A compressor reduces the dynamic range of a sound and can make it appear louder and more present. The gain of any peaks in a signal that exceed a set threshold is lowered and the overall volume (including the softer portions of the signal) can then be brought up, resulting in a fuller, more consistent sound. When applied to individual instruments, they can sometimes sit better in a mix.
In the Patch, “Clavichord,” Amount controls how much compression is applied after the signal exceeds the threshold. It can be set from 1:1 (no compression) to 10:1.
Gain controls both the threshold and output gain of the compression effect – making up for any loss in volume caused by the compression. Higher settings lower the threshold and make up more gain, while slowing the attack.
The COMPRESSION section can be turned ON / OFF with the label switch above the controls.
In the Patch “LA Custom C7 Grand Piano,” we use a hi-fi, transparent compressor.
Input sets the level that is sent to the compressor.
The compression Ratio controls how much compression is applied after the signal exceeds the threshold.
It can be set from 1:1 (no compression) to 10:1.
Sustain controls both the threshold and output gain of the compression effect. Higher settings lower the threshold and make up more gain, while slowing the attack.
Release adjusts the amount of time the compressor takes to stop once the audio has gone under the threshold level.
Level adjusts the overall output volume to compensate for compression level reduction.
One of the great things about recording to analog tape is the way in which the sound is “warmed up” by the naturally-occurring tape saturation (a subtle, warm-sounding distortion) and compression. Certain COMPRESSION sections contain a TAPE selector.
In the Patch, “JD-800 – Crystal Rhodes,” the TAPE switch inserts a modeled analog tape recorder to achieve a tape compression effect and the STUDIO switch inserts a hi-fi, transparent compressor.