TL Audio 5052 - Manual (Page 18)

and Release on the 5052 - for instance, should a very short transient occur the time
constants tend to become shorter, to prevent a slow release leaving a “hole” in the
signal after the transient. Also, a fast release setting will be extended by a slow
attack setting. Due to this automatic nature of the time constants, the controls are
simply labelled ‘Slow’ to ‘Fast’.
The speed of the Attack and Release should in general be able to work with the
tempo of the signal. For example if the signal is a snare drum, by monitoring the gain
reduction it is possible to set the Release to allow the compression to fully recover
(i.e. the gain reduction needle will settle back to 0dB) before the next snare beat.
This prevents the second snare beat being reduced in level in comparison to the
first. One side-effect of having an incorrect release setting is distortion on low
frequency signals, which can particularly occur when using a fast release setting on
bass heavy signals - the compressor is forced in and out of compression during one
cycle of the waveform, and distortion results. The 5052 has a built-in “Hold” facility
which delays the onset of release for approximately 10mS after the input signal falls
below the threshold. If distortion is still experienced, a slower release time should be
used.
4.17 Knee.
The Knee switch enables the 5052 compressor to be operated in two different
modes - soft knee or hard knee. Soft knee mode offers a gentle compression curve
around the threshold point, and is traditionally employed to yield a more subtle,
musical type of compression effect. The hard knee setting causes the full
compression ratio to be applied immediately the signal has passed the threshold
point, so tends to produce more pronounced and severe compression.
4.18 Gain Make Up.
While the subjective sound quality of the signal can be improved by compression, the
overall signal level will be reduced when gain reduction is taking place. The Gain Make
Up control is designed to boost the compressed signal by between 0 and 20dB, in
order to bring back the level to the same loudness as the uncompressed signal.
Without this control, comparing the original and compressed signals becomes
difficult, since there would be a level drop each time the compressor is switched in:
therefore it is normal to adjust the Gain Make Up control so that when the
‘compressor on’ switch is activated, the audio signal remains constant in level.