User's Manual
Table Of Contents
- 1 Overview
- 1.1 Introduction
- 1.2 What is in the Box
- 1.3 What is in your MyPreSonus account
- 1.3.1 Step 1: Register Revelator
- 1.3.2 Step 2: Download and Install Universal Control
- 1.3.3 Step 3: Download and Install Studio One Artist (Optional)
- 1.3.4 Step 4: Download and Install Studio Magic (Optional)
- 2 Connections and Controls
- 2.1 Basic hookup
- 2.2 Standalone controls
- 2.2.1 Setting the Microphone Level
- 2.2.2 Setting Headphone level
- 2.2.3 Setting Monitor level
- 2.2.4 Selecting Presets
- 3 Universal Control
- 3.1 The Launch Window
- 3.1.1 Launch Window Menu Items
- 3.2 Using Your Revelator with Popular Applications
- 3.2.1 Using Revelator for System Audio
- 3.2.2 Using Revelator for Skype
- 3.2.3 Using Revelator for Zoom
- 3.2.4 Using Revelator for Google Meets
- 3.2.5 Using Revelator for OBS
- 3.2.6 Using Revelator on Chromebook
- 3.2.7 Using Revelator with Zoom on Chromebook
- 3.2.8 Using Revelator with Google Meet on Chromebook
- 3.2.9 Using Revelator with iOS/iPadOS devices
- 3.2.10 Using Revelator with Android devices
- 4 Presets, Fat Channel, and Voice Effects
- 4.1 Preset Management
- 4.1.1 Changing Preset Button Slots
- 4.1.2 Storing New Presets
- 4.2 Fat Channel and Voice FX
- 4.2.1 High Pass Filter (HPF)
- 4.2.2 Gate
- 4.2.3 Compressor (Comp)
- 4.2.4 Equalizer (EQ)
- 4.2.5 Limiter
- 4.2.6 Voice FX
- 4.3 Reverb
- 5 Mixing and Loopback Audio
- 5.1 What is Loopback Audio?
- 5.2 Mixer Controls
- 5.2.1 Microphone Channel Controls
- 5.2.2 Mixer Channel Controls
- 5.2.3 Main Output Controls and Mix Selection
- 5.3 Feedback Loops are Bad
- 6 Advanced Features and Customization Tools
- 6.1 Settings Menu
- 6.2 Advanced Fat Channel and Voice Effects Controls
- 6.2.1 High Pass Filter
- 6.2.2 Noise Gate
- 6.2.3 Compressor
- 6.2.4 Changing the Signal Chain
- 6.2.5 Equalizer
- 6.2.6 Limiter
- 6.2.7 Voice FX
- 7 Studio One Artist Quick Start Guide
- 7.1 Installation and Authorization
- 7.2 Setting Up Studio One
- 7.2.1 Configuring Audio Devices
- 7.2.2 Configuring MIDI Devices
- 7.3 Creating a New Song
- 7.3.1 Configuring Your I/O
- 7.3.2 Creating Audio and Instrument Tracks
- 7.3.3 Recording an Audio Track
- 7.3.4 Adding Virtual Instruments and Effects
- 8 Resources
- 8.1 Gain Staging 101: Begin at the Beginning
- 8.2 Microphone Tips and Tricks
- 8.2.1 Handling Noise
- 8.2.2 How Close is Too Close?
- 8.2.3 Problematic Pronunciation
- 8.2.4 Putting it All Together
- 8.2.5 Removing Revelator from its Base
- 8.3 Technical Specifications
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6 Advanced Features and Customization Tools
6.2 Advanced Fat Channel and Voice Effects Controls
Revelator
Owner’s Manual
Standard Compressor
1. On/Off. Turns the Compressor on or off in the signal chain.
2. Threshold. Sets the level above which the compressor
begins to attenuate the signal.
3. Ratio. Sets the relationship between the amount a signal goes above the
threshold, and the amount it is attenuated. At a 1-to-1 ratio (often written as
1:1), no compression occurs. At a 4:1 ratio, a signal that passes the threshold by
8 dB is attenuated to within 2 dB of the threshold (dividing by four). The higher
the ratio you choose, the more pronounced the compressor effect becomes.
4. Attack. Sets the time it takes for the compressor to begin
attenuating a signal, once it passes the threshold.
5. Release. Sets the time it takes for the compressor to stop
attenuating a signal once it falls below the threshold.
6. Auto. Press to toggle Auto mode on or off. When Auto mode is active, the
Attack and Release controls become inoperative, and a preprogrammed attack
and release curve is used. In this mode, the attack is set to 10 ms, and the release
is set to 150 ms. All other compressor parameters can still be adjusted manually.
7. Soft. Press to toggle Soft knee on or off. When set to “on,”
compression will be applied more gradually over time
when the Threshold is reached by the input signal.
Power User Tip: Very short compressor release times can produce a choppy or “jittery”
sound, especially when compressing instruments that have a lot of low-frequency
components, such as a rich acoustic guitar. Very long release times can result in an
over-compressed, or “squashed,” sound. All ranges of release can be useful, however, and
you should experiment to become familiar with different sonic possibilities.
8. Gain. Sets the amount of “makeup gain” to apply to a signal. Once a
signal is compressed, its overall level is often reduced. This gain control
lets you bring it back up to the proper level after compression occurs.
9. Key Filter. This sets the frequency at which the compressor will
engage. The compressor will still process the entire frequency range,
but it is only engaged when the specified frequency is present.
10. Key Listen. Press to listen the signal being used to trigger the compressor,
as set with the Key Filter control (including the effects of the high-pass
filter). Press again to switch back to the normal channel signal.