of what follows. Fast grabs the transients as well as the sustain of the signal. Slow can be more subtle, fast more aggressive.ReleaseRelease is the speed at which the compressor, having compressed a peak, gets ready to catch the next peak. Fast is fast release, obviously, and is generally more aggressive. Auto adjusts the release time automatically depending on the gain and the timing of the peaks in the signal you feed in. Which one you use is a matter of taste - use whichever sounds better to you when applied to the particular signal you’re compressing.Ratio determines how aggressively the compressor responds to the signal you put in. Comp is a lower ratio and therefore compresses less. The signal will maintain a greater dynamic range while still having peaks controlled. Limit is a higher ratio that compresses more. Your input signal will have a smaller dynamic range but higher average level. See Appendix I for a graph showing how various compression ratios effect the signal output.BypassBypass turns compression off. Use it to compare the uncompressed and compressed signal while setting up the compressor to record a track.Meter and Meter buttonThe meter does double duty depending on the position of the Meter switch. In the Comp position the meter shows you how much the peaks are being reduced by the compressor. The needle sits at zero and moves to the left to show gain reduction in negative numbers: -3 means the signal is being reduced by 3dB, -5 means 5dB of gain reduction and so on. This will tell you if you’re compressing too much or not enough. No matter how well you think you can hear a compressor working, you should always monitor the gain reduction meter to be sure.With the switch in the Output position the meter is a normal VU meter that shows you the output level of the compressor. If the level is too high or too low you can adjust the level with the Output knob. With practice you will learn how to set levels for all of the gear in your input chain. This is called “gain-staging” and is key to getting quiet, distortion-free tracks.Note that the Compression and Output controls are interactive - if you add more compression the output level will go down, if you reduce the amount of compression the output level will go up. It is usual for engineers to switch the meter control back and forth between Comp and Output several times while getting sounds to make sure the meter shows you have the amount of compression you want as well as the output level you want. Also it’s wise to keep in mind that singers tend to get excited and will sing harder when you hit record than when you were getting sounds. Leave some room for that, and pay close attention to make sure their levels aren’t out of control.In the Mono position the Comp II is two completely independent compressors that can be used at the same time on different signals. In Link mode the compressor listens to both sides of a stereo signal. Whichever channel has the higher input gain from moment to moment will determine how much you compress the stereo signal. In Link mode you must still set the front panel controls for both channels - in most cases they would be set the same. This is how you would use the Comp II on a stereo mix, for instance.1.4 Back Pa nelAudio Inputs and OutputsThe back panel contains balanced XLR inputs and outputs for each channel, as well as a balanced 1/4” TRS output connector for each channel which is wired in parallel to the XLR output. If you want an unbalanced output you can use a 1/4” TS cable (a guitar cable) in the TRS jack. If you use both an XLR cable and a 1/4” TS cable at the same time keep in mind you will be making the XLR output unbalanced because they are in parallel. Always use high-quality connectors and cables to wire your Comp II into your system. Wiring is not the place to skimp.Power InletThere is a power inlet on the back panel for connection to the power supply included with the unit. Please run power cables away from foot traffic, in a place where they’re not likely to be kicked out or tripped over.1.5 Specifications• Differential input and output amps• Class "A" amplifier for Gain Make-Up• All-metal construction with stainless steel chassis for noise immunity• Custom aluminum knobs• Power supply included• Frequency response: 20Hz - 65kHz• Inputs: 2 x XLR, Outputs: 2 x XLR, 2 X TRS• THD at +4dBu input and no compression at 1kHz: Typical 0.02%, Max 0.035% (22-22kHz, Un-Wtd)• THD at +4dBu input and 2dB of compression at 1kHz: Typical 0.02%, Max0.035% (22-22kHz, Un-Wtd)• Noise: less than -80dBu, 22-22kHz• 1U 19” rack-mount case: 17” (43.18cm) width, 8.375” (21.27cm) depth, 1.625 (4.13cm) height.• Unit weight: 5.35 lbs. (2.45 kg)• Box weight: 8.70 lbs. (3.95 kg)• Box dimensions: L: 29” (73.66cm) (736.6mm)W: 14” (35.56cm) (355.6mm)H: 6” (15.24cm) (152.4mm)Specifications are subject to change without notice.Appendix IGraph showing Comp II ratio response in Comp mode, Limit mode, and Bypass:。
Empire Compressor MKII 压缩器说明书
USER MANUALIntroductionWhen we released our original Compressor back in 2011, it quickly became a favourite among guitar and bass players alike who were searching for something more than the typical oversimplified controls found on most compressor pedals. Now, based on our users’ valuable feedback, we’ve taken everything great about our original Compressor and made it even better.On top of the full range of features and controls normally only seen in high end studio equipment, such as input and gain reduction metering, independent attack and release controls, a mix knob for parallel compression, and an external sidechain insert, we’venow added a ‘tilt’ tone eq control, and a selectable sidechain high pass filter built into the Compressor’s detection circuit. Oh, and the whole package is now half the size. Who doesn’t love a small package?!We hope the Compressor MKII becomes a favourite of yours as well, and sincerely thank you for choosing Empress Effects.- Steve BraggQuickstartAdded Control: Here’sa good starting pointfor adding consistencyand sustain to yourplaying whileretaining dynamics.Adjust the input levelso the gain reductionmeter shows 8dB ofgain reduction whenplaying your loudest.Chicken Pickin’: Thisone provides a nicecompressed countrysound. Adjust theinput for 10dB ofgain reduction whenplaying your loudest.TransparentCompression: Thiswill give you nicedynamic controlto level out yourplaying. The 2:1 ratiois very transparent.It won’t really soundcompressed as muchas just sweeteroverall.Limiter: This settingwill eat up your pickattacks and createa smoother sound.You’ll also get lots ofsustain out of this.LevelThe Basics of CompressionCompression can add consistency and sustain to your playing or it can be used to add notedefinition and other effects. It essentiallynarrows the difference between high and low audio levels by reducing the gain of any signalover the threshold.The ratio determines how much gainreduction will be applied to the signal once it crosses above the threshold. At a 4:1 ratio, for every 4dB of input signal above the threshold, there will be 1dB of output signal. A 10:1 ratio would output 1dB for every 10dB of inputsignal, etc.input: sets the level entering the compressor circuit. Higher levels result in more compression.attack: controls how quickly the compressor will reduce the gain when an incoming signal exceeds the threshold. Attack time increases as you turn the knob clockwise. Range: 50μs - 50msControls atrelease: controls how quickly theor as a boost for soloing.t a GlanceAttack controls how quickly the gain reduction will begin after a signal has crossed over the threshold. Release controls how long it takes for the Compressor’s gain to return to its initial level after the signal drops below the threshold.SidechainThe sidechain is the Compressor’s level detection circuitry. Based on the signal sent to it, it will determine how much gain reduction is applied. Typically that signal is a copy of the input signal, taken from some point in the audio path. In our case it’s taken after the gain reduction has occurred, which is known as ‘feedback’ style compression. It can be very useful to alter the sidechain signal in order to tailor how the compressor reacts.Sidechain High Pass FilterThe sidechain hpf (high pass filter) switch can be engaged to avoid triggering the compression with high energy notes inthe lowest octave, which helps avoid over-compressing and keeps the low frequencies sounding full while still controlling errant high notes that pop out.Sidechain connector jackThe sidechain connector jack on the back of the pedal allows you to alter the sidechain signal by inserting an external device, such as an EQ. You can also have an external audio source trigger the compression by sending audio in through the ring of the sidechain jack.The sidechain connector accepts a 1/8” TRS plug: Tip = send, Ring = return, Sleeve = ground.Parallel CompressionThe mix knob on the Compressor MKII allows for parallel compression. Parallel compression is achieved by blending a compressed audioSetting the bypass state on startup To change whether the Compressor starts up in the engaged or bypassed state, hold down the stompswitch while powering on the Compressor. The first red gain reduction led will flash to let you know you are in the advanced configuration mode. Press the stompswitch to toggle between states:gain reduction led 1 = bypassed at startup gain reduction led 2 = engaged at startup When finished, press and hold the stompswitch for 2 seconds to confirm and save your selection, and exit advanced configuration.signal with the uncompressed version of itself. It opens up a ton of possibilities. A great use of parallel compression is to really squash the compressed signal (so it sounds way too over compressed), then use the mix knob to blend in some of the uncompressed signal. The result is very natural sounding, but feels a lot more exciting, with more sustain and retaining a good attack. Try experimenting with it!SpecificationsInput Impedance:1MΩOutput Impedance: 2.2kΩFrequency Response(-3dB):20Hz - 20kHz Distortion:<0.1% Noise:-101dB Headroom:+15dBu Input Voltage:9VDC Required Current:100mAPower Input Connector:2.1mm Barrel ConnectorHeight (enclosureonly): 1.5”Height (includingcontrols): 2.5”Length: 4.8”Width: 2.6”Weight:1lbsPowering the Compressor MKIIGo to /power for a full list of compatible power supplies. Please note: The Empress Compressor MKII requires at least 100mA of current to function properly. Any power supply rated at 9V DC, supplying negative tip polarity and at least 100mA of current should work.Legal StuffFCC ComplianceNote: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:- Reorient or relocate the receiving antenna.- Increase the separation between the equipment and receiver.- Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.- Consult the dealer or an experienced radio/TV technician for help. Modifications not expressly approved by the manufacturer could void the user’s authority to operate the equipment under FCC rules。
亚特兰蒂斯科普科滚压缩器产品说明书
SCROLL COMPRESSORSSF 1-6 (1.5-5.5 kW/2-7.5 hp) / SF+ 2-22 (2.2-22 kW/3-30 hp)PURE OIL-FREE AIRAs there is no metal-to-metal contact between the compression scrolls, there is no need for oil lubrication in the compression chamber. T herefore, the scroll compression principle guarantees high-quality, oil-free air. As a result, the SF compressor isoil-free in every way.ENERGY EFFICIENCYThe SF scroll compressors, standard equipped with IE3 Premium efficiency motors, are suited for sensitive applications which require flexibility and energy efficiency. Unloaded power consumption is eliminated thanks to the simple start/stop control. Advanced scroll technology guarantees an optimalfree air delivery and low duty cycle applications.EXTREMEL Y LOW NOISE LEVELThe slow speed of the scroll compression elements ensures that the SF scroll compressors are extremely quiet. Sound levels are as low as 53 dB(a), making the SF the perfect choice for your sensitive working environment.SIMPLICITY AND RELIABILITYThe SF scroll compressors stand for simplicity and reliability. The compressor has a minimal number of moving parts, ensuring a long operating life with limited service interventions. With their integrated design, Atlas Copco’s SF scroll compressors have a minimal footprint and offereasy serviceability.PROVEN PEACE OF MINDFor over sixty years, Atlas Copco has been leading the industry in oil-free compressed air technology, drawing on vast experience and continuous technological innovations.You can rest assured at all times: severe certification and testing procedures are conducted to ensure air is suppliedto the highest standards of quality control.110438296Integrated receiverPlug and play solution, lower installation costs with 30l, 270l and 500ltank-mounted options.7Elektronikon® (SF+)Monitoring features include warning indications, maintenance schedulingand online visualization of running conditions.8Innovative designThe new compact vertical setup enables easy access for maintenance,improves cooling allowing lower working temperatures and providesvibration damping.9SF-Skid/T win• Suitable for installation at the point of useor for integration into an existing airnetwork: designed with simplicity in mind.Cooler & piping• An oversized cooler improves theperformance of the unit.