Yamaha AW 16G, Owner'S Manual

Page: 174 / 219

Appendix
174
Dynamics Parameters
Dynamics processors are generally used to correct or control signal
levels. However, you can also use them creatively to shape the vol-
ume envelope of a sound. The AW16G features comprehensive
dynamics processors for all the input channels, tape returns, and the
bus and stereo outputs. These processors allow you to compress,
expand, compress-expand (compand), gate, or duck the signals pass-
ing through the mixer, giving you unparalleled sonic quality and flex-
ibility.
■
Compressor
A compressor provides a form of automatic level control.
By attenuating high levels, thus effectively reducing the
dynamic range, the compressor makes it much easier to
control signals and set appropriate fader levels. Reducing
the dynamic range also means that recording levels can
be set higher, therefore improving the signal-to-noise
performance.
Compressor (CMP) parameters:
Threshold determines the level of input signal required to
trigger the compressor. Signals at a level below the
threshold pass through unaffected. Signals at and above
the threshold level are compressed by the amount speci-
fied using the Ratio parameter. The trigger signal is deter-
mined using the KEY IN parameter.
Ratio controls the amount of compression-the change in
output signal level relative to change in input signal
level. With a 2:1 ratio, for example, a 10 dB change in
input level (above the threshold) results in a 5 dB change
in output level. For a 5:1 ratio, a 10 dB change in input
level (above the threshold) results in a 2 dB change in
output level.
Attack controls how soon the signal is compressed once
the compressor has been triggered. With a fast attack
time, the signal is compressed almost immediately. With
a slow attack time, the initial transient of a sound passes
through unaffected.
Out Gain sets the compressor's output signal level. Com-
pression tends to reduce the average signal level. Out
Gain can be used to counter this level reduction and set
an appropriate level for the next stage in the audio path.
Knee sets the transition of the signal at the threshold.
With a hard knee, the transition between uncompressed
and compressed signal is immediate. With the softest
knee, knee5, the transition starts before the signal
reaches the threshold and gradually ends above the
threshold.
Release determines how soon the compressor returns to
its normal gain once the trigger signal level drops below
the threshold. If the release time is too short, the gain will
recover too quickly causing level pumping-noticeable
gain fluctuations. If it is set too long, the compressor may
not have time to recover before the next high level signal
appears, and it will be compressed incorrectly.
Parameter Value
Threshold (dB) –54 to 0 (55 points)
Ratio
1.0, 1.1, 1.3, 1.5, 1.7, 2.0, 2.5, 3.0, 3.5,
4.0, 5.0, 6.0, 8.0, 10, 20,
∞
(16 points)
Attack (ms) 0 to 120 (121 points)
Outgain (dB) 0 to +18 (36 points)
Knee hard,1,2,3,4,5 (6 points)
Release (ms) 6 ms to 46.1 sec (160 points)
–70
–60
–50
–40
–30
–20
–10
0
+10
+20
–70 –60 –50 –40 –30 –20 –10 0 +10 +20
dB
dB
Threshold = –20dB
Output Le
vel
Input Level
Compression ratio = 2:1
Knee = hard