SPL TwinTube, User Manual

Page: 35 / 52

35
Analog Elemental Series
DynaMaxx | Control Elements
DynaMaxx | Technology
Link
You can operate two DynaMaxx modules at a time by activating the LINK mode. You can only
run two modules in the LINK mode at a time. Main applications may be in stereo processing.
When operated in LINK mode, both modules are operated by the master module’s control
voltage. This ensures a coherent stereo operation. In LINK mode, all controls of the master
module (left module) — including the ON and LINK switch — control the slave module. The
master also controls all switch illuminations on the slave. All controls of the slave module are
inactive in LINK mode.
NOTE: the GAIN REDUCTION LED Display of the slave module is switched off in Link mode.
If you press the LINK button of the slave module without establishing the LINK mode through
the master module, you will find that the LINK LED of the master module will not illuminate.
This tells you that you have pressed the wrong LINK button since the controls of the master
module control both devices in LINK mode.
Signal-LED (SIG.)
The SIG. LED indicates that an audio signal reaches the input with a level above -20 dB. This
LED helps the operator especially in complex setups to determine immediately whether the
DynaMaxx actually receives any signal. .
This section deals with the technical background of the DynaMaxx and explains why we felt
it necessary to do some things rather differently to the way other manufacturers do them. We
will also explain the benefits of the DynaMaxx design.
Generally, the function of an audio compressor is to compress the dynamic range of the source
signal by altering the gain of its signal path in response to the relative level of the signal as
compared to an arbitrary threshold level. In effect, this process can be thought of as providing
additional gain to low-level signals or reducing gain in the presence of high-level signals.
Why are conventional compressors unsatisfactory?
One of the main difficulties in setting up a compressor is choosing the time constants Attack,
Decay, Sustain, and Release (in short: ADSR). The most important time constants are Attack
and Release – in the context of gain control, Decay and Sustain are mostly fixed and they
tend to play a minor role. The inappropriate choice of time constants is mainly responsible for
the familiar pumping or breathing effects. Threshold and Ratio are easier to set up, but when
high compression ratios are used, high frequencies tend to become over-compressed, which
makes the material sound dull or lacking in presence. It is normal to set up compressors based
on the loudest peak in the program material, in which case the parameters are optimized
for this moment in time only. The rest of the time, the time constants are less than optimal.
Taking into consideration that each musical instrument has varying attack and release times,
depending not only on the character of the instrument, but also on the way it is played, you
can see that it is almost impossible to choose a set of fixed parameters that will be correct for
an entire piece of music. Setting up a conventional compressor perfectly for recording a vocal
part is nearly impossible. However, perfect gain control is extremely important with digital
systems to make the best possible use of the available digital headroom while preventing
clipping. Vocals can have an extremely wide dynamic range, so for the best results, it may
become necessary to re-adjust the compressor settings while recording.
The DynaMaxx solves these problems by the use of intelligent automation. It optimizes Attack
and Release times on the fly, which is why the control system is so simple. Both Threshold and
Ratio are combined within the Compress-control, and the advanced Double VCA techno logy
maintains signal clarity, even at high levels of compression.