• The use of aluminum pipes and thevertically oversized check valve improvereliability over lifetime and assure thehigh quality of your compressed air.10Air inlet filterHigh efficiency paper cartridge air inlet filter, eliminating dust andparticles down to 1 µm.1Automatic regulationAutomatic stop when the required working pressure is reached,avoiding unnecessary energy costs.2High efficiency scroll elementAir-cooled scroll compressor element offeringproven durability and reliability in operation,in addition to solid efficiency.IP55 Class F/IE3 motorTotally enclosed air-cooled IP55 Class F motor,complying with IE3 & Nema Premiumefficiency standards.Refrigerant dryerCompact & optimized integrated refrigerant dryer,ensuring the delivery of dry air, preventing rust andcorrosion in your compressed air network.5Silent canopyA sound insulated canopy makes extremely low noise levels as low as53 dB(A) possible, allowing to install the unit closer to the point of use.6452381® Mk5 High efficiency scroll elementAir-cooled scroll compressor elements with 8 and 10 bar variants, offering proven durability and reliability in operation, in addition to superior efficiency.3Optimized cooler & pipingThe air cooler is finetuned for improved performance, while the use of aluminum & stainless steel pipes improve reliability over lifetime and assure the high quality of compressed air.7motors, complying with IE3 Premium efficiency standards.Smart designOutstanding user-friendly design, with safety in operation & ease of serviceability in mind.8Refrigerant dryerCompact & optimized integrated refrigerant dryer ensuring the delivery of dry air, preventing rust and corrosion in the installed compressed air network.4SF Duplex• Duplex set-up with two cubicles, one/two main modules and one/two modules as back-up.• Elektronikon ® regulates each set of compressor modules via an integrated central control system.• Enclosed in sound-insulated bodywork.Silent canopyThanks to the low-noise scroll element, optimized super-silent fan and sound-insulated canopy, best in class noise levels possible are achieved.512345678ADVANCED SCROLL TECHNOLOGYAir compression is achieved by the interaction of a fixed and orbiting scroll. Air at inlet pressure enters the compression chamber at the exterior side of the scroll element. Once air is drawn in, the orbiting scroll seals off the inlet port. As the scroll continues to orbit, the air is progressively compressed into an increasingly smaller ‘pocket’. A continuous flow of compressed air leaves the scroll element through a discharge port in the center of the fixed scroll. This process is continuously repeated, resulting in the delivery of pulse-free compressed air.Variable flow technology (VFT)All SF + 8-22 multi-scroll compressors areequipped with the unique VFT control system. The VFT system, included in the Elektronikon ® controller, automatically starts and stops the scroll elements to exactly match the demands of your compressed air system. T heElektronikon ® control algorithm ensures that the system pressure is kept within a very narrow pressure band.WorkPlace Air System™ compressors: the sound of silenceA low noise level enables the compressor to be installed close to the compressed air application, minimizing the size of the air distribution system and reducing pressure loss and the potential for leakage. As the air treatment is completely integrated, the installation costs are substantially reduced, making multiple compressor installations practical and financially viable. T o ensure maximum energy efficiency, Atlas Copco offers both traditional on/off regulating systems where the air demand is constant.Cooling fan Suction chamber Suction opening Delivery opening Fixed scroll Orbiting scrollFail-safe temperature sensor for unit protection Compression chamber12345678Current ISO 8573-1 (2010) classes (the five main classes and the associated maximum concentration in total oil content).CLASS ZERO: THEINDUSTRY STANDARDOil-free air is used in all kinds of industries where air quality is paramount. These applications include food and beverage processing, pharmaceutical manufacturing, petrochemical processing, wastewater treatment, and many more. I n these critical environments, contamination by even the smallest quantities of oil can result in costly production downtime and product spoilage.First in oil-free air technologyOver the past 60 years Atlas Copco has pioneered the development of oil-free air technology, resulting in a range of air compressors that provide 100% pure, oil-free air. T hrough continuous research and development, Atlas Copco achieved a new milestone, setting the standard for air purity as the first manufacturer to be awarded ISO 8573-1 Class 0 certification.Eliminating any riskAs industry leader committed to meeting the needs of the most demanding customers, Atlas Copco requested the renowned T ÜV institute to type-test its range of oil-free compressors. Using the most rigorous testing methodologies available, all possible oil forms were measured across a range of temperatures andpressures. T he T ÜV found no traces of oil at all in the output air stream. T hus Atlas Copco is the first compressor manufacturer to receive Class 0 certification, according to ISO 8573-1 Class 0 Ed. 3 2010 specifications.® controller, while the SF +Elektronikon ® Graphic.Improved user-friendliness• 3.5-inch high-definition color display with clear pictograms and extra 4th LED indicator for service.• Graphical display of key parameters (day, week, month) and 32 language settings.• Internet-based compressor visualization using a simple Ethernet connection.• Graphical indication Serviceplan, remote control and connectivity functions.• Software upgrade available to control up to 6 compressors by installing the optional integrated compressor controller.4 modules61218183 modules2 modules1 moduleTECHNICAL SPECIFICATIONS* Free Air Delivery measured according ISO 1217 ed. 4 2009, Annex C.** Mean sound pressure level measured according to ISO 2151, with an uncertainty of 3 dB(A).Weights of the pack & floor-mounted units are shown in the chart.DIMENSIONSLWHL WHL WHL WH•: Optional- : Not availableCOMMITTED TO SUSTAINABLE PRODUCTIVITYWe stand by our responsibilities towards our customers, towards the environment and the people around us. We make performance stand the test of time. T his is what we call – Sustainable Productivity./sf2935 0844 48 © 2014, A t l a s C o p c o A i r p o w e r N V , B e l g i u m . A l l r i g h t s r e s。
卡尔·马丁（Carl Martin） guitar 压缩器 限制器 说明书
HOME PROFILE PRODUCTS NEWS REVIEWS CONTACT ARTISTS SOUND & VIDEOGeneral Guidelines on the use of the Compressor/Limiter:Thank you for purchasing the Carl Martin Compressor/Limiter! We believe this unit to be the most musically useful guitar dynamics processor on the market. It has been developed to incorporate the same features, sonic clarity, quietness, and performance of the best studio compressor/limiters. Spend a little time with us here in the manual and you can learn some of the basics of compression and limiting, and how to get the most out ofyour pedal.Simply put, compression and limiting may be defined as the active control or modification of the dynamics of anaudio signal.Dynamics may be described as the loudness characteristic of an instrument: the way the note begins, sustains, and ends. Every instrument has dynamics; for example, a guitar has a very strong initial attack and asmooth decay,while a violin has a generally slower attack and will sustain a note as long as you keep bowing the strings. A compressor allows you to change the character of a guitar's natural dynamics. The result ranges from a subtle fattening of the tone to radical singing violin effects, and many useful variations in between.To begin with, be aware that in any compressor/limiter the controls are interactive, and one control may function somewhat differently when the other controls are set in various positions. Reading this manual, and spending a little time familiarizing yourself with the controls will generally produce the best results.The four controls on the Compressor/Limiter are:THRES, or Threshold, sets the level at which the compression starts to take effect. The higher (clockwise) you set this control, the harder you must play before compression starts to occur. The lower (counterclockwise) you set this control, the sooner compression starts to occur, and can be audible even when playing softly. COMP or Compression sets the ratio of compression that will be applied to your signal. The ratio, in conjunction with the THRES setting will determine how hard, or how gently, the compressor will affect your signal. Turningthe COMP knob clockwise increases the ratio, giving you more compression, while turning it counterclockwise lowers the ratio, giving you a softer effect. There are no right or wrong settings for the ratio, or any other control on a compressor for that matter. It is entirely an artistic choice, based upon what you want to hear. RESP or Response determines the way the compressor responds to your playing. In full clockwise position the unit acts as a peak-limiter, providing a simple "brick wall" attenuation (reduction of the signal) when the signal reaches the point you have set on the THRES knob. The more you turn the RESP knob counter clockwise, the more the unit acts as a modern compressor with signal-dependant attack and release times. In simple terms, If you like a more effected sound, where you can clearly hear the compressor actively shaping your sound, you want more of a compressor response (RESP more counter-clockwise), if you want a limiting function you wantthe RESP knob more clockwise.Try setting the pedal like this:This is set for a very active, signal-dependant compressor function. As you play, turn the THRES knob counter-clockwise, and you will see how quickly the compression starts to occur, and how strongly it interacts with yourplaying.Now, try setting the pedal like this:This is more of a fixed-point limiting function. As you play, turn the THRES knob counter clockwise, (you will have to turn it further than with the RESP knob set as in figure 3) and you will hear the unit start to effect thesignal.Spend some time playing with the THRES and RESP knobs in various places, leaving the other knobs alone for now, and you will see the different kinds of responsiveness available to you. As you become familiar with the pedal, you will find just the settings you are looking for. Of course, the COMP settings will make a difference in all cases, but to keep things simple, it's good to start with the COMP set as in figures 3 & 4.GAIN is also called "make-up gain", and that is because the more you compress the levels, the softer the signal becomes and this control allows you to compensate for this. By the way, "Gain" is simply a more precise, scientific-term for "volume" or "level" so there is nothing mysterious about this control. Switch the pedal in and out with the footswitch and adjust this knob as needed. You can also use it to get a bit of boost for a solo. If you use single-coil pickups, you will notice that extreme compression settings will accentuate the hum and noise from these pickups. That is simply the nature of compression and single coil pickups, not a function of the pedal, and all compressors exhibit this trait. If you have humbuckers, or you stand where there isn't much hum pickup, you will quickly notice the extreme quietness of this pedal. It really does perform very much like ahigh-end studio unit.The "Busy Light" simply tells you how much compression is being applied to your signal. The brighter it gets,the more compression.Ok, to start out, let's try a good, basic "fattening" sort of compression. This is what engineers often do to your signal in the studio, so you will generally find this a familiar and musically useful sound. To begin with, usethese settings:Adjust the THRES control counterclockwise until you start to hear the compression effect and the Busy lightstarts lighting up. Adjust the gain as needed.Now, leaving the THRES control where you can hear the effect, start adjusting the COMP control:You will notice that the compression becomes harder and more abrupt, giving you more of a "squashed" sound.Now, leaving the COMP control about here, and the RESP control here:and the threshold set where you can hear the compression working, start adjusting the RESP control. Here iswhere the long, singing, sustain sounds may be found.By the time you have modified your dynamics to this extent, a plot of your signal would look something likethis:Remember, the more counter-clockwise the RESP setting is, the more active and compressor-like the dynamics control will be, so you may need to adjust the THRES a bit to get "out of the compressor" a little.With appropriate THRES settings, and the RESP set close to counter clockwise, some really nice funk andclean country "chicken-pickin" sounds may be found.With all of these sounds, remember to keep trying different THRES settings, as this will make a big difference inhow the effect works.As you can see, this pedal is capable of many useful sounds. Now that you have the basics, experiment andsee what other sounds you may find.Remember, its all about making great music. We hope that this Carl Martin pedal will assist you in yourmusical goals!SPECIFICATIONS:Power:Power consumption:S/N ratio:Input impedance:Output impedance:100 or 115 or 230 VAC 50-60Hz2,4 Watts105dB (clean out)1M Ohm200 OhmTHD distortion: Threshold range: Compression range: Responce range: Gain range: Dimension: Weight:0,05%60 dBfrom 1:1 to 1:00from 125 mS to 12,5 mS +-20 dB120(D) 95(W) 77(H)0,625Kg。
Drawmer DRAWMER S2 双通道真空管压缩器操作手册说明书
