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COMPRESSOR

Threshold

Determines the input level above which gain reduction will be applied. Soft knee compression takes place

for signals exceeding the threshold level by a few decibels, above which level conventional 'ratio' compression

is applied.

Big Switch

Big, when on, reduces the side-chain's sensitivity to low frequencies, with the result that less gain reduction

is applied at those frequencies, creating the effect that the bass is louder or 'bigger'. The 'BIG' mode enables

application in buss compression situations where you still want thick and warm tone yet complete dynamics control.

Air Switch

Air is used to re-introduce high frequencies, which can sometimes be lost after heavy compression, so that it

sounds more intimate, detailed and transparent, but without making it sound harsh or introducing any noticeably

unnatural artefacts. Cymbals are more vibrant without becoming splashy, and vocals sound more open but

without becoming sibilant.

Ratio

Ratio determines the amount of compression (attenuation) to be used once the 'soft-knee' region is exceeded. If

the ratio is set to 5:1 a signal exceeding the threshold by 5dB will be attenuated down to 1dB above the threshold,

and likewise, a signal exceeding the threshold by 15dB will be attenuated down to 3dB above it. A ratio of 1:1

provides no compression, 4:1 is moderate, 8:1 strong, whilst 10:1 would be seen as approaching limiting.

Attack

Sets the rate at which the compressor will respond to input signals that exceed the threshold level.

Release

Sets the time taken for the signal to return to normal after the input level has fallen below threshold.

PGM Switch

When on causes the release times to vary in a manner which automatically adapts to the dynamics of the

incoming signal.

Gain Reduction Meter

An eight segment LED bargraph meter continuously monitors the gain reduction applied by the compressor

and gives an indication of the amount of gain required to bring the signal back to its input level after it has been

compressed.

SATURATE

Level

Sets the amount of Saturation applied to the signal, from very subtle, through to warm and to overdriven.

Type Switches

With both switches inactive the Saturation control operates throughout the entire frequency range. However,

this can produce unwanted harshness in the low frequencies and excessive sibilance in the high frequencies.

When active cuts the low frequencies prior to the saturation stage. This reduces the harshness of the saturation

in the low frequencies, giving a warmer sound rather than over distortion to the bass.

When active cuts the high frequencies after the saturation stage. This reduces the harshness of the saturation

in the high frequencies, with the effect of far less sibilance than may otherwise occur.

The combination of variable Saturation plus the Type switches provide absolute control over the amount of

distortion used and allows the engineer to apply either very subtle saturation or to really drive the saturation

whilst still having control over the harshness that may occur.

-40.0dB - +20dB

Off - On

1:1 - 10:1

0.2mS - 100mS

0.05S - 2S

Off - On

1, 2, 3, 5, 7, 10, 15, 20 -dB

0 - 10

Off - On

DRAWMER 1977 O

PERATOR'S

ANUAL