23
E
The new IKA (Interactive Knee Adaption) circuit prevents aggressive compression, created by high ratios,
from sounding too unnatural. This is achieved with an interactive control function, which begins above the
threshold level and introduces a Soft Knee curve characteristic in the range up to 10 dB above the threshold
point. Beyond this range, the signal is subjected to linear (Hard Knee) compression.
+ With the threshold control completely turned to the right, the threshold value is +20 dB. Since such a
value will not be reached in practice, you can use it to disable the compressor section and work
exclusively with the expander/gate and limiter circuits.
5.3.1 Initial Settings For The Compressor Section
lortnoC gnitteS
hctiwsTUO/NINI
hctiwsTXECSTUO
hctiwsNOMCSTUO
hctiwsEVITCARETNINI
hctiwsRETLIFCSTUO
lortnocDLOHSERHTBd02+
lortnocOITAR1:3
hctiwsOTUANI
lortnocTUPTUOBd0
Tab. 5.2: Initial settings for the compressor section
Rotate the THRESHOLD control counterclockwise until an appropriate amount of gain reduction is indicated
on the GAIN REDUCTION meter. This operation will be accompanied by an audible drop in output level. The
OUTPUT control should now be turned clockwise to reinstate the output level. The level of the unprocessed
and the processed signal can be compared by pressing the I/O METER switch and observing the INPUT/
OUTPUT LEVEL meter.
Final adjustments of the controls can then be made to suit your particular requirements, including the RATIO,
ATTACK and RELEASE controls. The AUTO function of the attack and release times, provides program
dependent dynamic processing which suits most standard uses. If a condensed or wider sound processing
technique is required, the attack and release times can also be manually adjusted.
The experienced user will be in a position to specify parameters while in bypass mode and thus realize the
effect before the unit is actually switched into operation. This is important in live situations, where a signal
needs to be managed efficiently by the engineer, without the convenience of continual A/B comparison.
5.3.2 The COMPOSER PRO As A Sound Effects Unit
In the early 1960s, musicians began looking at the recording process as a way to create new sounds. The
pumping effect which had been avoided by earlier engineers suddenly became fashionable and was utilized
as a creative tool, laying the groundwork for many of the sounds which are now considered indispensable in
contemporary music. The compressor is used in this role because you can hear it working, and control of the
dynamic range is of secondary importance.
The Behringer COMPOSER PRO, with its extensive range of functions, is well suited to this application.
Sound effects of this kind can be achieved using extreme settings. To achieve this, set the THRESHOLD
control to a fairly low level, the RATIO control to almost maximum and use the ATTACK and RELEASE
controls to obtain the desired effect. Experiment with all the controls in order to get a feel of their function!
5. APPLICATIONS
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