12.5 COMPRESSOR
12. FX AND MIXER PARAMETERS > 12.5 COMPRESSOR · PDF p. 67–69 · OS 1.10D
# 12.5 COMPRESSOR 12. FX AND MIXER PARAMETERS HPF HPF sets the cutoff frequency of the reverb high-pass filter that affects the audio going into the reverb. LPF LPF sets the cutoff frequency of the reverb low-pass filter that affects the audio going into the reverb. 12.4 CHORUS (SEND FX PAGE 3) The chorus can be used to widen sounds, enhance the stereo image or add subtle movement to sounds. DPTH Depth sets the depth of the LFO modulation of the chorus. SPD Speed sets the speed of the LFO modulation of the chorus. HPF High-pass filter sets the highpass filtering of the input signal. WDTH Width sets the stereo width of the chorus. VOL Chorus Volume sets the volume of the Chorus output signal. Use LEVEL/DATA to set this parameter. DEL Delay Send sets how much of the wet chorus signal to send through to the delay. REV Reverb Send sets how much of the wet chorus signal to send through to the reverb. 12.5 COMPRESSOR (MIXER PAGE 1) The Compressor master effect compresses the dynamic range of the signal by reducing the volume of loud sounds relative to the quiet sounds. There are eight parameters with which the compressor is customized on this page. There is a bar on the left side of the screen that visually represents the amount gain reduction THR Threshold sets the threshold of the compressor. A lower threshold means a larger portion of the signal is subject to compression. 12. FX AND MIXER PARAMETERS ATK Attack sets the time of the compressor attack phase, i.e. how quickly the compressor responds to loud peaks. REL Release sets the time of the compressor release phase, i.e. how long it takes for the compression to recover in quieter moments. MUP Makeup Gain sets the makeup gain of the compressor output, to compensate for the reduced signal levels caused by compression. The Makeup Gain parameter value is displayed in dB. VOL Pattern Volume sets the kits overall audio level. This parameter basically has the same function as the MAIN VOLUME knob, but is saved together with the kit. Use LEVEL/DATA to adjust the settings. RAT Compression Ratio. There are eight different compression ratios, 1.50, 2.00, 3.00, 4.00, 6.00, 8.00, 16.00 and 20.00. Higher ratios result in greater compression of the signal. SCS Sidechain Source decides what audio source the compressor analyzes when it performs sidechaining. Sidechaining is the process when the compressor uses the output of an audio source to control the overall action of the compressor. For example, if you set SCS to TRK1 where you have a kick drum, every time the kick drum plays, the compressor lowers the overall sound of the mix. COMP MIX sets the sidechain source to be all the tracks that are routed to the compressor. COMP (Not Comp) sets the sidechain source to be all the tracks that are not routed to the compressor. TRK1–16 sets the sidechain source to be the sound sent from one of the separate audio tracks. IN LR sets the sidechain source to be the sound coming from IN L/R. IN L sets the sidechain source to be the sound coming from INPUT L. IN R sets the sidechain source to be the sound coming from INPUT R. • The results of the COMP MIX and NOT COMP settings depends on the selections you make on the COMPRESSOR ROUTING page. For more information please see “9.6.1 KIT” on page 35. • The IN L and IN R options are only available if you set DUAL on the External mixer page to ON. The IN LR option is only available if you set DUAL to OFF. For more infor mation, please see “12.9 EXTERNAL MIXER” on page 70. SCF Sidechain Filter filters the signal from the sidechain source before the compressor analyzes it. The parameter ranges from a low-pass filter to a high-pass filter. Negative parameter values set a low-pass filter. Positive parameter values set a high-pass filter. When set as a low-pass filter, the compressor reacts mostly to bass frequencies. Use this setting for a characteristic pumping compressor sound. When set as a high-pass filter, the compressor reacts less to bass frequencies. Use this setting to avoid pumping. DRY/WET MIX Dry/Wet Mix sets the mix of the uncompressed signal and the compressor output signal. A setting of 0 results in a completely uncompressed signal. A setting of 127 lets only the compressed signal pass through. All values in between mix the uncompressed signal with the compressed signal, which is known as parallel compression. 12. FX AND MIXER PARAMETERS The Digitone II compressor Filter (HP/LP) Gain Reduction Input (LR) Output Control Signal Dry/Wet Mix Make up Gain Sidechain Source Gain Computer Dynamics (Atk/Rel) SRC 12.6 INTERNAL MIXER PAGE 1 (MIXER PAGE 2) The INTERNAL MIXER page 1 is where you can access the TRACK LEVEL parameter of track 1–8 (if they are audio tracks). VOL Pattern Volume sets the patterns overall audio level. At a parameter setting of 100, you have unity gain. Below that, the signal is attenuated. Above that, the signal is amplified. This parameter can be used to balance the volume between different patterns and is saved together with the kit. Use LEVEL/DATA to adjust the settings. 12.7 INTERNAL MIXER PAGE 2 (MIXER PAGE 3) The INTERNAL MIXER page 2 is where you can access the TRACK LEVEL parameter of track 9–16 (if they are audio tracks). VOL Pattern Volume sets the patterns overall audio level. At a parameter setting of 100, you have unity gain. Below that, the signal is attenuated. Above that, the signal is amplified. This parameter can be used to balance the volume between different patterns and is saved together with the kit. Use LEVEL/DATA to adjust the settings.
チャンクは隣接セクションとページを共有します。見出し前後のテキストは隣のセクションのものです。