The Technical Stuff
__________________________________________________________
- 20 -
Operating The 2-LA-2 In Link Mode
The two T4 gain reduction cells in the 2-LA-2 have been carefully matched to allow smooth and
musical operation when stereo linked, with equivalent attack and release times in both channels.
When operating the 2-LA-2 in Link mode (
see #7 on page 5
), the Peak Reduction knobs in each
channel serve to mix the two incoming signals to the side-chain circuit of both channels. In most
musical applications, you will want the compressor to equally affect the left and right signals,
so that a transient occurring in one channel will serve to increase compression or limiting in both
channels the same way. Thus, for normal operation in most musical and recording applications, it is
important that the Peak Reduction knobs for both channels be set to the same value. However,
because there can be minor variations in the tolerance of any potentiometer, we recommend that you
calibrate the two Peak Reduction controls as follows:
1.
While in Link mode, send stereo signal to the 2-LA-2 but monitor the left channel only.
2.
In the left channel of the 2-LA-2 only, set the Limit/Compress switch as desired and adjust
the Peak Reduction and Gain knobs until the desired amount of compression or limiting is
heard.
3.
In the right channel of the 2-LA-2, set the Limit/Compress switch and the Peak Reduction and
Gain knobs of the right channel to the identical setting as the left channel, and then begin
monitoring both channels, in stereo.
4.
Set the 2-LA-2 to Dual mode and mute the stereo source. Instead run a steady-state test
signal through both channels, like a 1khz test tone.
5.
Set the meter for both channels to OUTPUT, then adjust the lower of the two Peak Reduction
knobs so that the output on both meters is identical.
6.
Finally, disconnect the test signal and restore the original stereo signal.
One byproduct of this circuit design is that it allows you to make the gain reduction circuitry more
sensitive to one channel than the other. Thus, for example, if you set the Peak Reduction knob for the
left channel considerably higher (turned more clockwise) than the right channel, the compressor will
be more sensitive to transients occurring in the left channel. This can sometimes be useful in
broadcast applications, where you might want to “duck” a musical bed, for example, whenever an
announcer is speaking. (
see page 10 for more information.
)
