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Manual-7

MASTER / SLAVE Stereo Link

When channels are Linked

•   Bypassing the Master channel does not automatically bypass 

the Slave channel. Channel ACTIVE / BYPASS switches are 

the only controls which do not follow the Master channel, 

making it possible to bypass each channel individually.

•   Selecting 

Listen

 on the Master channel automatically puts 

both channels into Listen mode. Side-chain function switch 

indicators are turned off on the Slave channel.

•   Meters for Master and Slave channels remain active, indicat-

ing both channels are being processed.

ACTIVE / BYPASS

The 

MASTER / SLAVE

 switches link channels 1 & 2, or 

channels 3 & 4 for stereo operation. When linked, the associ-

ated LINK indicator lights and only the controls of the Master 

channel (channel 1 or channel 3) are active, with the exception 

of channel ACTIVE / BYPASS switches. This feature helps pre-

serves a stable left/right image when compressing a stereo source, 

such as a vocal or horn submix.

MASTER

SLAVE

1

2

LINK

MASTER

SLAVE

3

4

LINK

Figure . Active controls in Linked Mode

Stereo Linking in Compressor Mode

Linked Compressors use the rms sum of the two channels’ side-

chains, and display this summed result on the side-chain dBr 

meters of both channels. The Master channel settings determine 

the actual gain reduction characteristics.

Linked Controls in Dynamic EQ Mode

When channels are linked in Dynamic EQ mode, both channels 

use the Master channels’ control settings, but the dynamic EQ 

essentially functions independently for each channel. Combin-

ing the rms values of broadband and bandpass signals, as is done 

in Compressor mode, is of no advantage in Dynamic EQ mode.

Stereo-Linked Limiters

When channels are linked, the Master channel Limit Threshold 

setting determines the maximum output level for both chan-

nels. However, the greater of the two peak-detected signals is 

used to control the gain of both Master and Slave channels. For 

example, if the Slave channel signal exceeds the Mater channel’s 

Limit Threshold by 3 dB, both channels are limited by 3 dB. 

The Limit Headroom meters remain independent for both chan-

nels, as the dynamics of the Master and Slave channels may be 

quite different.

12 

24 

dB 

-20 

-10 

-40 

-30 

+20 

+10 

-20 

-10 

-40 

-30 

+22 

+10 

ms 

ms 

dBu 

dBu 

dB 

Hz 

oct 

Headroom 

dB 

-3  -1 

12 

4  2 

-6 

-12 

n:1 

MASTER 

SLAVE 

10 

1.5 

-6 

+6 

-6 

+6 

500 

100 

50 

250 

25 

10 

0.5 

20k 

640 

125 

3.15k 

20 

500 

125 

1 s 

2 s 

50 

25 

+12 

-12 

+12 

-12 

12 

24 

dB 

-20 

-10 

-40 

-30 

+20 

+10 

-20 

-10 

-40 

-30 

+22 

+10 

ms 

ms 

dBu 

dBu 

dB 

Hz 

oct 

Headroom 

dB 

-3  -1 

12 

4  2 

-6 

-12 

n:1 

10 

1.5 

500 

100 

50 

250 

25 

10 

0.5 

20k 

640 

125 

3.15k 

20 

500 

125 

1 s 

2 s 

50 

25 

+12 

-12 

+12 

-12 

18 

18 

SIDE-CHAIN 

RELEASE 

ATTACK 

KNEE 

GAIN 

FREQUENCY 

BANDWIDTH 

LIMIT THRESHOLD 

RATIO 

GAIN 

COMP THRESHOLD 

LINK 

Auto 

Auto 

Soft 

Hard 

dBr 

Reduction dB 

Listen Dynamic

EQ

Comp 

LIMIT 

BYPASS 

ACTIVE 

PEQ 

SIDE-CHAIN 

RELEASE 

ATTACK 

KNEE 

GAIN 

FREQUENCY 

BANDWIDTH 

LIMIT THRESHOLD 

RATIO 

GAIN 

COMP THRESHOLD 

Auto 

Auto 

Soft 

Hard 

dBr 

Reduction dB 

Listen 

Comp 

LIMIT 

BYPASS 

ACTIVE 

PEQ 

TH 

TH 

Dynamic

EQ

Selecting 

BYPASS

 disables all Compressor/Dynamic EQ 

processing, including the GAIN control. The side-chain dBr 

meter, threshold indicator and gain reduction meter continue 

to operate when a channel is bypassed. Similarly, the side-chain 

Listen function is also available. Channels can be individually 

bypassed, even in Linked mode.

Note:

 The Limiter is active at all times and is not affected by 

the BYPASS switch. To bypass the Limiter, simply rotate the 

Limiter Threshold control fully clockwise (+22 dBu setting).

BYPASS

ACTIVE

Содержание C4

Страница 1: ...or taking the time to read this Quick Start We now return you to your regularly scheduled sound check or recording session OPERATORS MANUAL 0 0 6 3 12 24 dB 20 10 0 40 30 20 10 20 10 0 40 30 22 10 ms...

Страница 2: ...the signal and the side chain The signal path is the route the main signal takes through the unit from the input circuits to the gain control section and exits through the output circuits The signal c...

Страница 3: ...sed for de essing True de essing involves comparing the relative difference between the troublesome sibilants and the overall broadband signal then setting a threshold based on this difference there f...

Страница 4: ...s is very common to switch between a rhythm tone and a lead tone Of ten the musician sets the lead tone brighter than the rhythm tone so it cuts through better The problem comes when the sound system...

Страница 5: ...the original full volume input signal we need to limit perhaps the unfortunate blast of noise when the vocalist inadvertently unplugs the phantom powered mic The bottom line shows the limited output...

Страница 6: ...r is doing at all times Side chain Level Display In Compressor mode the floating meter displays the side chain level relative to the Threshold dBr making it easy to gauge how close the signal is to th...

Страница 7: ...nnels are linked the Master channel Limit Threshold setting determines the maximum output level for both chan nels However the greater of the two peak detected signals is used to control the gain of b...

Страница 8: ...increase as less gain reduction is required and is adjustable from 25 ms fast to 2 seconds slow It is important to understand the difference between release rate as determined by this control and rele...

Страница 9: ...toggle the side chain out of Listen mode as if you meant to have it engaged for the first six songs The Side chain PEQ filter operates in one of two ways depend ing on whether the channel is operating...

Страница 10: ...uggested settings in Table 1 then season to taste by adjusting the Threshold until your ears tell you it s just right Vocals A tough issue with vocals is the extreme dynamic range of some singers Thos...

Страница 11: ...and Gabor Szabo are two musicians who use sustain to great acclaim although they did it the old fashioned way of cre ating feedback by aiming the guitar pick ups at the loudspeaker and then jamming o...

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