User Manual

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Being able to do this independently for
each output too is icing on the cake,
especially for Internet streaming, as it
ensures correct levels at any time.
THRESHOLD
Sound above the set Threshold level will be
compressed; the amount of compression
and the manner in which it is applied are
both dictated by the other settings.
RATIO
A Ratio of 4:1 means that if input level is
4 dB over the threshold, the output signal
level after compression will be just 1 dB
over the threshold. The gain (level) is
reduced by 3dB.
Very high ratio settings are the reason for
the word “limiter” is part of the title for
this feature. The highest ratio setting will
effectively reduce any signal that would
rise above the threshold all the way down
to the threshold level (with the exception
of a brief period during a sudden increase
in source loudness, as dictated by the
Attack setting).
ATTACK
Attack (like Release) is labeled in milliseconds. The setting represents the amount of
time it takes for the gain to change by a specified amount.
It would not be grossly incorrect to think of this setting as changing the slope of a
graph depicting how aggressively the compressor pursues the target value (defined
by applying the Ratio setting to the amount the signal surpasses the Threshold).
Compressor … Limiter – what’s
the difference, anyway?
Compression and limiting are
not really different processes,
but rather a matter of degree
and perceived effect.
Compression, ideally, takes the
form of a subtle, almost
imperceptible modulation of the
sound level to bring it into a
more pleasing and convenient
range. A limiter is applied more
for the purpose of managing,
even ‘crushing’, unwanted
spikes and transients.
That distinction aside, a limiter
is essentially just a compressor
set to a high ratio and,
generally, a fast attack time.
Audio engineers typically
consider ‘compression’ with a
ratio of 10:1 or more as
‘limiting’.