Yamaha mLAN Driver Owner's Manual - page 30
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OUT GAIN
—This sets the compressor’s output signal level, and can be used to compensate for the
overall level change caused by the compression process.
KNEE
—This determines how compression is applied at the threshold point. When set to hard, com-
pression at the specified ratio is applied as soon as the input signal level exceeds the specified threshold.
For knee settings from 1 to 5, however, compression is applied gradually as the signal exceeds the speci-
fied threshold, creating a more natural sound. This is called soft-knee compression.
ATTACK
—This determines how soon the signal is compressed once the compressor has been trig-
gered. With a fast attack time, the signal is compressed almost immediately. With a slow attack time,
however, the initial transient of a sound passes through unaffected. Attack times from 1 to 5 millisec-
onds are a good place to start.
RELEASE
—This determines how soon the compressor returns to its normal gain once the trigger sig-
nal level drops below the threshold. If the release time is too short, the gain will recover too quickly
causing level pumping (i.e., 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.
Release times from 0.1 to 0.5 seconds are a good place to start.
RATIO
—This determines the amount of compression, that is, the change in output signal level relative
to change in input signal level. For 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.
GATE
A gate, or noise gate is essentially an audio switch used to mute
signals below a set threshold level. It can be used to cut back-
ground noise picked up by open microphones, noise and hiss
from guitar valve amps and effects pedals, and leakage between
drum microphones. It also has many creative uses too. For
example, gating a drum sound with a short decay time tightens
up the sound. Also, patching a gate into a droning bass synth
channel and then triggering it from the kick drum channel
allows the bass synth through only when the kick drum is
struck, adding extra “oomph” on the beat.
THRESHOLD
—This determines the level at which the gate closes, cutting off the signal. Signals above
the threshold level pass through unaffected. Signals at or below the threshold, however, cause the gate to
close. The trigger signal is sourced using the KEY IN parameter.
RANGE
—This determines the level to which the gate closes. Think of it as a brick holding a garden
gate open so that a certain amount of signal always flows through. For a setting of –70 dB, the gate closes
completely when the input signal falls below the threshold. For a setting of –30 dB, however, the gate
half closes. For a setting of 0 dB, the gate has no effect. When signals are gated abruptly, the sudden dis-
appearance can sometimes sound odd. This parameter causes the gate to reduce the signal level rather
than cut it completely.
Parameter
Range
THRESHOLD
–54 dB to 0 dB (55 steps)
RANGE
–70 dB to 0 dB (71 steps)
HOLD
0.02 ms–1.96 s (fs = 48 kHz)
0.02 ms–2.13 s (fs = 44.1 kHz)
ATTACK
0–120 ms (1 ms steps)
DECAY
5 ms–42.3 s (fs = 48 kHz)
6 ms–46 s (fs = 44.1 kHz)
–70
–60
–50
–40
–30
–20
–10
0
+10
+20
–70
–60
–50
–40
–30
–20
–10
0
+10
+20
Input Level (dB)
Output Level (dB)
Threshold = –10dB
Range = –30dB
Range = –70dB