User manual PRESONUS STUDIO CHANNEL V1.1

[. . . ] STUDIO CHANNEL Vacuum Tube Channel Strip User's Manual Version 1. 1 © 2008, PreSonus Audio Electronics, Inc. All Rights Reserved. PRESONUS LIMITED WARRANTY PreSonus Audio Electronics Inc. warrants this product to be free of defects in material and workmanship for a period of one year from the date of original retail purchase. This warranty is enforceable only by the original retail purchaser. [. . . ] Transients (the very loudest portion of the signal) can be far outside the average level of the vocal signal. It is extremely difficult to ride the level with a console fader. A compressor/limiter automatically controls gain without altering the subtleties of the performance. A solo guitar can seem to be masked by the rhythm guitars. Compression can make your `lead' soar above the track without shoving the fader through the roof. A consistent level with good attack can be achieved with proper compression. Your bass doesn't have to be washed out in the low end of the mix. Let the compressor/limiter give your bass the punch it needs to drive the bottom of the mix. Expansion There are two basic types of expansion: dynamic and downward. Expansion increases the dynamic range or level of a signal after the signal crosses the expansion threshold. Dynamic expansion is basically the opposite of compression. In fact, broadcasters use dynamic expansion to `undue' compression before transmitting the audio signal. This is commonly referred to as `companding' or COMPression followed by expANDING. By far the most common use of expansion is downward expansion. In contrast to compression, which decreases the level of a signal after rising above the compression threshold, expansion decreases the level of a signal after the signal goes below the expansion threshold. The amount of level reduction is determined by the expansion ratio. For example, a 2:1 expansion ratio reduces the level of a signal by a factor of two. if a level drops 5dB below the expansion threshold, the expander will reduce it to 10dB below the threshold. ) Commonly used as noise reduction, expansion is very effective as a simple noise gate. The major difference between expansion and noise gating is the fact that expansion is dependent on the signal level after crossing the threshold, whereas a noise gate works independent of a signal's level after crossing the threshold. Noise Gating Noise gating is the process of removing unwanted sounds from a signal by attenuating all signals below a set threshold. As described above, the `gate' works independent of the audio signal after being `triggered' by the signal crossing the gate threshold. The gate will remain open as long as the signal is above the threshold. How fast the gate opens to let the `good' signal through is determined by the attack time. [. . . ] Analog VU (Gain Reduction / Output) Equalizer LF Band Controls: Frequency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Variable from 40 Hz to 500 kHz Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Variable between ±10 dB Q. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0. 7 (on `peak' setting) MF Band Controls: Frequency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]