DRAWMERS2Dual ChannelVacuum Tube CompressorOPERATOR’S MANUALCONTENTSWarranty Safety Consideration Chapter 1 - IntroductionIntroduction Installation Audio ConnectionsPower Connection Chapter 2 - Control DescriptionControl Description Quick Setup Procedure Chapter 3 - General InformationIf a fault developsContacting DrawmerSpecification Block Diagram Session Recall Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132DRAWMER S2 O PERATOR’S M ANUALCHAPTER 1DRAWMERS2DUAL CHANNEL VACUUM TUBE COMPRESSOR ArrayINTRODUCTIONThe new S2 Signature Series Dual Channel Tube Compressor is the latest product to emerge from Ivor Drawmer’s high end designs and offers an ‘all tube - no technical compromise’ circuit using only the highest grade components. The S2 features a host of new creative processing possibilities never before found in an all analogue dynamics package.BIG- Retains bass frequencies and minimizes undesirable ‘pumping’ by rolling off the detection signal at 75, 125 or 250Hz (user switchable). A fully variable level control allows for the desired amount of Big processing and an in/out switch provides the option to remove from the signal path for A/B comparison.BRIGHT- A dynamic high frequency enhancer to keep compressed audio sounding fresh and bright with continuously variable frequency control (500Hz to 20kHz) and amount of dynamic enhancement.DRY- Mixes user defined amount of ‘uncompressed’ signal with the compressed signal to create ‘parallel compression effect’ without the need for external mixing devices.• 2 CHANNEL SOFT-KNEE TUBE COMPRESSOR• FULLY BALANCED INTERNAL SIGNAL PATH• CLASS A DESIGN• ISOLATION TRANSFORMERS IN AND OUT• ‘ALLTUBE’ CIRCUIT DESIGN• VARIABLE ATTACK AND RELEASE WITH OPTIONAL ‘PROGRAMMEDEPENDENT’ AUTO RELEASE OPERATION• DUAL MONO OR STEREO LINK OPERATION• SWITCHABLE ‘PEAK’ OR ‘VU’ METERING TO DISPLAY TRANSIENTS• SWITCHABLE +10dB OR +20dB METER RE-SCALE MODES• 8 SEGMENT GAIN REDUCTION METERING• ‘VARIABLE-BIG’ MODE FOR RETAINING LOW FREQUENCIES• ‘VARIABLE-AIR’ MODE FOR ENHANCING HIGH FREQUENCIES• ‘DRY’ MIX MODE FOR ‘PARALLEL COMPRESSION EFFECT’• BALANCED XLR INPUTS/OUTPUTS3DRAWMER S2 O PERATOR’S M ANUAL4DRAWMER S2 O PERATOR’S MANUALThe S2 is designed for standard 19" rack mounting and occupies 3U of rack space. Fibre or plastic washers may be used to prevent the front panel becoming marked by the mounting bolts. Always connect the mains earth to the unit.Because the S2 contains six valves it will generate more heat than a simple solid state unit. Avoid mounting theunit directly above power amplifiers or power supplies that radiate significant amounts of heat. In addition it is advised that you leave at least 1U of space above to allow heat to dissipate. Alternatively, a fan should be fitted somewhere near to the rear of the unit to circulate cooler air and help expel any excess heat. (see fig. 1)INSTALLATIONfig.2 TYPICAL S2 SETUPfig.1 RACK MOUNT POSITIONING5DRAWMER S2 O PERATOR’S M ANUALThe unit will have been supplied with a power cable suitable for domestic power outlets in your country.For your own safety it is important that you use thiscable. The unit should alwaysbe connected to themains supply earth using this cable, and no other.If for some reason the unit is to be used at a mains input operating voltage which is different to that as supplied, the following procedure must be carried out.1: Disconnect the unit from the mains.2: Remove the two screws holding the voltage selection cover-plate.3: Remove the cover plate and slide the switch fully to its opposite end.4: Rotate the cover plate one half turn (180 degrees)and refit the two screws.5: Replace with a correctly rated fuse for the selected operation voltage in the IEC socket:230V-T500mA and 115V-T1Amp6: Re-connect to mains power source.Never disconnect the earth from the mains supplyAUDIO CONNECTIONSThe inputs and outputs are electronically balanced on conventionally wired XLRs (pin 1 screen, pin 2 hot, pin 3cold and XLR shell is connected to chassis). The operating level is nominally +4dBu. Balanced use is recommended.• Interference:If the S2 is to be used where it maybe exposed to high levels of disturbance such as found close to a TV or radio transmitter, we advise that it is operated in a balanced configuration. The screens of the signal cables should be connected to the chassis connection on the XLR connector as opposed to connecting to pin1. The S2 conforms to the EMC standards.• Ground Loops:If ground loop problems are encountered, never disconnect the mains earth, but instead, try disconnecting the signal screen on one end of each of the cables connecting the outputs of the S2 to the patchbay. If such measures are necessary, balanced operation is recommended.POWER CONNECTIONfig.4 Altering the Voltagefig.3 XLR WIRING6DRAWMER S2 O PERATOR’S M ANUALCONTROL DESCRIPTIONCHAPTER 21 MAIN COMPRESSOR CONTROLSThreshold:+20dB - -26dBDetermines the input level above which gain reduction will be applied.In order to provide as transparent processing as possible Soft knee compression takes place for signals exceeding the threshold level by a few decibels, above which level conventional ‘ratio’ compression is applied.Gain Reduction Meter:Eight Leds at 0,-1,-3,-5,-7,-10,-15,-20dBRatio: 1.4:1 - 10:1Sets the final compression ratio that will be applied once the 'soft-knee' region of the threshold control is exceeded.A ratio of 1:1 provides no compression, whereas approaching 10:1corresponds to more of a limiter.Attack:0.2mS - 100mSControls the speed that the compressor responds to signals that exceed the level set by threshold. For most musical uses, an initial attack setting of between 1 and 20 mS is typical and least obtrusive, with slower settings allowing the start of a percussive or transient signal to pass unaltered, before the compressor reacts. However, bringing the level under control quickly, using a very fast attack time, generally gives more natural results on vocals and mixes.Auto Release:Off - 1 - 2When selected, Auto disables the Release control and continually optimises the release times to suit the dynamics of the material being processed - with 1 having a slightly quicker release than 2 to further suit the varied signals. In general, this setting will produce the least obtrusive level control on signals with widely varying dynamics such as complete mixes.Release:0.05S - 2.0SecondsSets the time taken for the signal to return to normal after the input level has fallen below threshold. For most signals setting the realease at around 0.2 to 0.6 seconds is a good starting point. Be careful with very long release settings, the Compressor might never have enough time for a total recovery between the signal peaks. However, if set too fast, the signal may “pump”, which can be used creatively, but is generally undesirable.2 V-BIGUnlike previous Drawmer compressors the S2 V-Big control is fully variable allowing complete and subtle adjustments to the perceived level of bass, and the control of ‘pumping’ and ducking that occurs.Frequency:75, 125, 250 HzSets the frequency that the ‘V-Big’ control operates at, enabling the engineer to target a specific bass frequency.Level:-10 - +10With the control set in a positive position the side chain's sensitivity to low frequencies is reduced, with the result that less gain reduction is applied to those frequencies, creating the effect that the bass is louder or 'bigger'. It also has the benefit of reducing the ducking and pumping effect that occurs by high frequencies being 'pulled down' in sync with the bass, helping to make mix compression much more affable.If set in a negative position the opposite occurs i.e. with bass frequencies being quieter and pumping increased.At the 0 position the ‘V-Big’ control is effectively off.Active:Off - OnSwitches the ‘Big’ control on and off.3 V-AIRV(ariable)-Air is used to manipulate the high end of an audio signal so that it sounds more intimate, detailed and transparent, but without making it sound harsh or introducing any noticeably unnatural artefacts. Cymbals are more vibrant without becoming splashy, and vocals sound more open but without becoming sibilant.On the S2 the ‘V-Air’ section is not just an everyday side chain E.Q. that most compressor’s would incorporate, replacing any dulling of high frequency detail by simply adding gain, but a fully variable dynamic process that works in conjunction with the compressor, giving more ‘brightness’ as and when it’s required. Being full range the S2 will compress quiet high frequencies whenever the low frequencies are being brought under control, resulting ina dulling of these high levels, and in the worst cases, pumping - it is here where the V-Air controls are at their mosteffective. As shown previously, the ‘Big’ section can also improve things.Frequency:500Hz - 12kHzSets the frequency at which the ‘V-Air’ control operates, enabling the engineer to target a specific frequency.Level:-10 - +10At the 0 position the ‘V-Air’ control is off. In a positive position higher frequencies are enhanced, to add definition, particularly to the human voice and accoustic instruments - a negative position has the opposite effect, and may be used to bring back the balance to a mix whose cymbols are too conspicuous, for example.Active:Off - OnSwitches the ‘V-Air’ control on and off.4 DRYDry works by adding the original signal coming into the unit to the compressed signal that has been processed by the S2, effectively reducing the percieved amount of compression taking place. It is easiest to think of it as being similar to a parallel compressor, but with the advantage of being one simple knob. It provides completely variable control over the whole amount of compression taking place without having to alter numerous settings in order to do so.Level:0 - 10At the 0 setting a fully wet (compressed) signal is passed through to the output. As the control is turned up to 10 the dry signal (no compression) is added, thus lowering the percieved amount of compression. Unlike conventional wet/dry mixes the signal is never completely dry, even at 10 there is still a little compression taking place - use the ‘unit bypass’ (section 7) switch for a completely dry signal.Active:Off - OnSwitches the ‘Dry’ control on and off. When ‘off’ the signal is fully ‘wet’ i.e. compressed.7DRAWMER S2 O PERATOR’S M ANUAL5 GAINGain:-10dB - +20dBDuring compression the signal is attenuated, gain may be required to produce the required output level. The amount of gain required in order to bring the signal level to the same is at input is displayed on the G.R. meter.6 STEREO LINKStereo Link:Off - MasterWhen processing stereo signals, the compression settings of both channels should be the same, otherwise the stereo image will wander if one channel receives more compression than the other. When ‘Stereo Link’ is in the side chain follows both channels and forces the compressor to react to whichever of the channels is at the highest level at any given time, processing both signals according to the settings of Channel 1 (Master). The only exception to this are the ‘Gain’ controls, these remain independant - this is in order to provide a level balance between the two channels.7 METERING AND POWERVU Meters:Two moving coil VU meters monitor the level of the output signal of each channel.Pad:Vu - +10dB - +20dBA three-position switch adjusts the meters to show either normal output level, (and for those working at ‘hot’ outputlevels) VU +10dB or VU +20dB modes. i.e. with the switch at VU +10dB - when the VU meter reads 0dB the actual level is +10dB.Response:Peak VU - VUOn smooth, gentle pieces of music the “VU” (average level) setting would be sufficient, however, on fast dynamic signals the “Peak VU” setting provides more accurate readings.Bypass:Off - OnA fully balanced hard-wire unit bypass connects the input directly to the output, enabling an instant wet/dry comparison.Note: in bypass the VU meters display the levels as though the unit is still compressing. This has been implemented to provide the user with optimum control of the meters.Temperature LedThe S2 is at optimum temperature when the front panel LED indicator is lit, i.e. after the soft start and when the valves have reached optimum temperature - this may take a few seconds.Power:Off - On8DRAWMER S2 O PERATOR’S M ANUAL9DRAWMER S2 O PERATOR’S M ANUALQUICK SETUP PROCEDUREPlease note that the following procedure is only a guide. All audio is different, requiring numerous settings, however,this should give a good staring point:For single channel use, each channel may be considered as being completely independent and set upaccordingly. For use with stereo signals such as complete mixes or submixes, the S2 should be switched to Stereo Link mode and all setting up done using the left hand channel controls.To begin set the compressor controls as above - Threshold fully anti-clockwise, Ratio set to 2:1, the Attack in a mid position (around 20mS) and the Auto Release switch to 1, with Gain at 0dB.V-Big , V-Air and Dry can be bypassed for the time being.Keeping an eye on the Gain Reduction Meters alter the Threshold control for each channel to a level that ‘triggers’ the compressor, and then adjust the the Ratio until the desired compression level is achieved - as a rule,higher ratios provide a higher degree of control but also tend to be more audible in operation when high levels of gain reduction are required - a G.R. level up to -10dB is pensate for the overall drop in output caused by the compression by adjusting the Gain control until 0dB is reached on the Output VU meter (more if in +10dB VU or +20dB modes).Set the Attack knob according to the speed of the audio being processed. It is recommended that the Auto Rel.switch remains on, as it adapts dynamically to the audio, however, if manual release is preferred set the Auto Rel.switch to off, and adjust the Release control. Bear in mind that too short a release time will result in pumping.At this point the Bypass switches can be toggled to listen to the affect that the S2 is having on the audio. Repeat steps 2,3 and 4 to suit.V-Big can now be introduced - set the switch to your target frequency , and rotate the level control until the desired amount of bass is reached.To improve the audio at higher frequencies use the V-Air section, setting the controls in much the same way as V-Big - adjust to suit your taste.The S2 is now basically set up, however, further control is provided via the Dry section. With the switch active,rotating the level control clockwise adds the original, uncompressed signal to the compressed, effectively reducing the percieved amount of compression taking place. Using Dry can bring even the most severely compressed audio under control - again, adjust to suit your own taste. The Gain control may need to be adjusted to bring the output to a suitable level.1)2)3)4)5)6)7)8)9)OPFo use setSe the con hig pro ratIf t co red red coCo qu higAt lon is o attTh occCo exa cau sou to d inc ga us miAt ob thr po an theBe res thr