DL441 OPERATORS’ MANUAL
2
INTRODUCTION
The DL441 is a quad channel compressor / limiter designed to meet the needs of
professional studio and live sound applications. It may be used in balanced or
unbalanced systems and each channel is independently switchable b4dBu
and -10dBv operating levels by means of a rear panel button. In addition to the
compressor / limiter, each channel also contains an independent, fast-acting peak
limiter.
The compressor section features a highly developed, auto attack/release system
which adapts itself to the programme material being processed and is equally
effective on individual sounds or complex mixes.
To maximise flexibility, each channel of the DL441 is switchable between traditional
ratio (hard knee) and soft-knee operation; in the soft-knee mode, the transition from
unity gain to gain reduction at the selected ratio is progressive and occurs over a
nominal 15dB input level range. The four channels may be operated independently or
linked in pairs for true stereo operation.
Traditionally, soft-knee compressors are preferable for unobtrusive level control or
for the control of finished mixes, whereas ratio type compressors are generally
considered more successful in creative applications or where large amounts of gain
reduction are required. By offering a choice of both modes, the DL441 is capable of
outstanding results in a very wide range of studio and live sound situations.
Also included in each channel of the DL441 is a peak limiter which 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 after a
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 deliberately overdriven, it can be
used creatively to produce level "pumping" effects which can be useful on electric
guitar or rock vocal sounds.
