ENGLISH
6
CUT FREQUENCY (knob)
– Adjusting the CUT FREQUENCY knob allows
the centre frequency to be ‘tuned in’. The frequency range is 120 Hz to 2 kHz.
DEEP (switch)
– When engaged (in), the DEEP switch increases the depth of cut
from –6 dB to –12 dB.
OPTICAL COMPRESSOR
The OPTICAL COMPRESSOR acts like an automatic volume control, turning
down the volume of a signal if it gets too loud. This reduces variation between loud
and quiet passages, as it automatically reduces the gain when the signal exceeds a given
volume, defined as the threshold. Using the OPTICAL COMPRESSOR helps to
‘even out’ a performance, stopping a signal from clipping and/or disappearing in the
mix. See page 12 for a BEGINNER’S GUIDE TO COMPRESSION.
IN (switch)
- Switches the OPTICAL COMPRESSOR into the signal path.
When engaged, the red LED in the switch cap is lit.
COMPRESSION (knob)
- Turning this knob clockwise increases the amount
of compression by lowering the threshold. Turning the knob counter-clockwise
decreases the amount of compression by increasing the threshold. Thus, this knob is
essentially an inverted threshold control. Note that the signal is only compressed when
it exceeds the threshold, so quieter passages maintain their natural dynamic range,
whilst loud passages (that exceed the threshold) are compressed.
SLOW ATTACK (switch)
- When engaged (in), selects a slower attack time,
which allows more of the transient peaks of the signal through the compressor. This
can help retain a sense of the original signal’s dynamics when compressing heavily. For
example, this can be useful to allow compression of a snare drum without losing the
initial ‘crack’ of the drum stick striking the snare skin.
RELEASE (knob)
- Determines the time taken for the gain reduction to return to
normal once the signal drops below the threshold. The faster the release, the louder the
signal appears to be.
HARD RATIO (switch)
- When engaged (in), selects a higher compression
ratio, which gives a very flat, compressed sound. Do not use the HARD RATIO
switch if you want to maintain most of the original dynamics.
HARD KNEE (switch)
-
When engaged (in), selects a harder attack mode,
which gives a very punchy and more obviously compressed sound.
MAKEUP GAIN (knob)
- Sets the output volume of the compressed signal.
Since compressing a signal makes it quieter, use the MAKEUP GAIN control to
restore the signal to its original volume. Compare the volume of the original and the
compressed signal by using the IN switch to switch the OPTICAL COMPRESSOR
on and off.
GAIN REDUCTION (LED meter)
- Displays the amount of gain ‘lost’ due to
compression. Since compression reduces the volume of the signal, the meter drops as
compression is applied: for example, a 10 dB drop shows as -10 on the meter.
COMPRESSOR SIDE-CHAIN INSERT (rear panel connector)
–
This is a TRS jack connector, configured in the same way as the main channel
INSERT (tip = send, ring = return), which allows an external processor, such as EQ,
to be inserted into the side-chain of the compressor. This allows frequency conscious
compression techniques, such as de-essing, to be applied.
STEREO LINK (switch)
- TwinTrak Pro can be stereo-linked, providing true
stereo compression, allowing you to work with a stereo signal using just one set of
controls. With STEREO LINK engaged (in), the top channel controls become master.
When in stereo mode, gain reduction is only displayed on the master channel meter.
See WORKING WITH STEREO SIGNALS on page 10 for further information.
OUTPUT LEVEL
Summary of Contents for TwinTrak Pro
Page 81: ...81 TWINTRAK PRO AND YOUR STUDIO RECORDING ALL ANALOGUE ...
Page 82: ...82 RECORDING ANALOGUE OUT WITH DIGITAL PLAYBACK AND ANALOGUE INSERT ...
Page 83: ...83 RECORDING DIGITAL WITH ANALOGUE PLAYBACK ...
Page 84: ...84 RECORDING DIGITAL WITH DIGITAL PLAYBACK ...
Page 85: ...85 USING THE TWINTRAK PRO TO RECORD TWO MUSICIANS ...
Page 86: ...86 STEREO RECORDING COINCIDENT PAIR WITH DIGITAL MONITORING ...