coFin ou On pe enIf r ha effclo10DRAWMER S2 O PERATOR’S M ANUALCHAPTER 3IF A FAULT DEVELOPSFor warranty service please call Drawmer Electronics Ltd. or their nearest authorised service facility, giving full details of the difficulty.A list of all main dealers can be found on the Drawmer webpages.On receipt of this information, service or shipping instructions will be forwarded to you.No equipment should be returned under the warranty without prior consent from Drawmer or their authorised representative.For service claims under the warranty agreement a service Returns Authorisation (RA) number will be issued.Write this RA number in large letters in a prominent position on the shipping box. Enclose your name, address, telephone number, copy of the original sales invoice and a detailed description of the problem.Authorised returns should be prepaid and must be insured.All Drawmer products are packaged in specially designed containers for protection. If the unit is to be returned, the original container must be used. If this container is not available, then the equipment should be packaged in substantial shock-proof material, capable of withstanding the handling for the transit.CONTACTING DRAWMERDrawmer Electronics Ltd., will be pleased to answer all application questions to enhance your usage of this equipment. Please address correspondence to:Drawmer (Technical Help line)Coleman Street Parkgate Rotherham S62 6EL UKAlternatively contact us by E-mail on :forsalesenquiries:*****************orfortechnicalissues:****************Further information on all Drawmer dealers, Authorised service departments and other contact information can be obtained from our web pages on:GENERAL INFORMATIONINPUTInput Impedance 600 Ohms or greater Maximum Input Level+30dBuOUTPUTOutput Impedance 600 OhmsMaximum Output Level+30dBu @ 10k Ohms Load +26dBu @ 600 Ohms LoadFREQUENCY RESPONSE<24Hz to 38kHz -1dB <10Hz to 60kHz -3dBCROSSTALK< -80dB @ 10kHz < -74dB @ 20kHzNOISE AT UNITY GAINwith flat EQ response switched in circuitWideband 22Hz - 22kHz A V-79dB -84dB -87dB-94dBS2 DUAL CHANNEL VACUUM TUBE COMPRESSORDATA SPECIFICATION% DISTORTION (THD & NOISE) @ 1kHz0dB (ref +4)0.03%10dB (ref +4)0.1%20dB (ref +4)0.4%POWER REQUIREMENTS230Volt or 115V at 50-60hZ, 60VAFUSE RATINGT500mA for 230Volt, T1A for 115Volt Conforming to IEC 127-2FUSE TYPE20mm x 5mm, Class 3 Timed-Blo, 250Volt workingCASE SIZE482mm (W) x 132mm (H) x 315mm (D)WEIGHT9.3KgsBLOCK DIAGRAMS2 ver 01 B 26/03/09。
Waves超实用插件推荐（二）
Waves超实用插件推荐（二）压缩类CLA-76建模自最著名的模拟压缩器，录音棚中的传奇设备。
处理主唱、吉他、贝斯、鼓等等，可谓是无所不能。
这一个插件更包含Blacky和Bluey两个版本。
CLA-2ACLA-2A重现了传奇硬件原型的频率响应和平滑的声音特性，能增添平滑的谐波染色，作用于人声、吉他、贝斯都恰如其分。
以上两款压缩插件都包含于CLA Classic Compressors套装中。
API 2500API 2500是功能全面的压缩器，尤其在鼓声上的力度表现出众，通透塑形能力超强。
它本为总线压缩设计，但绝对可以为任何轨道增添质感。
混响与延迟类H-Reverb功能多样的混响插件，如果你只能选一个混响，那必须就是H-Reverb！基于开创性的有限脉冲响应混响技术，它内置均衡、压缩、调制处理、BPM同步，可以轻松制作创新的尾混响。
H-Delay老式模拟延迟的声音，以简单易用的形态呈现，即插即用，受全世界音乐人和音频工程师青睐。
它的调制和低保真功能更能带来个性音色。
Abbey Road Reverb Plates板式混响是流行乐人声等等需要闪亮质感声音的必备。
建模自Abbey Road录音棚的经典设备，无论是细微应用还是戏剧化效果，它的音色辨识度都极高。
Abbey Road Chambers这款混响的声音世界上绝无仅有，建模自Abbey Road录音棚的混响室，完全重现了Abbey Road录音棚原汁原味的S.T.E.E.D.设置，开启了回归经典声学效果的大门。
以上两款Abbey Road混响插件包含于Abbey Road Collection 套装中。
通道条类SSL E-Channel这款通道条建模自Solid State Logic 4000系列调音台，拥有极富音乐性的均衡声音和紧致有力的压缩和门限，能从容处理大多数混音工程。
包含于SSL 4000 Collection套装中。
Scheps Omni Channel多功能合一的通道条，由格莱美奖得主混音大师Andrew Scheps 钦定打造。
阿古拉TLC压缩器说明书
TLC COMPRESSOR™Aguilar’s TLC Compressor is an innovative analog Compressor that is designed to give musicians the ability to control their dynamics in a flexible and musical way, making it an invaluable musical tool for both recording and live use. Our proprietary Trans Linear Control (TLC) circuit enables us to achieve unprecedented levels of performance in a small package.The TLC Compressor features a four-knob layout to provide a full set of important features. Using a wide range of attack times and variable threshold and slope levels, you’ll be able to dial in just the right sound. Aguilar’s TLC Compressor gives you a range of control usually found only in expensive studio compressors.Features:• Threshold control: variable from -30 to -10 dBu• Slope control: variable from 2:1 to infinity• Attack control: variable from 10ms to 100ms• Level control: -infinity to -3dBu• Low Distortion: (<0.2 %)• Power: Nine-volt battery or optional universal power supply• Heavy Duty steel construction• Battery life >100 hoursOwner’s ManualManual Version 1.0I. FunctionsA. Top Panel Controls:LEVEL:Controls the volume of the output. Used for setting loudness and make-up gain.THRESHOLD:Sets the input level at which compression begins. Turning the knob clockwise causes compression to begin at lower input levels.ATTACK: Sets the amount of time before compression begins after a note is played. Turning the knob clockwise causes the attack time to become longer, allowing the leading edge of the note to be heard without compression.SLOPE: Controls the compression ratio, or slope. As you turn the knob clockwise the dynamic range is compressed more.ENGAGE: Toggles between on and off. The blue LED indicates that the effect is on.B. Side Panel Connections:IN: ¼” inputDC IN: This is a standard 2.1mm DC jack. The center terminal polarity is negative. OUT: ¼” outputC. Specifications:Current consumption…………………………...5mANoise Level: ...................................................-95 dBu ‘A’ weighted *Input impedance: ................................................1MΩ (Effect On)Output impedance: ............................................. 1 KΩDistortion: ……………………………………..< 0.2% *+Maximum Output:……. ………………………. +6dBu (1.6VRMS)Battery Life…………………..: …………….…~150hoursExternal DC Power:………………………….…9-10VDC, 20mA min, center terminal negative* = all knobs set to 12 o'clock+ = nominal input of -20dBuII. Sample SettingsPlease visit our website, , for sample settings.III. “How To”sHow to change the battery:This operation can be done quickly and easily and requires no tools!The battery is easily accessible by loosening the thumbscrew on the bottom of the unit. The battery compartment will slide forward and you will be able to see the padded area to insert the battery and attach the battery clips.Once the battery has been replaced, simply slide the compartment back in and hand tighten the thumbscrew.How to attach the unit to a pedal board:We have included two neoprene spacers to help attach the unit to a pedal board. These pieces can be attached as shown to the bottom of the unit.Once the neoprene spacers are secured to the bottom of the pedal, you can then affix a piece of Velcro to them – you are now ready to mount the Octamizer to your pedal board! We have included an additional screw that can be used to replace the thumbscrew if it's in the way of your board.IV. Warranty InformationThe TLC Compressor is covered under limited warranty against defects in materials and workmanship for a period of 3 years. This warranty is non-transferable.The warranty period starts from the date of purchase from an authorized Aguilar dealer. Please retain your sales receipt, as it is necessary to obtain warranty service.Before sending your unit to Aguilar for repair, you must receive a return authorization numberfromus.Pleasecontactusviaemail(**************************).Donotsend any products to us without first receiving a return authorization from Aguilar.You are responsible for all shipping charges. You must ship the unit to us freight prepaid. We will return the unit to you freight collect. Aguilar Amplification LLC is not responsible for shipping damage, either to or from our service center. Claims must be filed with the carrier.The only company in the US authorized to perform work under this warranty is Aguilar Amplification LLC of New York, NY.Warranty service outside the USA: Warranty Service may be different in your country. Please contact the Aguilar distributor in your country for terms and procedures.Aguilar Amplification LLC599 Broadway, 7th fl.NY, NY 10012。
限制器和压缩器的区别？
限制器（Limiter）和压缩器（Compressor）是音频信号处理中常用的两种效果器，它们在控制音频动态范围和音量方面有不同的功能和应用。
1. 限制器（Limiter）：
限制器主要用于限制音频信号的最大幅度，使其不会超过事先设定的阈值。
其主要特点包括：
- 阈值控制：限制器设置一个阈值，当信号的幅度超过该阈值时，限制器会自动调整信号的增益，使其保持在阈值以下。
- 快速反应：限制器具备快速的响应速度，可以在瞬间对音频信号进行控制，防止信号超过阈值。
- 保护音频信号：限制器能够防止音频信号超过设定的阈值，以避免音频信号失真和过载。
2. 压缩器（Compressor）：
压缩器主要用于压缩音频信号的动态范围，使其在更一致的水平范围内运行。
其主要特点包括：
- 动态范围控制：压缩器通过设置阈值、比率、攻击时间和释放时间等参数，以实现对音频信号动态范围的控制和压缩。
- 平滑反应：压缩器在响应上相对较平滑，允许在一定时间内音频信号超过阈值，然后缓慢恢复到正常范围内，以保持更自然的音频感觉。
- 调音和增强：压缩器还可以用于音频调音和增强，通过调整参数来改变信号的音色和感觉。
总的来说，限制器主要用于防止音频信号超过设定的最大幅度，保护音频设备或避免失真，而压缩器则更多地用于动态范围的调节和平衡，使音频信号在一定的范围内保持平稳和一致。
两者常常结合使用，以实现更精细和全面的音频动态处理。
广播剧后期学习——效果器档案
效果器档案（上）效果器对于录音来说，就象是你烹饪时所加入的香料--它们可以非常有效地增强现有声音的感染力，但是要想使用好这些效果器，你必须要经过一个漫长的学习过程。
遗憾的是有很多人对他们的效果器非常陌生，在使用时通常都是随意地设一个值，然后就异想天开地指望得到精彩的声音。
如果你知道了这些方盒子是如何进行工作的，你就可以更加有效地使用它们。
在下面的文章中，我们不仅列出了一些效果器通常的使用规则，还向你讲述了它们的一些重要参数、经常给我们带来麻烦的地方以及一些应用热点。
压限器（Compressor/Limiter）－概述压缩器/限制器（compressor/limiter，简称压限器）的用途是让信号的输出动态范围变小，它使较微弱的信号变大而使较大的信号变小。
其结果是使大信号与小信号之间的差别变小。
例如，压限器可以用来使snare鼓的音轨变得平淡柔和，允许整个鼓的声音在混音器上被提升到一个较高的电平，而不会使母带过载。
对于有些歌手来说，他们在进行录音时总是不能够很好地保持嘴部与麦克风之间的距离，这时候使用一些温和的压缩效果就可以使得人声音轨的表现更佳。
－工作原理一旦输入的信号电平超过了用户设定的阀值，则压缩器就将开始工作，把过高的输入电平降低。
这样得到的结果是，在增大输入电平的同时，不会造成输出电平产生同等幅度的增大。
例如，设置压缩率为2：1，则每增加2 dB的输入电平只会造成输出电平有1 dB的变化。
－重要的参数阀值（threshold）参数：决定了要被压缩或是限制的信号的上下限。
处于阀值以内的信号将不会受到影响。
比率（ratio）参数：选择了在输入信号超过阀值时，输出电平改变的方式。
较高的比率值，将导致较大的压缩，并使得声音听起来很"挤"。
非常高的比率值会导致信号产生极端的"上限成分"（ceiling）。
这叫做极限（limiting）。
输出（output）参数：提高增益可以抵消掉由于动态范围约束而产生的较低的电平。
CompressorLimiterCLA-2A压缩器
Waves 插件CLA-3A Compressor/LimiterCLA-2A压缩器
雪帝数字音频
CLA-2A建模于传奇的电子光学电子管压缩器，重现了其硬件原型的频率响应和平滑的声音特性，这些特点使其成为了世界各地音频工程师的最爱。
与60年代中期的经典之作一样，CLA-2A使得吉他和贝斯的声音更加动听，尤其能够让人声大放异彩。
Chris Lord-Alge的个人预设更为它锦上添花，提供了无穷可能性的实例，让你从中获得灵感继而超越灵感。
特点：
•建模的压缩器插件
•基于传奇的电子光学电子管压缩器
•可选压缩器及限制器模式
•在吉他、贝斯和人声上表现优异
•侧链频率滤波器
•零延迟。
Effectrode PC-2A 高级音响压缩器说明书
S p e c i f i c a t i o n s• Input impedance: Greater than 1MOhm• Output impedance: Less than 1KOhm• Controls: Peak Reduction and Gain• Features: Limit/Compress switch• All tube: Based on NOS mil-spec subminiature twin triode pencil tube operating in class-A• Photo-optical: Ultra-linear, low distortion photo-resistive attenuator• True bypass: With ‘anti-pop’ or ‘thump’ foot-switching circuitry• Power requirements: 12VDC @ 350mA - Centre positive 2.1mm barrel connector• Dimensions: Width 4.75"; Depth 3.75"• Weight: 12oz (on Earth); 1.5oz (Callisto)• Construction: Solid die-cast aluminum box• Finish: Tough light-grey powder coatSerial #Copyright © 2011 Effectrodeâ Audiophile PedalsOwner’s Manual 12 Broughton Crescent, Barlaston,Staffs, UK. ST12 9DBPC-2AI n t r o d u c t i o nThe PC-2A is the finest stompbox compressor ever built! It is uniquely different to other compressor pedals in that it utilises the same technology found in high-end, vintage studio compressors. The signal path is 100% analogue, class A, based on a new old stock (NOS) mil-spec tube and a special design Silonex photo-resistive attenuator. This attenuator has essentially instantaneous gain reduction with no waveform or harmonic distortion for musical, unobtrusive and transparent compression.The PC-2A is designed for flexibility, simplicity and outstanding sound quality. Audiophile grade components and silver solder are used throughout the circuit with precision metal-film resistors for low-noise and stability, polyester coupling capacitors for their ability to resolve fine signal detail and ground-plane layout. The result is a compressor that exhibits a level of purity and natural tone not found in solid-state VCA (voltage controlled amplifier) or variable bias designs.Thank you for trusting Effectrode to be your effects company. We wish you many, many years of musical enjoyment from this very special hand-built, all-tube pedal.Phil Taylor – Designer T u b e sThe PC-2A signal path is basedon a NOS mil-spec subminiaturetwin triode pencil tube. Raytheon(meaning, “light of the Gods”)developed subminiature tubes formilitary applications in the 1950s.These tubes are manufactured tomeet stringent Mil-E-1specification for reliability anddesigned for long service lifeunder conditions of severeshock, vibration (20,000G!), hightemperature and high altitude.Subminiature tubes represent the pinnacle of tube technology and offer more consistent musicalperformance than early germanium transistors.Additionally, the photocell exhibits a memory effect where the time it takes to recover depends on light duration and intensity. In use this results in a faster release time for short signal bursts and a slower release when the signal remains continuously above the compression threshold. This is analogous to how the human ear recovers from high sound pressure levels and is the reason why the PC-2A sounds so natural and transparent.The ‘Peak Reduction’ potentiometer sets the gain in the side-chain – the higher the gain the lower the threshold and the greater the compression will be. There are many compressor pedals that allow for direct adjustment of threshold, in contrast the PC-2A controls the side-chain gain and does not affect the signal in the audio path.Side-Chain Circuit the PC-2A is based on ‘feed-back’ control circuit like the LA-2A studio compressor. With this circuit topology the signal that is used to drive the side-chain is affected by the gain-reduced signal. This type of topology seems to be preferred over ‘feed-forward’ for its more musical characteristics.There is also some pre-emphasis on the side-chain similar to an “A” weighted filter curve. This curve characteristic approximates the response of the human ear. Here it works to minimise ‘pumping’normally associated when a compressor is processing low-frequency material.C o n t r o l sPeak Reduction knob controls both the threshold and the amount of compression. This knob should be set so that the PC-2A exhibits the desired amount of compression or sustain. A good starting point is at the 9 o’clock position, where the subtle compression enhances note detail and creates a fuller, warmer tone. Rotating this knob further clockwise progressively levels out playing dynamics to compress notes that are