9
RS660-101022
Link
The RS660 Compressor may be used in stereo configuration
by means of the
LINK
facility, when coupled to another unit.
For stereo operation, two RS660 Compressors must be con-
nected using a standard ¼” cable by means of the ¼” LINK
connectors at the rear of the units.
When proper connection has been made, linking may be ac-
tivated when both RS660’s LINK switches have been set to
the forward position or towards [LINK]. If either or both
units LINK switches are positioned downward, the stereo
link will have been broken or bypassed.
Under linked conditions, each compressor’s control set will
be managed independently.
The linked units are controlled by whichever of the two con-
trol voltages is instantaneously the greater.
Note:
When linked, both units should be set for the same
compressor mode; reference the Compressor Modes sec-
tion of this manual for more information.
Note:
The LINK connector is wired: Tip – CV, Sleeve – 0v.
Note:
When using the RS660 independently of a second unit
or in mono, be sure to position the LINK switch downward,
as to not cause undesired influence of one another.
Compressor Modes
The RS660 Compressor features three operational modes—
THD, LIMIT and COMP
, and are accessible by means of a
three-position selector switch.
THD
THD (Total Harmonic Distortion) mode is influenced by the
THD circuits deployed on the Chandler Limited TG1 and
TG12413 Zener Limiters.
When the compressor mode selector switch is set for THD,
the RS660 is able to produce overdrive and distortions, in-
cluding heavy to light harmonic distortion, for signal color-
ation sans compression or limiting.
Limit
LIMIT is the limiter mode of the RS660.
LIMIT mode is purposedly fast, colored and lively, and adds
excitement to any source. LIMIT is flush with vintage tones
and is comparatively more colored than COMP.
Comp
COMP is the compression mode of the RS660.
Functionally, COMP mode simultaneously changes several
characteristics of gain reduction including—
threshold, knee
or
curve,
and
gain
structure
.
In COMP mode, the
threshold
is higher and compression on-
set is lower, while the knee has a more smooth and less ag-
gressive onset. The gain structure is also lower, thus pushing
the compressor less. The result is a more controlled sound,
while maintaining a vintage tone that is less aggressive.
-4
-3
-2
-I
0
-6
-7
-8
-9
-5
-I0
O U T P U T
T H D
C O M P
L I M I T
L I N K
-4
-3
-2
-I
0
-6
-5
-I0
T I M E C O N S T A N T
O U T P U T
4
3
2
I
6
7
5
T H D
C O M P
L I M I T
L I N K
