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PRESET APPLICATION
Hiss-Cut
Sometimes you might get a bit of hiss from an
incoming source, especially when external
devices are linked into a larger setup or if
different electronic formats or ground policies
are connected like consumer standards
connected to professional equipment. To
counter that you should use the Hiss-Cut
preset. It kicks in when there’s no or next to no
level on the input source, ensuring no noise in
quiet pieces of the music. This preset is only
featured in the gate/expander mode.
Applied algorithm:
Multi-band Expansion
Hum-Cut
As explained in the Hiss-cut preset description
you can occasionally experience problems with
hum in an incoming signal when you connect
different types of devices. In quite moments
when the hum becomes a problem the hum can
in a smooth and easy way be eliminated by
using the hum-cut preset simply by adjusting
the parameters. The preset can only be used in
gate/expander mode.
Applied algorithm:
Multi-band Expansion
De-ess1
The De-ess1 preset removes all unwanted s’s
that some microphones or singers have so
much trouble with. You can use the De-ess1
preset in compressor/limiter mode only. It aims
at a certain frequency range and it perfectly
counterparts the De-ess2 preset.
Applied algorithm:
Multi-band Compression
De-ess2
The De-ess2 preset removes all unwanted s’s
that some microphones or singers have so
much trouble with. You can use the De-ess2
preset in compressor/limiter mode only. It aims
at a certain frequency range and it perfectly
counterparts the De-ess1 preset.
Applied algorithm:
Multi-band Compression
C300 PROCESSING
Compression
The very basis of compression can be reduced
to “controlling the dynamic content” of a audio
signal. This basically means turning down the
loudest parts of the source material and raising
the volume of the parts with low level content.
But how this is done and how this is applied in
audio production is slightly more elaborate.
Keep an eye on the illustration below and let us
look at the basic compression parameters:
The Threshold parameter
- sets the limit
where the compressor kicks in/releases it’s grip
of the signal. As soon as the level is above the
set threshold the compressor is active. When
below - it is not.
The Ratio
- sets the amount of gain reduction
applied when the signal exceeds the threshold.
In the illustration below the Ratio is the
steepness of the curve after the compressor
threshold.
The Attack time
- is the time it takes for the
compressor to reach the compression amount
specified by the set ratio.
The Release time
- is the time it takes for the
compressor to release the signal after the input
signal is below the threshold point again.
How each of these parameters are set is very
important and only the correct combination
gives the desired result.
The C300 presets assist you greatly in that
respect as each preset has pre-programmed
attack and release times.
Makeup gain
- is a common control on
compressors. As reducing/controlling the
loudest parts of the signal attenuates the signal
it is most often necessary to increase the
overall output volume. Thereby the elements
with lowest dynamic content are enhanced.
The Limiter
- the Limiter is actually yet another
compressor. It uses a very fast attack time and
has a ratio of 1; infinity. But why is the Limiter
necessary?