too loud and boosting quieter notes. This is particularly appropriate for country and funk-style licks.Gain knob should be used to match the relative levels of bypassed and effected signal. It also provides the capability to boost your guitar signal for solos and even overdrive your amp. To use the PC-2A as a tube booster and push your amp into smooth overdrive, simply turn the ‘Peak Reduction’knob fully anti-clockwise.Limit/Compress toggle switch alters the transfer characteristic of the compressor input/output curve, enabling PC-2A to operate as a compressor and limiter. When is in the ‘up’ position (compressor mode) the curve is shallower, presenting a low compression ratio which sounds subjectively more transparent. In the ‘down’ position (limiter mode) the curve is steeper resulting in a higher compression ratio, creating a fatter more squashed sound.Footswitch utilises quiet true bypass switching to reduce ‘pops’ or ‘thump’ when engaging the pedal and ensure there is no loss of guitar tone when the pedal is bypassed.Internal Knee and Attack Trimpots These are factory set, however can be adjusted by the user to tailor the compression characteristic to suit instruments that are challenging to amplify or record such as bass guitars with active high output pickups or acoustic instruments fitted with piezo pickups.T h e o r y o f O p e r a t i o nThe graph below compares the input/output characteristics of a compressor, perfect amplifier and expander. It can be seen that an amplifier provides a fixed gain independent of the signal level,whereas a compressor adjusts gain in response to changes in input level.The larger the input signal, the lower the gain,resulting in a reduction of dynamic range or compression of the signal. Conversely, an expander increases the dynamic range of a signal.Gain Reduction Circuit. The photo-resistive attenuator is the heart of the compressor and determines the attack and release characteristics.The photo-resistive device is specially selected for fast attack of less than 1ms. This is important for achieving transparent operation during gain reduction and minimising undesirable artifacts such as ‘pumping’. The electrical performance of the attenuator is a close match to the electro-luminescent (EL) panel used in the Teletronix LA-2A studio compressor. The EL panel was developed in the early 1960s to eliminate attack speed shortcomings of neon and filament photo-optical attenuators.The release time of the compressor is entirely determined by the photocell in the attenuator. The cell has a desirable two-stage decay characteristic where it releases within 40 to 80ms to approximately half its off resistance when light is absent.The remainder of the releasethen takes place over as much as several seconds.。
Waves CLA-2A插件用户指南说明书
WAVES CLA-2A User GuideTABLE OF CONTENTSChapter 1 – Introduction (3)1.1W elcome (3)1.2P roduct Overview (3)1.3A bout the Modeling (4)•Total Harmonic Distortion (4)•Variable Release Times (4)•Hum (4)•T4 (5)1.4C omponents (5)Chapter 2 – Quickstart Guide (6)Chapter 3 – Interface and Controls (7)3.1C LA-2A Interface (7)3.2C LA-2A Controls (8)3.3 The WaveSystem Toolbar (10)Appendix: CLA-2A Controls (10)Waves CLA-2A User GuideChapter 1 – Introduction1.1 WelcomeThank you for choosing Waves! In order to get the most out of your new Waves plugin, please takea moment to read this user guide.To install software and manage your licenses, you need to have a free Waves account. Sign up at . With a Waves account you can keep track of your products, renew your Waves Update Plan, participate in bonus programs, and keep up to date with other important information.We suggest that you become familiar with the Waves Support pages: /support.There are technical articles about installation, troubleshooting, specifications, and more. Plus, you’ll find company contact information and Waves Support news.1.2 Product OverviewAbout the CLA-2AThe CLA-2A is modeled on a hand-wired, tube-based compressor originally produced by Teletronix in the early 1960s. Initially intended for use in broadcast, the original used an electro-luminescentoptical attenuator called “T4” for gain reduction. Unlike many other designs, electro-luminescent circuitry doesn't add distortion when it modulates the sound. (Tubes, however, do, and we made sure to model that distortion.) Additionally, the inspiration for the CLA-2A’s frequency-dependent attack and response speed made it an instant favorite of audio engineers. However, many consider its most unique feature to be its program dependent, multi-stage release, which was achieved using a 2-stage photo-electric cell. With a Frequency Response of 30Hz to 15kHz (+/- 1dB) and < 0.5% THD, the original provided up to 40dB of gain limiting.About Chris Lord-AlgeGrammy®-winner Chris Lord-Alge is the mixing engineer of choice for pop and rock royalty.Green Day | U2 | Dave Matthews Band | Daughtry | Pink | Leona Lewis | Avril Lavigne |My Chemical Romance | All American Rejects | Nickelback | Rob Thomas | Snow Patrol |Ray LaMontagne | Miley Cyrus | Jonas Bros. | Tim McGraw | Faith Hill | Tina Turner | Rod Stewart | Celine Dion | Santana | Steve Winwood | James BrownFor almost thirty years, Chris has energized the sound of popular music. His hard-hitting mixes have transformed the radio soundscape, and introduced a new sonic vocabulary along the way. CLA’s massive hardware arsenal includes racks and racks of the most coveted compression units in music history.Waves CLA-2A User GuideWidely known among audio pros and listeners alike for his punchy sound and extreme compression techniques, Chris gave us exclusive access to model his most prized processors, and worked closely with Waves through every phase of development. Together with many of his personal presets, these precision models deliver the distinctive sound of CLA’s favorite classic compressors.1.3 About the ModelingMany different elements contribute to the unique sonic behavior of analog gear. Waves painstakingly modeled and incorporated the characteristics of the hardware into the CLA-2A, in order to fully capture and replicate the sound and performance of the original equipment. The hardware was modeled at reference levels of -18 dBFS = +4 dBu, meaning that a signal of -18 dBFS from the DAW to the hardware unit will display a meter reading of 0 VU (+4 dBu).These are some of the most important elements of analog behavior:• Total Harmonic DistortionPerhaps the most important analog behavior is Total Harmonic Distortion or THD, which is defined as the ratio of the sum of the powers of all harmonic components to the power of the fundamental frequency. THD is usually caused by amplification, and changes signal shape and content by adding odd and even harmonics of the fundamental frequencies, which can change the overall tonal balance. THD can also change peak output gain, usually by no more than +/- 0.2-0.3 dB.• Variable Release TimesIn the original modeled hardware, a T4 optical device determines compression behavior. When strong signals are introduced to the compressor input, release time constants lasting severalseconds may result. In certain cases, this may cause the same passage to sound different during successive playbacks, as the Release does not return to the unity position. This behavior isidentical to that of the original hardware, and should not be a cause for concern.• HumWaves modeled both 50Hz power current and 60Hz power current. If you listen closely, you will hear that there is a difference in hum level between 50Hz and 60Hz. Since hum is unique to each region and dependent upon local electrical conditions, you may find that the modeled hum isdifferent than the hum already present in your studio, and may not be suitable for your particular use.Waves CLA-2A User Guide• T4In the original hardware units, the T4 optical device is responsible for the amount of overallcompression and compression characteristics. These components are quite vulnerable to wear and tear, and need to be replaced, ideally, every 2 to 3 years. Depleted T4 devices result in up to 80% less compression as compared to newer components. In the course of our research, we discovered that up to 90% of T4 components in use today have never been replaced. This means that the majority of users are working with devices that compress far below the original manufacturerspecifications.If you are used to the performance and behavior of an original unit, and find that the modeled plug- in provides more aggressive compression than you are used to, it may be that you have grown accustomed to a worn-out T4 component.1.4 ComponentsWaveShell technology enables us to split Waves processors into smaller plug-ins, which we call components. Having a choice of components for a particular processor gives you the flexibility to choose the configuration best suited to your material.The CLA-2A has two component processors:CLA-2A Stereo — Two-channel compressor, with one detector for both channel pathsCLA-2A Mono — One-channel compressorWaves CLA-2A User GuideWaves CLA-2A User GuideChapter 2 – Quick Start GuideThe CLA-2A offers 2 main controls for compression, as well as additional controls for fine-tuning.• Using the Compress/Limiter toggle, select Compressor (approximately 3:1 ratio) or Limiter(approximately 100:1 ratio).• Use the Peak Reduction control to set the amount of compression desired. • Use the Gain control to adjust make up level after the compression. •Use the VU Meter to monitor Input, Output, and Gain Reduction levels.Chapter 3 – Interface and Controls 3.1 CLA-2A InterfaceWaveSystem Toolbar MakeupGain MeterPeakReduction VU DisplayCompressorModeSidechain HighFrequency FilterAnalog Section Mix Control OutputTrimWaves CLA-2A User GuideWaves CLA-2A User Guide3.2 CLA-2A ControlsGain controls the makeup gain.Range: 0 to 100 (in 0.01 steps) Initial Value: 40.00Reset Value: 32.28 (unity gain)Peak Reduction controls the amount of signal compression.Please note: The scale is not linear and has been adjusted to conform to the exact scaling of the modeled unit. Thus, there may be more compression than expected at certain steps, as with a nalog gear (most common Peak Reduction range of the LA-2A is between 30 to 50).Range: 0 to100 (in 0.01 steps) Initial Value: 46.00 Reset Value: 0Compressor Mode selects compression or limiting.Range: Comp, Limiter Default : CompWaves CLA-2A User GuideHiFreq increases voltage amplifier gain in the peak reduction circuit, for frequencies above1 kHz, leaving lower frequencies unaffected. When set to Flat, the CLA-2A will provide equal reduction to all frequencies. The more you move away from the Flat position, the less sensitive the compressor is to lower frequencies, resulting in less compression. This control may also be used as sort of a de-esser.Range : 0 to 100 (in 0.1 steps) Initial Value: 50.00 Reset Value: 100 (flat)Analog controls analog characteristics caused by noise floor and hum, based on the powersupplies of the original units.RangeOff, 50Hz, 60Hz Initial Value: 60Hz Reset Value: OffMix c ontrols the balance between the compressed and the uncompressed signal.Range: 0% to 100% (0.1% increments) Default: 100%Trim sets the output level of the plugin.Range: -18 to +18 dB (in 0.1 dB steps) Initial Value: 0 Reset Value:Waves CLA-2A User GuideVU Display toggles between Input, Gain Reduction, and Output metering.Range In, GR, Out Default GR3.3 The WaveSystem ToolbarUse the bar at the top of the plugin to save and load presets, compare settings, undo and redo steps, and resize the plugin. To learn more, click the icon at the upper-right corner of the window and open the WaveSystem Guide.Appendix: CLA-2A ControlsControlRangeDefaultGain 0–100 (0.01 steps) Initial Value: 40.00Reset Value: 32.28 (unity gain)Peak Reduction0–100 (0.01 steps) Initial Value: 46 Reset Value: 0 HiFreq 0–100 (0.1 steps) Initial Value: 50 Reset Value: 100Compressor ModeComp, Limiter CompAnalogOff, 50Hz, 60Hz Initial Value: 60Hz Reset Value: OffVU DisplayIn, GR, Out GRMIX 0–100% 100% Trim-18 dB to +18 dB。
各种效果器简介
压缩（COMPRESSOR）：制造出接近原音的，没有失真的持续效果的效果器。
Compression上通过较大的音压低其音量，对较小的音提高其音量，使音量平均化，从而获得sustain。
另外，所谓没有失真，是指为使起奏音能变化而形成的与原音韵味不同的独特的Compression.sound。
压缩的作用在于调节各音的响度使之音量达到均衡，它可以防止你弹奏得过强或过弱。
压缩单元一般称为压缩器，它装有特别的放大线路，当你弹得太弱时，它可以提高增益（音量电平）；当你弹得太强时，它可以降低增益。
压缩效果一般可以通过以下三个方面来调节：1、阀值（threshold）：决定什么时候对信号进行压缩或不压缩。
设定阀值后，压缩只对大于阀值的信号进行压缩。
2、时间（release time）：设定压缩发挥作用的时间。
3、延音（sustain）：对信号进行延长。
4、ATTACK：很难用中文解释，主要作用是控制触弦时的音头力度大小。
限制（Limiter）：原理跟压缩器一样，只不过ratio设的很高(例如200:1)，可使吉他音量超过Threshold(门槛)后，就不会再增加。
Limiter(限幅器)具有限制一定音量以上的峰值（peak）的功能的效果器。
也就是说：消除音量的多余部分，防止由于过大输入而引起的失真，在不改变音色的情况下就能获得很纯正的音质持续效果。
噪音门（NOISE GATE）：原理跟压缩器一样，只不过ratio 设定到无限大。
所以当吉他音量低过Threshold (门槛)后，NOISE GATE开始把所有的声音砍掉，这样可以控制噪音。
噪音门的作用就是将信号噪声吸掉，让吉他的音色变的干净。
但注意，过多的加入噪音门会影响演奏时的力度表现和声音的尾音。
哇音（Wah-Wah）：保持特定的周波数内峰值，通过踏板使其运动的效果器。
音调的旋钮就是踏板，特定的音域比原音更加显明地被强调，其他的音域听起来就弱，这是其特征。
一般来说，向前踏，音就尖锐，返回来，音就变得圆滑。
音乐制作中常用的压缩器插件
音乐制作中常用的压缩器插件在音乐制作过程中，压缩器插件是一种十分有用的工具。
它能够对音频信号进行动态处理，使得音频更加平衡和清晰。
本文将介绍几款常用的压缩器插件，并对其功能和特点进行详细说明。
一、Waves SSL G-Master Buss CompressorWaves SSL G-Master Buss Compressor是一款经典的压缩器插件，它基于著名的SSL 4000 G系列音频控制台。
该插件以其出色的音频处理能力而闻名，能够有效控制音频信号的动态范围，使得音频的各个元素更加清晰和平衡。
该插件提供了多种参数调节选项，包括阈值、攻击时间、释放时间等，用户可以根据需要进行调整，以满足不同的音频处理需求。
二、FabFilter Pro-C 2FabFilter Pro-C 2是一款功能强大的压缩器插件，提供了多种压缩算法和调节选项。
该插件具有直观的界面和灵活的参数控制，使得用户可以轻松地对音频进行精确的动态处理。
Pro-C 2提供了各种压缩模式，包括清晰度、平衡和强度等，用户可以根据音频特性选择适合的模式。
此外，该插件还提供了在可视化模式下对音频进行实时监测的功能，方便用户在处理过程中进行参考和调整。
三、Universal Audio LA-2AUniversal Audio LA-2A是一款模拟经典的压缩器插件，基于传奇般的LA-2A硬件设备。
该插件通过模拟LA-2A的硬件电路和特性，为用户提供了丰富的音频处理效果。
LA-2A以其独特的音质和温暖的特点而受到音乐制作人的喜爱。
该插件提供了简洁的参数控制界面，使得用户可以迅速调整压缩效果，并为音频增添所需的色彩和动态。
四、iZotope Ozone DynamicsiZotope Ozone Dynamics是一款全能型的动态处理插件，集成于iZotope Ozone套装中。
该插件提供了多种压缩模式和算法，使用户能够根据需要进行细致的动态处理。
CLA-2A CompressorLimiter电子管压缩器
waves下载——CLA-2A Compressor/Limiter电子管压缩器
雪帝数字音频
CLA-2A Compressor/Limiter
CLA-2A建模于传奇的电子光学电子管压缩器，重现了其硬件原型的频率响应和平滑的声音特性，这些特点使其成为了世界各地音频工程师的最爱。
与60年代中期的经典之作一样，CLA-2A使得吉他和贝斯的声音更加动听，尤其能够让人声大放异彩。
Chris Lord-Alge的个人预设更为它锦上添花，提供了无穷可能性的实例，让你从中获得灵感继而超越灵感。
特点：
1.建模的压缩器插件
2.
