Manual

11
4.12 Ratio.
Once the input signal has crossed the threshold, the degree of gain reduction is determined by the Ratio control. The Ratio
control is calibrated in dBs and is simply the change in output level that results from a given change in input level. An
uncompressed signal will have a 1:1 compression ratio - every 1dB change in input level results in the same 1dB change in
output level. A compression ratio of 1:3, for instance, means that a 3dB change in input level will only give a 1dB change in
output level. For more severe compression, simply turn up the Ratio control.
The 5060 offers a wide range of ratios from 1:1.5 (gentle compression) through to 1:30 (limiting). Limiting effectively clamps
the input signal at the threshold level no matter how much the signal is increased: this can be useful when trying to ensure
that the signal doesn’t exceed a certain level - for instance to prevent a digital recorder distorting through overload.
The Ratio control is only active when the Program control is set to Manual mode. In all of the Preset modes it is disabled
and the Ratio value is fixed internally.
4.13 Attack and Release.
The Attack time of the 5060 is switchable between 0.5mS (‘Fast’) and 5mS (‘Slow’). At 0.5mS attack, the compressor is fast
enough to compress a 1kHz signal in less than half a cycle, effectively preventing the overload of any following equipment
which has limited headroom, such as a digital processor, tape machine or transmitter. Fast attack times are used to compress
a signal quickly, so are suitable for audio signals with sharper transients such as drums. However, if you want the initial
leading edge of the signal retained (for instance the initial click of a bass guitar or bass drum) then a slower attack time can
be employed, and slow attack times can also be useful on sustained sounds like synth pads.
The Release time of the 5060 is switchable between 0.2S (‘Fast’) and 1.5S (‘Slow’). The Release setting is important because if
it is too short, the compressor gain recovers too quickly with the result that there is an audible ‘pumping’, ‘breathing’, and
sometimes low frequency distortion. In these cases try using a slow release time.
Adjustment of the attack and release times allows unobtrusive compression to be applied to virtually any audio signal, but
should very short transients occur the time constants become signal dependent, generally reduced, to prevent a slow release
leaving a ‘hole’ in the signal after the transient. Also, a fast release setting will be extended by a slow attack setting. This
type of automatic control means that the flexibility of the 5060 is greatly extended without the extra complication of fully
variable attack and release controls.
The Attack and Release controls are only active when the Program control is set to Manual mode. In all of the Preset modes
they are disabled and the Attack and Release values are fixed internally.
4.14 Gain Make Up.
While the subjective sound quality of the signal can be improved by compression, the overall signal level will be reduced
when gain reduction is taking place. The Gain Make Up control is designed to boost the compressed signal by between 0 and
+20dB, in order to bring back the level to the same loudness as the uncompressed signal. Without this control, comparing
the original and compressed signals becomes difficult, since there would be a level drop each time the compressor is switched
in: therefore it is normal to adjust the Gain Make Up control so that when the ‘compressor on’ switch is activated, the audio
signal remains constant in level.
Unlike the Output Level control, the Gain Make Up control is active
only when the ‘compressor on’ switch is engaged. Once
the Gain Make Up has been adjusted, use the Output Level control to set the overall output level of the 5060.