Aphex Studio Dominator 700 - Attack and Release Times; Limiters and Limiting

The Studio Dominator, rather than making the threshold user
variable, operates with a self controlled threshold. A variable
input gain control is then provided to adjust the "drive" to the
gain controlling and detector circuits, allowing the Output
level control to be precisely calibrated. This method offers
the advantage of optimized noise and distortion design in the
circuitry, calibrated output level, and simplified operation.
3.5 Attack and Release Times'
Timing parameters are extremely critical to the operation
of limiters and compressors. The two timing factors of greatest
importance are attack time and release time (sometimes called
recovery time).
The attack time is the time the processor requires to bring
the input signal under 90% control after the input level exceeds
the operating threshold. Limiters usually incorporate fast
attack times to prevent sudden signal increases from escaping
amplitude control. Compressors usually incorporate slower
attack times to prevent washing out of transient sounds.
Because of this, compressors will generally produce overshoots
at the output well above the average signal level. Often, the
attack time is not adjustable by the user, and thus becomes part
of the characteristic sound of the particular model of
compressor.
Release time is the time required by the processor to
restore itself to 90% of full gain when the input signal drops
below threshold. This time can vary from a fraction of a second
to many seconds depending on the particular device. Very often
this parameter is made user adjustable both for limiters and
compressors even if the attack time is internally fixed. Longer
release time results in less loudness because the gain does not
restore low levels quickly. Faster release time results in
correspondingly greater loudness, but this sometimes comes at
the cost of greater distortion (especially to low frequencies)
and more audibility of the gain control effects.
3.6 Limiters and Limiting
As previously discussed, in order to be effective, a
limiter typically has a threshold above avo, a high compression
ratio(7:1 or greater), and fast attack and release times.
Compressors usually operate at much lower ratios from, say,
1.1:1 to 3:1 in order to maintain a pleasing sound quality
because gain reduction is taking place over a larger dynamic
range. Compressors operating with a high compression ratio are
mostly used when a sound effect is intended. Recording
engineers may use a heavily driven limiter as a compressor when
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