2.基于传奇的电子光学电子管压缩器
3.可选压缩器及限制器模式
4.在吉他、贝斯和人声上表现优异
5.侧链频率滤波器
6.零延迟。
DRAWMER MX30双门限压缩器操作手册说明书
DRAWMERMX30DUAL GATED COMPRESSOR OPERATORS MANUALCONTENTSSAFETY CONSIDERATIONS page 1INTRODUCTION page 2INSTALLATION page 3•Audio Connections page 3•Power Connection page 5CONTROL DESCRIPTIONS page 6•Gate / Expander page 6•Compressor page 7•Limiter page 8•Linking page 8OPERATION page 9IF A FAULT DEVELOPS page 10 CONTACTING DRAWMER page 10 TECHNICAL SPECIFICATION page 11 BLOCK DIAGRAM page 12 SESSION RECALL SHEET page 13iCOPYRIGHTThis manual is copyrighted © 2011 by Drawmer Electronics, Ltd. With all rights reserved. Under copyright laws, this manual may not be duplicated in whole or in part without the written consent of Drawmer.ONE YEAR LIMITED WARRANTYDrawmer Electronics Ltd., warrants the Drawmer MX30 audio processor to conform substantially to the specifications of this manual for a period of one year from the original date of purchase when used in accordance with the specifications detailed in this manual. In the case of a valid warranty claim, your sole and exclusive remedy and Drawmer’s entire liability under any theory of liability will be to, at Drawmer’s discretion, repair or replace the product without charge, or, if not possible, to refund the purchase price to you. This warranty is not transferable. It applies only to the original purchaser of the product.For warranty service please call your local Drawmer dealer. Alternatively call Drawmer Electronics Ltd. at +44 (0)1709 527574. Then ship the defective product, with transportation and insurance charges pre-paid, to Drawmer Electronics Ltd., Coleman Street, Parkgate, Rotherham, S62 6EL UK. Write the RA number in large letters in a prominent position on the shipping box. Enclose your name, address, telephone number, copy of the original sales invoice and a detailed description of the problem. Drawmer will not accept responsibility for loss or damage during transit.This warranty is void if the product has been damaged by misuse, modification or unauthorised repair.THIS WARRANTY IS IN LIEU OF ALL WARRANTIES, WHETHER ORAL OR WRITTEN, EXPRESSED, IMPLIED OR STATUTORY. DRAWMER MAKES NO OTHER WARRANTY EITHER EXPRESS OR IMPLIED, INCLUDING, WITHOUT LIMITATION, ANY IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, OR NON-INFRINGEMENT. PURCHASER’S SOLE AND EXCLUSIVE REMEDY UNDER THIS WARRANTY SHALL BE REPAIR OR REPLACEMENT AS SPECIFIED HEREIN.IN NO EVENT WILL DRAWMER ELECTRONICS LTD. BE LIABLE FOR ANY DIRECT, INDIRECT, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES RESULTING FROM ANY DEFECT IN THE PRODUCT, INCLUDING LOST PROFITS, DAMAGE TO PROPERTY, AND, TO THE EXTENT PERMITTED BY LAW, DAMAGE FOR PERSONAL INJURY, EVEN IF DRAWMER HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.Some states and specific countries do not allow the exclusion of implied warranties or limitations on how long an implied warranty may last, so the above limitations may not apply to you. This warranty gives you specific legal rights. You may have additional rights that vary from state to state, and country to country.In the interests of product development, Drawmer reserve the right to modify or improve specifications of this product at any time, without prior notice.iiDRAWMER MX30Dual Gated CompressorSAFETY CONSIDERATIONSCAUTION - MAINS FUSETO REDUCE THE RISK OF FIRE REPLACE THE MAINS FUSE ONLY WITH THE SAME TYPE, WHICH MUST BE A CLASS 3, 250 VOLT, TIME DELAY TYPE, RATED AT 32mA WHERE THE MAINS INPUT IS SET TO 230 VOLTS AC. AND 63mA WHERE THE MAINS INPUT VOLTAGE IS 115 VOLTS AC.ALL FUSES MUST COMPLY WITH IEC 127-2.THE FUSE BODY SIZE IS 20mm x 5mm.CAUTION - MAINS CABLEDO NOT ATTEMPT TO CHANGE OR TAMPER WITH THE SUPPLIED MAINSCABLE.CAUTION - SERVICINGDO NOT PERFORM ANY SERVICING. REFER ALL SERVICING TOQUALIFIED SERVICE PERSONNEL.WARNINGTO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.INTRODUCTIONThe MX30 is a dual channel gate and compressor-limiter designed to fulfil the needs of professional studio and live sound applications. It may be used in balanced systems at +4dBu operating levels, or unbalanced at -10dBu.In order to maximise flexibility while simplifying set up and operation, several new design concepts have been incorporated. The compressor section combines aspects of both the traditional ratio style compressor and the soft-knee approach, making it equally adept at creative work and unobtrusive level control. The control layout resembles that of a straight ratio style unit but the transition from unity gain to gain reduction at the selected ratio is progressive and occurs over a nominal 10dB input level range.Traditionally, soft-knee compressors have been preferable for unobtrusive level control where the original sound is to be changed as little as possible, whereas ratio type compressors are generally considered more successful in creative applications or where large amounts of gain reduction are required. By combining these two elements, the MX30 is capable of outstanding results in a very wide range of studio and live sound situations.One of the perennial problems in using compression is that maximum system gain occurs during extremely quiet passages or pauses which results in an increase in background noise, the degree depending on how much compression is being used. The accepted way of dealing with this problem is to include in the compressor, a separate gate section with its own threshold control so that a low level gating action may be applied to keep pauses clean. However, the problem with simple gates is that, even when properly set up, they may unwittingly process low level sounds as they have no means of identifying them from noise. On a vocal track, for example, this can lead to the starts or endings of words being accidentally removed, especially if the singer has a wide dynamic range.The MX30 uses a proprietary Programme Adaptive gate circuit that varies its ratio depending on the dynamics of the signal being processed. Because the onset of gating is progressive, those low level signals most at risk will be treated to a lower ratio of gating (like an expander) while the residual noise during pauses will be subjected to a higher expansion ratio and will, in consequence, be attenuated more. The outcome is a gate that requires less stringent setting up and is more tolerant of wanted sounds that are only slightly above the residual noise floor.A further feature of the MX30 is a peak limiter that allows the user to set an absolute output signal level that will not be exceeded. If the peak limiter threshold is exceeded for more than a few milliseconds, additional gain reduction will be applied to reduce the overall signal level to within accepted limits without distortion. Once the peak has passed, the system gain will return to normal over the period of about one second. This facility is extremely valuable both in live sound applications, for driver protection, and in digital recording where an absolute maximum recording level exists. Furthermore, when overdriven, it can be used creatively to produce deliberate level pumping effects.INSTALLATIONThe MX30 is designed for standard 19" rack mounting and occupies 1U of rack space. Avoid mounting the unit directly above power amplifiers or power supplies that radiate significant amounts of heat. Fibre or plastic washers may be used to prevent the front panel becoming marked by the mounting bolts.AUDIO CONNECTIONSInput and Output connections are provided for use at +4dBu via balanced XLRs or at -10dBu via unbalanced jacks. It is permissible to use both +4dBu and -10dBu outputs simultaneously. If unbalanced operation at +4dBu is required, simply connect the unused terminal to Ground inside the XLR cable plugs. This applies to both inputs and outputs. The wiring convention for XLR being: pin 1 Ground, pin 2 Hot and pin 3 Cold. For use with unbalanced systems, the Cold pin 3 must be grounded at both input and output XLRs.Interference:If the unit is to be used where it maybe exposed to high levels of disturbance such as found close to a TV or radio transmitter, wesuggest that the unit be operated using the XLR connectors. Thescreens of the signal cables should be connected to the chassisconnection on the XLR connector as opposed to connecting topin1. The MX30 fully conforms to the EMC standards.Ground Loops:If ground loop problems are encountered, never disconnect the mains earth, but instead, try disconnecting the signal screen onone end of each of the cables connecting the outputs of the MX30to the patchbay. If such measures are necessary, balanced (XLR)operation is recommended.Level Conversion:It is possible to apply an input to the MX30 at only one of the two possible levels, say !10dB via the jack socket, and utilise both ofthe output levels and cable options of !10dB and +4dBsimultaneously.One useful example of this connection option would be if the unitwas used to process a keyboard - commonly these have an outputlevel of !10dB, and are terminated with jack sockets. It is feasibleusing the MX30s dual output capability to use the !10dB jack inputto feed from the keyboard and the !10dB output onwards to theamplifier, and the +4dB balanced XLR connector for a direct feedto the mixing console. This removes the need for any DI box orcable splitter. In this example, ground loop considerations may berequired.AUDIO CONNECTION DIAGRAMAccessing the internal power switch and fusePOWER CONNECTION If, for some reason, the unit is to be operated at a mains input voltage which is different to that as supplied, the following procedure must be carried out by a qualified technical engineer.1: Disconnect the unit from the mains.2: Using a number 1 size pozidrive screwdriver, remove the sevenself-tapping screws that retain the top cover.3. Set the voltage rating andreplace the fuse.4. Replace the cover.CONTROL DESCRIPTIONBoth channels of the MX30 are identical and may be used completely independently or linked for stereo operation. In the linked mode, only the left-hand channel controls are functional and serve as master controls, though the channel bypass switches remain independent. In linked mode, the compressor / limiters, peak limiters and gates / expanders of the two channels track together to avoid the inevitable image shifting that would occur if the two channels of a stereo signal were treated independently.GATEThreshold:This control sets the level below which gating starts to take place and may be set in the range -70dB to +20dB. The red LED whichsignifies signal below threshold, and green LED (signifying signalsabove threshold) will indicate the gate activity. Note: because thegate / expansion ratio varies with signal level, it is possible toarrive at a situation where the two LEDs may show some actionwhen little or no perceived gain reduction is taking place.This means that the gate Threshold may need to be set a littlehigher than it would with a conventional gate and final setting isbest done by ear. The adaptive gating system used in the MX30means, however, that setting up is not over-critical and the gatingaction is far more progressive.Release:Either a fast or slow release time may be selected depending onthe material being processed. Fast release is achieved with theswitch out and Slow release with the switch depressed. Percussivematerial with little or no reverb is best treated using the fastrelease setting, whereas material with slow decays or a significantamount of added reverberation will usually respond better to thelonger release setting.COMPRESSORThreshold:This control determines the input level above which gain reduction will be applied and may be set in the range -40 to +20dB. Soft kneecompression takes place for signals exceeding the threshold levelby up to 10dB above which level, conventional 'ratio' compressionis applied.Ratio:Sets the final compression ratio that will be applied once the 10dB 'soft-knee' region is exceeded. The ratio may be continuouslyadjusted from 1.2:1 to 4 (infinity):1 allowing the possibility of truehard limiting.Gain ReductionMeter: A nine segment LED bargraph meter continuously monitors the gain reduction applied by the compressor/limiter over the range 0to 30dB.OUTPUTGain:The output level may be attenuated or amplified by up to 20dB to compensate for level changes caused by compression and limiting.This control comes before the Peak limiter detector and this factshould be taken into account when setting the Peak limiterthreshold.Input / OutputLevel Meter:This is an eight-segment LED bargraph level meter that monitors the level of the output signal over the range -20dB to +15dB withreference to the selected (-10dBu or +4dBu) operating level. WhenBypass is enabled, this meter will show the level of theunprocessed signal passing through the unit.PEAK LIMITERLevel:Sets an absolute limit to the level that the output signal will not be permitted to exceed. This limiter is very fast acting enabling it tocontrol any peaks without audible distortion. If the output signal isso high as to cause the limiter to operate for more than 20mS, thesystem gain is automatically reduced to bring the signal backwithin range. The system gain is then returned to normal over aperiod of approximately one second. The compressor Gain controlshould be used to ensure that the peak limiter operates only rarelyif at all, if it is to be used purely for peak protection. Alternatively,it may be deliberately driven into limiting to produce creativeeffects.Bypass:This switch causes all signal processing for this channel to bedisabled. Normally the switch is used to compare the rawunprocessed signal verses with any gating, compression andlimiting of the audio input.LINKINGMaster:Depressing this switch configures the unit in stereo mode wherethe left-hand channel controls act as master for both audiochannels, (except the Bypass buttons which always function fortheir respective channels).The same degree of gain reduction is applied to both audiochannels to prevent image shifting which would otherwise occurwhenever the left and right signal dynamics varied from each otherby any significant degree.OPERATIONThe unit should be connected in line with the signal to be processed via suitable insert points. Ensure that the insert send and return level on your console matches the MX30 input/output sockets that are being used.For single channel use, each channel may be considered as completely independent and set up accordingly. For use with stereo signals, such as complete mixes or submixes, the unit should be switched to Stereo Link mode and all setting up done using the left-hand channel controls, except the Bypass buttons, which are always independent.Setting