Bassot ›

ajs: Ehdottakaapas jotain hyvää ja kohtuuedullista kompuraa bassolle, lähinnä livekäyttöön. Vaatimukset:
- räkkiasennettava
- attack, release yms. pitää olla säädettävissä, ettei sentään ihan kahden nupin vehjettä :)
- jos käytettynä saisi pariin-kolmeen hunttiin..
 
DBX:n 160 ja 166 on tietysti ilmeisiä vaihtoehtoja, mutta olisko jotain muuta joka on todettu hyväsoundiseksi ja luotettavaksi? Ei oikein innosta ainakaan nuo uudet kiinan-dbx:t..
 
EDIT: Saa olla kaksikin kanavaa, mutta useampi on turhaa.
 

 
Mä väittäisin että myös dbx DDP on mahtava laite basson kompressointiin, vaikka onkin digitaalinen. Tuossa on todella laadukkaat 24bit konvertterit ja myös mainio TSE (tape saturation emulation). Inputtia voi ajaa aika huolettomasti plussalle eikä särähdä rumasti.
 
Kompressorin säätömahdollisuudet on monipuoliset ja tietenkin niistä myös näkee tarkasti että mitkä säädöt kompuraan on ruuvannut.
 
Laitteessa on muutakin (mm. Gate, Limiter ja 3-alueinen parametrinen EQ), mutta mitään ei ole pakko pitää päällä. Mittarointi tossa on myöskin hienostunut, jos tykkää katsella tasoja. Ainoa huono puoli on että laite käy aika lämpimänä, joten jos ton tunkee räkkiin niin jättäisin kyllä yläpuolelle vapaata ilmatilaa.
 
Niin ja vielä sellainen juttu tuli mieleen, että kaikkia kompressorin parametrejä pystyy säätämään myös MIDI CC-käskyillä. Samoin kuin kaikkia muitakin asioita tossa laitteessa. Voisi olla mahdollisesti aika kätevää säätää pedaalilla esim. tota OverEasyn jyrkkyyttä, kun sillä saa äänten alkureunan ihan pehmeäksi (kadoksiin) tai sitten kuuluviin.
 
DDP mahtuu helposti tohon parin-kolmensadan hintaluokkaankin.
 

 
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Type IV Conversion System
We have included the Type IV Conversion Process as the primary method of analog to digital conversion on the DDP. When the analog inputs are selected, the TYPE IV icon to the right of the program number lights up and the TYPE IV process takes over as the means of converting the analog signal to a digital signal. This means that you may hit +6dB on the digital input meters for the DDP and not hear any audible distortion. This behavior is not unlike an analog tape machine. In conjunction with TSE Tape Saturation Emulation, the essence of the analog signal is captured to the digital medium in a way that preserves the color and emulates the behavior of an analog tape recording. This process results in a digital signal that is more pleasing to the ear, and offers a more musical, useable signal for the DDP to process, resulting in master-quality sound output, whether digital or analog.
 
TSE -- Tape Saturation Emulation
Analog tape has always had a specific sound. In fact different brands of magnetic tape have their own peculiar sound or color. The color is most apparent when you drive the tape hard, almost to saturation. Conversely, digi-tal signals have almost no color. If you drive a digital signal to saturation, all you get is an ugly, unuseable digi-tal over sound, much like fingernails on a blackboard. As a result, the sound, while crystal clear, can have a sterile or crisp sound. It is this crispness that has been to downfall of digital signals. Tape Saturation Emulation is a process of giving a digital signal an analog-type sound or color, making it more pleasing to the ear. On the DDP you can drive the input past the zero mark without risking the dreaded digital over. Instead you get a pleasant saturation that is modeled after the sound of analog tape being saturated with signal. the controls for TSE are in the EQ section, and are global in effect. There are five different settings for TSE: Dark, Warm, Normal, Bright and Brighter. Each emulates an analog signals color and is very unique. Their names reflect their characteristics.
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The parameters included on the DDP for compression operations are as follows:
 
Off/on: As with the gate, the compressor section must be turned on. The curve window will show the compres-sion threshold, as well as the ratio and gain levels.
 
dbx OverEasy off, knees 1-10: Activating the OverEasy threshold characteristic softens the compression knee, making the transition between uncompressed and compressed signal as seamless as possible. In addition to hav-ing the on/off setting, you may choose varying knee slopes with the VariKnee variable knee algorithm (see fig-ure below). Selecting knee #1 activates the curve next to the hard knee curve, #2 selects the next softer knee, etc., up to knee #10, which is the softest knee.
 
Auto mode off/on: Activating Auto mode disables the Attack, Hold and Release controls, triggering a message to that effect in the curve window. Attack and release settings become fully program-dependent, and manual changes in the settings do not have any effect on the audio signal or the response of the compressor. Auto modeis especially effective on signals such as vocals or other highly dynamic signals. Most factory setups use Automode because of its ability to perform smooth compression under widely varying circumstances.
 
Threshold range from -60dB to +4dB: Setting the threshold is the same on the compressor as it is on the gate or limiter. There is a visual representation of the threshold on the curve window, and as you edit the parameter, you will see motion up or down on the curve window, allowing much greater understanding of the effects of each parameter on the entire compression algorithm.
 
Ratio from 1:1 through INF. As the signal passes through the threshold region, it begins to be compressed at the rate set with the ratio setting. It is expressed in a ratio for ease of use, for example, with a ratio setting of 4:1, the signal would have to increase by 4dB in input to increase the output by 1dB. With the wide-ranging control on the DDP, it is possible to achieve very smooth, transparent compression as well as heavy, in-your-face com-pression effects.
 
Gain from -20dB to +20dB: When a signal is compressed, by definition some of its gain is taken away. It there-fore becomes necessary to boost the now-compressed signal back up to a useable level. As you make this adjust-ment you can see the effect in the curve window. The compressed signal is now more dynamically controlled and can be boosted to a level that was not possible before it was compressed.
 
Attack control from 0.1ms to 200ms: As the signal exceeds the threshold, the speed at which the compressor begins to react is set by the Attack control. Its range is from very fast to somewhat slow, allowing you to have all the control you want. The Attack control is active when not in Auto mode (see Auto mode above).
 
Hold from 0ms to 500ms: Hold sets the minimum gain reduction amount for a determined amount of time, after the the signal passes below the threshold. If the signal goes back above the threshold, the hold time is restarted and will hold the compressor at that amount of gain reduction for the set time, after the signal once again moves below the threshold. The Hold control is active when not in Auto mode (see Auto mode above).
 
Release from 360dB/sec to 5dB/sec: The release control sets the speed at which the signal is returned to the normal signal after it has gone below the threshold, and the Hold time has been exceeded. The Release control is active when not in Auto mode (see Auto mode above).