Manual

As a rule-of-thumb the low-band works best with fast Attack

times and rather slow Release times because low frequencies

have a long wavelength. In the mid-band you can use roughly the

same Attack time, but the Release time should be a bit faster

since the human ear is very sensitive in this area. If you set the

mid-band Release too long it will sound unnatural. The hi-band

works best with an Attack time that is a bit slower than the other

two bands because it will let high frequency transients to pass the

Compressor. Letting these peaks through the Compressor

prevents that stressed and over-compressed sound. The Release

time of the hi-band should be fast, like the mid-band, for the

same reasons, to increase the openness of the Compressor.

The Limiter

The Limiter is placed after the Compressor. This means that if

you drive the Compressor too hard, you hit the Limiter too hard.

Give the Limiter some room to do its intended job, to hold down

the level once in a while. If you run the Compressor block Output

levels too close to the Limiter ceiling your mix will sound

squashed. Conservative use of the Limiter, especially using the

softer Ratios will keep the mix sounding natural. Using the soft

clipper with adequate look-ahead time will prevent any

overshoot from the Finalizer.

The Crossover

A last thing to remember about the Finalizers dynamics section

is that the adjustable Cross-over frequencies are critical to the

units proper operation. By changing the Cross-over setting to

match the program material you can change the sound dramati-

cally, so you should experiment with this feature and find the

setting that makes your mix sound best.

This tutorial is only as a brief description of a few of the many

possibilities of the Finalizer. It does not replace the experience

you can achieve by working with the Finalizer.

Use and trust your ears

APPENDIX Tutorial