Knee - Alesis CLX440 Reference Manual

basics of compression • chapter 3
recorder overloads every time the kick drum hits, you can use
Peak limiting to keep the kick from peaking above the rest of the
music.
When set to
signal's average level, much like our ears adjust to loud or soft
sounds. In RMS mode, your source can have more of a dynamic,
transparent sound (because short peaks don't clamp down the
overall level) but still be prevented from getting too loud.
Generally, if you're trying to raise the apparent volume of the
track for radio or mixdown, set the detect knob closer to RMS
compression. If you're trying to stop peaks from distorting your
tape recorder or amplifier, use Peak compression.

Knee

The
KNEE
compression styles. When the CLX-440 is set for
compression ratio applies only to signals above the threshold
level. If the CLX-440 is set for
gradually increases from 1:1 to the currently selected ratio over a
range of approximately 5 dB, so that the transition from
uncompressed to compressed is more gradual. The difference
between Hard Knee and Soft Knee is more obvious at high
compression ratios. Once the input signal crosses the Threshold,
the unit will compress the signal at the full ratio level.
Soft knee compression is useful when performing high-ratio
compression or limiting on a signal. When the compression
gradually fades in, it doesn't sound as obtrusive as when it
suddenly starts limiting the signal. If you're looking for a "brick
wall" limiter, the switch should be set for Hard knee to stop any
transients from slipping through without affecting lower level
signals. Lower Ratio levels may require a hard knee setting so
that the compression slope isn't too narrow and you loose some
of the compressive "punch".
30
compression, the CLX-440 works by detecting a
RMS
knob is used to vary between Hard and Soft knee
Hard Knee
knee, the compression ratio
SOFT
Soft Knee
CLX-440 Reference Manual
knee, the
HARD