up is simpler if the Gate is initially turned off and the Peak Limiter threshold set to maximum. This allows the compressor/limiter to be set up in isolation. The ratio setting depends on how firmly the signal dynamics need controlling; as a rule, higher ratios provide a higher degree of control but also tend to be more audible in operation when high levels of gain reduction are required. The integral soft-knee feature of the MX30 renders these effects far less pronounced, but this factor should still be taken into consideration when setting up. In general, a higher compression ratio may be used than on a conventional compressor without compromising the sound quality.Setting up is now simply a matter of adjusting the Threshold control until the desired amount of gain reduction occurs. This is judged partly by ear and partly by observing the gain reduction meter. Usually, a maximum gain reduction of between 6dB and 10dB will be adequate. If more gain reduction appears necessary, it is worth considering applying a conservative degree of compression during recording and then further compression while mixing.Compressing during a mix does increase the subjective level of tape and other background noises during pauses and quiet passages but, unless the noise contamination is serious, the Gate section will be able to attenuate it to a very high degree without compromising the wanted signal.Compressors are often accused of dulling the sound being processed, and a little explanation is needed to understand exactly why that is. What happens is that bass sounds, which contain most of the energy in a typical piece of music, cause the compressor to operate, and so any quieter, high frequency sounds occurring at the same time as the bass sound will also be turned down in level. That is why the cymbals and hi-hats in a heavily compressed drum track seem to dip in level whenever a loud bass drum or snare drum beat occurs.At this point, the Gate Threshold may be set up and you should try both release time settings to see which is least obtrusive in operation. For all but sharp percussive sounds, the longer setting is likely to give the best results. Set the threshold using a piece of program material that contains pauses, and adjust the threshold to be as low a dB level as possible while still attenuating the noise during pauses. Listen carefully to how the sounds come in after the pauses and how cleanly they fade away again: if you can hear the gate changing the sound in an unacceptable way, then the threshold is probably set too high.Because the Gate is self-adapting to the programme dynamics, it should be possible to obtain far more satisfactory results than are possible with conventional gates. Similarly, do not assume that because the gate threshold LEDs flicker during a piece of quiet but wanted material that it is having a detrimental effect. When it first comes into play, the ratio of expansion is very low, so trust your ears!Finally, set the Gain control to give the required output level using the level meter to guide you. Avoid running at very high output levels as this reduces the available amount of signal headroom and could lead to distortion in extreme cases. Once the gain is correct, set the Peak Limiter Level control so that the limiter LED only lights briefly on extreme signal peaks. Alternatively, set the Peak limiter Level to the desired value and then adjust the compressor Gain control to ensure minimum limiter activity.If required, the Gate may be used on its own with the compressor and limiter functions disabled. The Peak limiter has no separate on / off control, but turning the Level control fully clockwise will prevent any unwanted limiter action. To effectively bypass the compressor section turn the compressor Threshold up to its maximum of +20dB (fully counter-clockwise), set the Ratio to its lowest setting of 1.2:1 and adjust the Gain to approximately 0dB.IF A FAULT DEVELOPSFor warranty service please call Drawmer Electronics Ltd. Or their nearest authorised service facility, giving full details of the difficulty. On receipt of this information, service or shipping instructions will be forwarded to you. No equipment should be returned under the warranty without prior consent from Drawmer or their authorised representative.For service claims under the warranty agreement a service Returns Authorisation (RA) number will be given. Write this RA number in large letters in a prominent position on the shipping box. Enclose your name, address, telephone number, copy of the original sales invoice and a detailed description of the problem.Authorised returns should be prepaid and must be insured. All Drawmer products are packaged in specially designed containers for protection. If the unit is to be returned, the original container must be used. If this container is not available, then the equipment should be packaged in substantial shock-proof material, capable of withstanding the handling for the transit.CONTACTING DRAWMERDrawmer Electronics Ltd., will be pleased to answer all application questions to enhance your usage of this equipment. Please address correspondence to:Drawmer (Technical Help line) : Coleman St.: Parkgate : Rotherham : S62 6EL : UK or, E-mail us on :****************Drawmer dealers, Authorised service departments and other contact information can be obtained from our web pages on TECHNICAL SPECIFICATIONS(Measurements taken using +4dBu balanced XLR input where applicable) INPUT IMPEDANCE20KOhm (bal), 4KOhm (unbal)MAXIMUM INPUT LEVEL+21dBuOUTPUT IMPEDANCE50 Ohm (bal), 100 Ohm (unbal)MAXIMUM OUTPUT LEVEL+20dBuBANDWIDTH<10Hz to 36KHz -1dBCROSSTALK@ 10KHz!94dB@ 1KHz<100dBPOWER REQUIREMENTS115Volt or 230Volt at 50-60Hz, 9 WattsFUSE RATING T32mA for 230Volt, T63mA for 115VoltCONFORMING TO IEC 127-2FUSE TYPE20mm x 5mm, Class 3 Slo-Blo, 250Volt working CASE SIZE482mm (w) x 44mm (h) x 200mm (d)WEIGHT (incl packaging) 3.2 KgsBLOCK DIAGRAM。
500 Series 高级压缩器 限制器说明书
500 Series Compressor/Limiter with Dynamic Presence ControlCOMPRESSOR LIMITER 522##Compact 500 Series premium compressor/limiter with dynamic presence control##Fully variable dynamic presence feature preserves high mid-range frequencies for a more natural sound during compression##Dynamic presence control adds “air” to vocals without introducing noise or pumping effectsand reduces the risk of feedback during live performances##Manual envelope controls with linear peak-sensing compression or easy to use Auto mode with RMS compression##Soft or hard knee compressor response with selection switch ##Sidechain high pass filter with selection switch eliminates undesirable low frequency compression artefacts##High performance electronically balanced input stage with high common-mode rejection##Discrete transistor driventransformer balanced output stage ##Precision gain reduction and signal level metering##True hardware bypass selection switch removes all circuitry from the signal path when compression is not requiredThe COMPRESSOR LIMITER 522 brings state of the industry dynamics control to a compact 500 Series format processor that is good enough to wear the MIDAS name. When used in conjunction with the LEGEND L10, L6, or other standard 500 Series rackmount chassis, the 522 provides the ideal solution for users seeking the legendary MIDAS sound in a modular format that boasts upgraded,premium-quality performance. Additionally, the 522’s dynamic Presence control enables operators to add “air” to vocals without the unwanted noise or pumping effects found in competing products – and reduces the risk of feedback occurrence during live performance.Importance of DynamicsDynamics play a major role in music; they help to convey emotion, whether it’s a sultry blues guitar solo, a vocalist belting out his/her message – or the punchy impact of a bass guitar or kick drum. Those dynamics are the essence of a natural sounding performance; it is what makes music interesting. But out of control dynamics can instantly mar an otherwise perfect performance. That is where compression comes to the rescue – softening loud sounds and boosting low signal levels that can often get lost in the mix. The resulting compressed signal creates a much more dense, impactful sound with richness and room for subtle nuances to come through.500 Series Compressor/Limiter with Dynamic Presence ControlCOMPRESSOR LIMITER 522##Power up mute relays prevent switch on thumps##Premium quality components throughout for a crystal-clear audiophile signal path ##10-Year Warranty Program*##Designed and engineered in the U.K.Manual or Auto ModesWhen operating in its default mode (Auto switch not engaged) the 522 functions as a peak-sensing compressor, providing tight peak control via instantaneous changes in gain reduction, which produces more obvious compression. This allows the operator to manually adjust the compressor attack and release times so that the compressor operates in peak mode with linear attack curves. When the Auto switch is engaged, the manual attack and release controls are bypassed and the compressor operates in RMS mode, automatically adjusting the attack and release based on the averaged input signal andthe threshold/ratio settings. This produces a smooth, more relaxed compression that is perceived as more musical and natural sounding.Variable Dynamics & “Air ”The range of mid-high audio frequencies (centered around 5 kH z) can be boosted to increase the sense of presence of vocals and solo instruments. As 522’s Presence control is adjusted above minimum, those mid-high frequencies are increasingly boosted during compression, allowing a sound or instrument to cut through or seem more present in the mix. This variable presence function enables the 522 to effectively operate with two different ratios, one for low frequencies (LF) and the other for mid-high frequencies (reduced ratio). The primary effects are: heavy compression and dynamic control can be applied withoutsounding unnatural; and the reduced compression in the human ear’s most sensitive range makes the material sound brighter. However, since high frequency (HF) make up gain is not required, unwanted noise, pumping, and howl-round during quiet passages are all greatly reduced.500 Series Compressor/Limiter withDynamic Presence ControlCOMPRESSORLIMITER 522Soft or Hard KneeAnother element that affects how natural the output sounds when compressed is how the signalis addressed at and around the knee, or threshold point. By default the 522 is set to Soft kneecompression (switch out), which tends to sound more natural as it blurs the distinction betweenover and under threshold signals, leaving signals below threshold unaffected, while signals just overthreshold get compressed at greatly reduced ratios. Only at the point where the signal level risessignificantly above the threshold is full-ratio compression applied. This performance is similar to thatof many vintage compressors due to non-linearities in gain reduction. When the Hard knee switchis activated, the 522 operates in a more surgical fashion with a more sharply defined transitionbetween under and over threshold, making it ideal for limiting style compression. In this mode asmall amount of Soft knee is retained to keep the sound reasonably natural.Sidechain HPFCOMPRESSOR LIMITER 522’s Sidechain high pass filter (HPF) switch lets you insert a 200 Hz HPF intothe compressor side chain, which keeps LF signals from dominating overall signal compression –and effectively eliminates the unwanted artefacts and pumping effects on higher frequencies.High Performance Balanced Input StageDecades of experience, paired with the premium-grade components that make up every input stagewe build, ensures the ultimate in signal integrity that is the very foundation of our design process.That warm and organic MIDAS sound has been heard by millions of concert goers – and recordedfor posterity on countless live albums. The input stage of the 522 is second to none with its low noiseperformance, which boasts an enviable Common Mode Rejection Ratio (CMRR) of -70 dB @ 1 kHz.500 Series Compressor/Limiter withDynamic Presence ControlCOMPRESSOR LIMITER 522Transistor Driven Transformer Balanced OutputThe output stage of any audio processor is the most critical when it comes to maintaining signal integrity, so the 522 utilises discrete bipolar transistors for both their low distortion and noise characteristics. To finalise the balanced output, a premium quality transformer is employed in order to minimize distortion and maximize clean headroom. 