TK Audio BC501-GR Handleiding

TK Audio Niet gecategoriseerd BC501-GR

Lees hieronder de đź“– handleiding in het Nederlandse voor TK Audio BC501-GR (6 pagina's) in de categorie Niet gecategoriseerd. Deze handleiding was nuttig voor 36 personen en werd door 2 gebruikers gemiddeld met 4.5 sterren beoordeeld

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BC501-GR
500- series Stereo Bus Compressor
www.tkaudio.se
Congratulations on buying one of the most transparent stereo bus compressors ever made,
it’s manufactured and assembled by hand in Sweden and thoroughly tested before leaving the
factory.
The BC501-GR provides smooth bus compression associated with one of the most famous bus
compressors from the mid 80’s. Mixing engineers call it the ”magic glue” when transparent
compression strengthens mixes without compromising clarity. The BC501-GR provides just that
kind of compression bringing cohesion and punch; equally useful for drum bus and instrument
compression.
A new grab function has been added to the new model which oers a harder threshold knee
and makes the compressor even more perfect for the drumbus. The built-in blend control ma-
kes it easy to apply parallel compression by adjusting the mix of dry and compressed signal. A
switchable side chain îšżlter can be applied at 80Hz, 150Hz or 220Hz which makes the BC501-
GR less responsive to low frequency energy. The external side chain input makes it possible to
have the BC501-GR pump to an external source.
The BC501-GR will add the ”magic glue” and make your mixes sound punchy and coherent. All
controls are stepped for 100% repeatability.
www.tkaudio.se
THE PARAMETERS:
THRESHOLD: -20dB to +20dB in 41 steps. The threshold adjusts the level above where the
signal is reduced. A lower threshold means a larger portion of the signal will be treated. For
optimal results make sure that the input level is high enough.
MAKE-UP: 0 to +20dB of gain in 41 steps to balance the compressed signal level against the
input signal level.
BLEND: Straight to compressed sound in 21 steps. Turning the knob clock wise will mix the
original signal with the compressed signal. For more information please read the section
about parallel compression.
HPF: When engaged a gentle 6dB/octave high pass îšżlter at 80Hz, 150Hz or 220Hz is
applied to the internal or external side chain signal, making the compression less responsive
to low frequency energy. Both 80Hz and 150Hz engaged gives 220Hz.
GRAB: Selects a harder threshold knee.
EXT SC: Engages the external side chain input through the 1/8” stereo jack. By using the
external side chain another signal can control the behavior of the compressor; most
commonly used by DJs for ducking / lowering the music volume automatically when speaking.
It’s also eectively used for ducking the bass track or background whenever the kick drum hits
by sending the kick track to the external sidechain input. For more information please read
the section about side chain compression.
RATIO: 1.25:1 / 1.5:1 / 2:1 / 4:1 / 6:1 / 10:1. The ratio determines the input/output ratio for
signals above the threshold. For example, a 4:1 ratio means that a signal overshooting the
threshold by 4 dB will leave the compressor 1 dB above the threshold. At the 1.5:1 and 2:1
setting a relatively subtle soft knee compression is applied. At 4:1, the compression becomes
more obvious, and at 10:1, the BC501 is basically a peak limiter.
ATTACK: 0.1 / 0.3 / 0.6 / 1 / 3 / 10 / 30 / 60 / 120mS.
The attack setting deîšżnes the time it takes for the compressor to decrease the gain and reach
the level determined by the ratio. Faster attack settings means better control of the transient
part of the sound, but if set too fast the compressor might cut away more transients than wan-
ted. A good starting point is 10ms.
RELEASE: 50 / 100 / 300 / 600ms / 1.2S / Auto. The release setting deîšżnes the time it takes
for the compressor to increase the gain to the level determined by the ratio, once the level has
fallen below the threshold. Higher release settings will result in a less intrusive compression
with lower distortion, but if set too high the compression might not be eective enough. A
good starting point is 100ms or Auto.
AUTO RELEASE: Makes the release function time dependent on the duration of the signal
peak. In practise it’s a re-and-forget setting that behaves the same way as a classic British
bus compressor used by many since the 80’s.
GAIN REDUCTION METER: The metering shows the average level (RMS) of the gain
reduction which diers from the peak level meters of most plug-ins - comparatively it’s slower
and in practise it means that a little goes a long way. The proper amount of compression on a
mix is usually done when the needle moves in the middle of 0 and 4. Higher ratio and faster
release settings will result in a more obvious compression/limiting that sometimes is too fast
for the needle to show. Always use your ears îšżrst and just use the metering as a quick
reference.
IN: Engages and disengages the compressor. Should be used a lot to control how the
compressor is aecting the sound.
A full version of this manual with presets is available from www.tkaudio.se
STARTING PRESETS
MIX BUS
The main purpose of the BC501 is to act as a bus compressor and it does it very well.
AUTO RELEASE MAGIC
One of the true unique features of the BC501 is the auto release setting and it’s ability to glue
the mix together. The auto release is a good starting point when setting up the compressor for
2 bus duty. Adjust the Threshold until 2 to 3 dB of compression is shown by the meter. It’s all it
takes to glue the mix together.
Threshold: ±0 dB
Ratio: 1.25:1, 1.5:1, 2:1 or 4:1
HFP: ON
Attack: 10 ms
Release: Auto
Make-up: 8 o’clock
Blend: Comp
POP MIX COMPRESSION
For more obvious compression a fast release should be used. Adjust the Threshold until it
shows about 3 to 4 dB of compression on the loudest parts of the song.
Threshold: ±0 dB
Ratio: 4:1
HFP: ON
Attack: 10 ms
Release: 100 or 300 ms
Make-up: 9 o’clock
Blend: Comp
SLAMMING 2 BUS COMPRESSION
Depending on the source material sometimes the compression can eectively slam the mix. It
usually works for electronic music with fast transients that need to be tamed. The result can be
a bit fatiguing but it sure can inject energy when needed rendering a super processed mix.
Threshold: 5 dB
Ratio: 10:1
HFP: ON
Attack: 3 ms
Release: 50 ms
Make-up: 9 to 10 o’clock
Blend: Comp
DRUMS
The BC501 can go from subtle to pretty slamming compression on a drum bus and here are a
few good starting points. Make a habit of adjusting the Make-up gain until the compressed
signal is equally loud as the uncompressed signal, and toggle the Comp in button to listen
what’s actually happening to the drums when they are compressed.
A TOUCH OF DRUM COMPRESSION
Adjust the Threshold until the compression meter shows about 2 dB of gain reduction. The
eect should be very subtle and just make the drums come together without adding or altering
the kick or snare drum.
Threshold: 0 to +5 dB
Ratio: 2:1
HFP: ON
Attack: 3 ms
Release: AUTO
Make-up: 9 o’clock
Grab: ON
Blend: Comp

Product specificaties

Merk: TK Audio
Categorie: Niet gecategoriseerd
Model: BC501-GR

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