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a 2:1 ratio would allow the output signal level to increase by only 1 dB for every 2 dB of level increase over threshold. In
other words, 1 dB of compression will be applied for every 2 dB increase in level above threshold. For light compression,
choose a lower ratio. For heavy compression increase the ratio. A ratio setting of about 10:1 or higher essentially turns the
compressor into a limiter. Typically, a setting of 1.5 to 2:1 will yield best results for most applications where the compressor
is used.
•
GAIN
[-20 dBu to +20 dBu]
This parameter is used to compensate for the gain lost due to compression. Typically, you can look at the gain reduction
meter and then apply a matching amount of gain. Or you can turn the compressor on and off to A/B the compressed signal
with the uncompressed signal and adjust the gain until the two levels match when A/B’ed. By using compression on a
signal and then boosting the signal with the gain parameter, you can slightly increase the average level and create a signal
that sounds a little louder than it actually is. However, care should be taken to prevent over-compression, which can cause
level pumping and increase the likelihood of feedback.
•
OVEREASY
[OFF, 1-10]
One criterion that determines how a compressor will function is called the “knee”. The knee region exists at or around the
compressor’s threshold setting and determines how gradual or abrupt the compression will be. A compressor with hard
knee characteristics won’t compress the signal until it exceeds threshold and will provide a more abrupt and aggressively
compressed sound, as well as retain more of the attack and level of the original sound. Conversely, a compressor with soft
knee characteristics will begin compressing the signal lightly before it has actually exceeded threshold and will apply more
compression as the signal level approaches thershold, applying full compression once the signal does exceed threshold.
This can generate smoother, more musical compression for applications that require a smooth (“round”) sound, rather than
an aggressively compressed (“attacky”) sound.
The OVEREASY parameter in the PA2’s compressor module varies the knee characteristics of the compressor. When set
to OFF, the compressor will function as a hard knee compressor, making it sound more aggressive as described above.
Setting this parameter to a setting between 1-10 will cause the compressor to act as a soft knee compressor, yielding
more gradual, smooth, and natural compression. The OVEREASY parameter’s 1-10 range is referred to as VariKnee™.
Lower values provide a slightly softer knee than a hard knee compressor. As you increase the OVEREASY setting, the knee
softens, rounding out the sound. This lets you choose the exact knee that is needed for the dynamic effect you are looking
for.
Generally, a hard knee compressor will sound louder, more aggressive, and more audible when compressing. The softer the
knee, the lower in level the source will sound, but the smoother and less noticeable the compression will be. Use proper
judgement, depending upon the application and/or genre of music being reproduced through the sound system, and
experiment to find the best setting that works for your application.
Summary of Contents for DriveRack PA2
Page 1: ...Owner s Manual...
