Bedienungsanleitung Yamaha 01X (Seite 53 von 156) (Englisch)

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01X Owner’s Manual

Mixing Tutorial

Before UsingBasics SectionAppendix Getting StartedReference

● Compressor parameters/ranges

Threshold

Determines the amount of signal necessary to trigger

compression. Any signal softer than this level passes

through unprocessed, while signals louder than the

Threshold are compresses at the speciﬁed Ratio

(below).

Range: -54.0 — 0.0

Ratio

Determines the amount of compression, or the change

in output relative to the change in input. A 1:1 ratio rep-

resents no compression or normal (unity) gain—output

is the same as input. A 2:1 ratio means that for a 10dB

change in input level, the output changes only by 5dB.

Higher ratios obviously result in greater level “squash-

ing.” For vocals, piano and bass, a range between 2:1

and 6:1 is commonly used. Greater ratios are used on

drums and guitars and for special effects.

Range: 1:1 — ∞ :1

Attack

Determines the amount of time before compression is

applied to the signal. The smaller the value, the faster

the compression is applied.

Range: 0 — 120 ms

Release

Determines the amount of time before the compression

effect returns to normal (unity) gain.

Range: 5 ms — 42.3 sec

Gain

Determines the level of the compressed signal. Since

compression reduces the overall level, use this to raise

the level appropriately.

Range: 0.0 — +18.0

Knee

Determines how abruptly or smoothly compression is

applied. Keep in mind that this is related to yet different

from Attack (above). The “Hard” (hard-knee) setting

abruptly, while the settings 1 to 5 give smoother, loga-

rithmic increases in processing (soft-knee)—resulting a

more natural and less obvious compression.

Range: Hard, 1 — 5

•For details on the Dynamics parameters including other Dynam-

ics types, see pages 121–124.

● About Compression settings

Keep in mind that all of these settings interact with one

another. This is another one of the reasons compres-

sion is widely misunderstood and misapplied.

Attack and Release are particularly interdependent.

Fast Attack settings allow you to compress transients

and initial peaks in the sound. Different Release times

allow you to create sustain effects and make the tails of

individual notes louder.

For example, if you want the compressor to do its work

and get out of the way quickly, set both fast Attack and

Release times. For a guitar solo sound that seems to

sustain forever, use a moderate Attack time with a long

Release. Note that if Release is too short, you may get

an unnatural pumping or “breathing” sound. If it’s too

long, the compressor may not return to normal in time

to properly “catch” the next high-level signal.

Since compression is a subtle effect, it may take time to

learn how to use it properly. Make sure to play with the

on/off controls, switching the compression in and out to

hear how it changes the sound. Listen especially for

how the compressed and uncompressed sounds “sit” in

the mix, and use the effect judiciously to get the bal-

ance right.

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