522’s transformer also provides galvanic isolation and generates a more vintage sound, and becomes saturated at lower frequencies to add colour when driven hard.Precision MeteringThe COMPRESSOR LIMITER 522 provides at-a-glance metering with LED stacks that display Gain Reduction and Level independently of each other. The 6 segment Level meter reads from -30 dBu to +20 dBu in 10 dB steps, while the 10 segment Gain Reduction meter reads from -2 dB to -20 dB in 2 dB steps.True Hardware Bypass & Power Up MuteFor those occasions when compression is not needed, 522’s IN switch can be disengaged to remove all circuitry from the signal path via true hardware relay bypass. Additionally, true bypass mode engages should the chassis become accidentally powered down.500 Series Compressor/Limiter with Dynamic Presence ControlCOMPRESSOR LIMITER 522You Are CoveredWe always strive to provide the best possible Customer Experience. Our products are made in our own MUSIC Tribe factory using state-of-the-art automation, enhanced production workflows and quality assurance labs with the most sophisticated test equipment available in the world. As a result, we have one of the lowest product failure rates in the industry, and we confidently back it up with a generous Warranty program .500 Series Compressor/Limiter with Dynamic Presence ControlCOMPRESSOR LIMITER 522Dimensions155,80[6.1339]146,80[5.7795]3,00[0.1181]37,90[1.4921]132,08[5.2000]500 Series Compressor/Limiter with Dynamic Presence ControlCOMPRESSOR LIMITER 522Technical SpecificationsControlsThreshold -50 dBu to +25 dBu knob Ratio 1:1 to ∞ knob Attack 0.1 ms to 20 ms knob Release 50 ms to 2 seconds knob Presence Minimum to maximum knob Makeup gain0 dB to +18 dB knobHard knee/soft knee S witch Sidechain high pass filter S witch Automatic attack and release S witch Compressor in S witchInput and OutputInput Mono, balanced line OutputMono, balanced via transformerSystemNoise at unity gain -95 dBu (22 Hz - 22 kHz)CMRR, unity gain, 1 kHz -70 dB (typical)Input impedance, 1 kHz 20 kΩFrequency response, unity gain 20 Hz - 20 kHz, +/- 0.5 dBDistortion, unity gain, 1 kHz 0 dBu <0.01% +10 dBu <0.1% +20 dBu<0.5%Maximum input level, 1 kHz +21 dBu Maximum output level, 1 kHz +21 dBu Output impedance, 1 kHz 50 ΩThreshold range -50 dBu to +25 dBu knob Ratio 1:1 to ∞Attack 0.1 ms to 20 ms Release 50 ms to 2 secondsPresenceMinimum (fl at) to maximum (typically -3 dB below the source signal level, during gain reduction)Presence centre frequency 5 kHz, bandwidth typically 4 octaves Make up gain 0 dB to +18 dBGain reduction meter 10 segment, 2 dB to 20 dB in 2 dB steps Output level meter6 segment, -30 dBu to +20 dBu in 10 dB steps Side chain high pass filter200 Hz, 12 dB per octavePower RequirementsVoltage+16 V and -16 V Power consumption130 mA, 4.2 WPhysicalDimensions (H x W x D) 132 x 38 x 174 mm (5.2 x 1.5 x 6.9")Weight0.7 kg (1.5 lbs)500 Series Compressor/Limiter with Dynamic Presence ControlCOMPRESSOR LIMITER 522Architecture & Engineering SpecificationsThe Midas 522 module shall provide a single channel compressor/limiter in a standard format 500 series single width module.The 522 module shall provide a fully variable threshold control with a range of -50 dBu to +25 dBu.The 522 module shall provide a fully variable ratio control with a range of 1:1 to infinity.The 522 module shall provide a fully variable attack control with a range of 0.1 ms to 20 ms.The 522 module shall provide a fully variable release control with a range of 50 ms to 2 s.The 522 module shall provide a fully variable dynamic presence control with a range from a flat response to a maximum of 3 dB below the current input signal level. The presence control shall only provide boost during gain reduction. The presence control shall have a centre frequency of 5 kHz and a bandwidth of typically 4 octaves.The 522 module shall provide a fully variable make up gain control with a range of 0 dB to +18 dB.The 522 module shall provide a hard knee pushbutton switch to select between soft and hard knee compression modes.The 522 module shall provide a side chain high pass filter in pushbutton switch to enable the 200 Hz, 12 dB per octave side chain filter.The 522 module shall provide an auto switch to enable automatic program dependant attack and release.The 522 module shall provide a compressor in pushbutton switch to enable or bypass the compressor/limiter. In the event of power loss true hardware bypass shall be enabled.The 522 module shall provide a 10 segment gain reduction meter with a range from 2 dB to 20 dB in 2 dB steps.The 522 module shall provide a 6 segment output level meter with a range from -30 dB to +20 dB in 10 dB steps.The 522 module shall not provide a compressor link or external key function.The 522 module shall provide power up relays to prevent switch on thumps at the output.The 522 module shall provide an electronically balanced audio input with an impedance of 20 kΩ connected to a standard 500 series rack via the modules 15 pin edge connector.The 522 module shall provide a transformer balanced audio output with an impedance of 50Ω connected to a standard 500 series rack via the modules 15 pin edge connector.The 522 module shall be powered from a standard 500 series rack unit and requires +/- 16 VDC @ 130mA.The 522 module dimensions shall be 132 mm high x 38 mm wide x 174 mm deep (5.2 x 1.5 x 6.9"). The nominal weight shall be 0.7 kg (1.5 lbs).The Compressor/limiter shall be the Midas model 522, and no other alternative shall be acceptable.COMPRESSOR LIMITER 522500 Series Compressor/Limiter withDynamic Presence ControlCOMPRESSOR LIMITER 522500 Series Compressor/Limiter withDynamic Presence Control11 of 12500 Series Compressor/Limiter with Dynamic Presence ControlCOMPRESSORLIMITER 522For service, support or more information contact the MIDAS location nearest you:Europe M USIC Tribe Brands UK Ltd.Tel: +44156 273 2290 Email: C ***********************************************************************USA/Canada M USIC Tribe Commercial NV Inc.Tel: +1 702 800 8290 Email: C***********************************************************************JapanMUSIC Tribe Services JP K.K.Tel: +81 3 6231 0453 Email: C***********************************************************************MUSIC Tribe accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph, or statement contained herein. Technical specifications, appearances and other information are subject to change without notice. All trademarks are the property of their respective owners. MIDAS, KLARK TEKNIK, LAB GRUPPEN, LAKE, TANNOY, TURBOSOUND, TC ELECTRONIC, TC HELICON, BEHRINGER, BUGERA and COOLAUDIO are trademarks or registered trademarks of MUSIC Tribe Global Brands Ltd. © MUSIC Tribe Global Brands Ltd. 2018 All rights reserved.500 Series Compressor/Limiter with Dynamic Presence ControlCOMPRESSORLIMITER 522。
Waves——各种压缩器介绍
Waves——各种压缩器介绍了解不同类型的压缩器，以及在混⾳中何时使⽤适合的压缩很重要。
在这篇⼩指南中，我们把各种压缩器都摆出来：VCA压缩、FET压缩、Optical光学压缩、Variable-Mu压缩，以及数字压缩器插件。
了解这些之后，你关于压缩知识的阈值也将⼤⼤提升哦！在⾳乐制作和⾳乐⼯程设计时，压缩器对于动态控制和声⾳染⾊⾄关重要。
不过许多不同的压缩器类型却可能会令⼈很困惑——在哪些时候⽤那种压缩器才好呢？别担⼼，这篇⽂章就来简明扼要地介绍下不同压缩器类型，并讲讲通常如何使⽤它们。
⼀旦了解了不同压缩机类型的优缺点，你就可以更容易地判断，在特定情况下选择哪⼀种了。
这⾥推荐的应⽤程序只是基于各种压缩器使⽤⽅式的⼀个基本指导。
但如果适合于你的⾳乐，也不⽤受限于任何条条框框。
切⼊正题，让我们先从模拟压缩器开始。
很多插件都在模拟这些经典设备设计的特性，所以了解它们的⼯作原理和优缺点，以及它们彼此之间的区别，是⾮常有⽤的。
VCA压缩器VCA是“voltage-controlled amplifier”（电压控制放⼤器）的⾸字母缩写，也是这类压缩器电路的核⼼部件。
VCA压缩器对⾼于⽤户设定阈值的峰值作出反应。
VCA压缩机具有快速的响应，因此是处理峰值类、节奏性或强瞬态素材的理想选择。
许多VCA压缩机具备对各种压缩参数的精确控制，包括阈值、⽐率、启动和释放时间、增益补偿，有时还有拐点。
这些丰富的控制使得VCA压缩机成为通杀型的全功能动态处理器。
根据你的设置⽅式，VCA压缩可以很通透，也可以偏离原始的⾳⾊和谐波特性。
Waves dbx 160与dbx®合作研发，基于dbx® 160压缩器硬件原型精准建模要想听不出压缩痕迹，就不要将启动设置得太快，因为它可以挤压声⾳的初始瞬态，这就往往会使压缩感更容易被⽿朵觉察。
如果你将阈值设置得太低且压缩⽐太⾼，最终你的压缩会⾼过峰值，就是“过度压缩”。
金色年代项目 COMP-2A 压缩器 等级器说明书
Congratulations on choosing the Golden Age Project COMP-2A Compressor / Leveler!The COMP-2A is a one channel vintage style Compressor / Leveler using vacuum tubes in the signal andside-chain path. The input and output is transformer balanced, using two different transformers, each oneoptimized for its purpose. This is the way audio components were built before transistors and integratedcircuits became available.Integrated circuits are small and cheap and widely used in most modern designs. The drawback is that audiocomponents built with modern technology doesn´t always provide the best perceived sound quality or the type of character that the modern user desires.The subjective sound quality delivered by vintage equipment is often prefered over the one delivered bymodern units, a situation that is even more obvious now when music is recorded with clean-sounding digitalaudio equipment.This is the reason why so many vintage audio components are cloned and produced again and also why thevintage originals are often very expensive on the second hand market.The circuit used in the COMP-2A is based on a classic design that was originally produced in the early 1960sand it was initially intended for broadcast applications. It uses an electro-luminescent panel and a photoelec-tric cell to control gain. This gives it a unique, program dependent compression characteristic. In addition, theall tube signal path and the transformers adds a wonderful and musical character to the sound.The ease of use with only two main controls makes it very simple to achieve the desired sound. These attri-butes has made the original units a favourite of engineers and musicians worldwide. This classic sound isnow available at a very affordable price point with the COMP-2A.FEATURES- Vintage style all tube signal path. The tubes are fitted with grounded shields.- Transformer balanced input and output. Can drive almost any load, balanced or unbalanced.- Golden Age Project’s version of the classic optical unit using a long life electroluminescent panel and two carefully matched Silonex NSL5910photoresistors for T4B-style electro-optical gain control with program dependent attack and release times.- Very simple to operate with only two main controls, Gain and Peak Reduction.- HF control can make the side-chain circuit more sensitive to mid and high frequency content.- Linear regulated low noise filament and high voltage power supply.- A big meter selectable to show gain reduction or output level at two different reference levels.- Hardwire bypass switch for easy comparisons.- XLR and TRS input and output jacks for flexible connections.- Link jack and switch for connecting to another unit for stereo operation.- All external controls located on the front panel.- Compact 2RU half rack format. Two units can be mounted with our 19-inch rack kit, the UNITE BIG.- A solid build quality that will last many years of normal use.W W W.G O L D E N A G E P R O J E C T.C O M ICIRCUIT DESCRIPTIONThe signal first enters the inputtransformer that balances the inputsignal and increase the level, it isthen fed into both the side-chaincircuit and the gain reductioncircuit.The gain reduction circuit consistsof a resistor in series with the photo resistor in the T4B module. The signal then goes to the GAIN potentiometer and to the output stage that con-sists of two double-triode tubes, a 12AX7 which operates as a voltage amplifier followed by a 6N6 which operates as a cathode-follower. The final component in the main signal path is the output transformer which provides impedance matching and a balanced output.The side-chain section uses a12AX7 double-triode and a6P1 power penthode tube that drives the electro-lumines-cent panel in the T4B. The higher the voltage the more light is emitted on the photocells, their resistance decreasesas the light intensity increases, thereby bringing the audio signal closer to ground in a R1/R2 resistor attenuator resulting in a lower signal level (the photocell is the “R2”). Engaging the HF control, ie turning it clockwise, increases the side-chain signal level in the mid- and high frequencies which will increase compression of frequencies above 1 kHz.USING THE COMP-2AThe best way to explore the possibilities of any compres-sor and how different settings affects the sound of different sound sources is to experiment. You can also find a lot of information on the www helping you to understand how compressors work and how to use them.To get started with using the COMP-2A:- The components in the COMP-2A generates heat, it is very important that it gets adequate ventilation. Do not cover the top, back or the side panels of the unit. Make sure that air can circulate freely through all ventilations slots. Do not use it in hot surroundings.- Since audio transformers are sensitive to external elec-tromagnetic fields, try to keep a distance to mains power transformers in other units as big possible.- Make sure that the AC voltage selector (above the mains power socket) is set to the correct mains voltage, 115 or 230V, change the setting if needed.- Connect the mains power cable. Power on the unit with the switch on the front panel.- Connect your line level audio source to one of the input jacks at the back panel and one of the output jacks to a line input on the next unit in the signal chain. The TRS and XLR jacks are connected in parallel so they carry exactly the same signal, both can be used at the same time in most cases.Since the output is transformer balanced and fully floating towards ground, it doesn’t matter if it feeds a balanced or an unbalanced input.- The GAIN control sets the output level. A setting of around 1,5 will result in an output level that is similar to the input level (= 0 dB of gain) with no compression applied, ie PEAK REDUCTION set fully counter clockwise.- Set the BYPASS switch to the IN position, turn PEAK REDUCTION clockwise until you get the desired amount of compression, The output level will decrease as compres-sion increases, compensate that by increasing GAIN.- The approximate amount of gain reduction can bediplayed by selecting GR on the meter switch. The normal reading is 0 VU with no compression applied. You can trim this reading using the ZERO adjustment potentiometer that is accessed through a hole in the front panel.The output level can be displayed by selecting +4 or +10 on the meter switch. The numbers corresponds to the refer-ence level when the meter shows 0 VU. The +10 position is useful for avoiding the meter needle hitting its end stop at high output levels,- You can easily check the effect of the processing in theCOMP-2A by using the BYPASS switch, the unit is com-pletely removed from the signal path in the BYPASS posi-tion.- Setting the LIMIT/COMPRESS switch in the LIMIT position will increase the compression ratio, resulting in a higher compression, especially when the unit compresses heavily.The COMPRESS position is the standard mode.- Turning the HF control clockwise will make the compres-sor more sensitive to mid and high frequency content.- For stereo operation, the side-chain of two COMP-2A units can be linked together through the LINK jack at the backpanel, using a TRS cable. The MONO adjustment potenti-ometer can be used to balance the units. An instruction of the procedure can be found on our web site.TUBE SUBSTITUTIONThere are a number of tubes available from different brands that can be used in the COMP-2A.- The 12A7X´s (tube socket “U1” and “U4”) can be replaced with any equivalent from your favourite brand.- The 6N6 in socket “U2” can be replaced with a 12BH7.Please note that you must then move the jumper “TX1”close to the socket from the “6N6” to the “12BH7” position.- The 6P1 in socket “U3-6P1” and be removed if a 6AQ5 or an equivalent is placed in socket “U3-6AQ5”.DO NOT POPULATE BOTH THE 6P1 AND THE 6AQ5 SOCK-ETS AT THE SAME TIME!WARRANTYThe COMP-2A is built to last. But as in any electronic device, components can break down.There is a fuse located at the bottom of the mains powerinput socket. If the unit dies, please check this fuse. If it has blown, replace it with a new one.If this doesn´t help, or if the unit has another problem, it will need repair and you should then contact the reseller where you bought the unit.The warranty terms are decided by the Distributor for your country. The Distributor will support Golden Age Projectresellers and end users with repairs and spare parts.REGISTRATIONYou are welcome to register your unit at our website:---------------------------I would like to thank you for chosing the COMP-2A!I hope it will serve you well and that it will help youin making many great sounding recordings.Yours,Bo MedinVintage character for modern ideas!W W W.G O L D E N A G E P R O J E C T.C O M。
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Waves 插件CLA-3A Compressor/LimiterCLA-2A压缩器
雪帝数字音频
CLA-2A建模于传奇的电子光学电子管压缩器，重现了其硬件原型的频率响应和平滑的声音特性，这些特点使其成为了世界各地音频工程师的最爱。
与60年代中期的经典之作一样，CLA-2A使得吉他和贝斯的声音更加动听，尤其能够让人声大放异彩。
Chris Lord-Alge的个人预设更为它锦上添花，提供了无穷可能性的实例，让你从中获得灵感继而超越灵感。
特点：
•建模的压缩器插件
•基于传奇的电子光学电子管压缩器
•可选压缩器及限制器模式
•在吉他、贝斯和人声上表现优异
•侧链频率滤波器
•零延迟。