Focusrite TrakMaster Manual page 7

This switch should be used when you want the compressor to keep the volume of an
instrument at a very consistent level throughout its performance, and is best suited to
sources such as guitars, bass guitars and drums. When the switch is disengaged, a softer
compression 'ratio' (3:1) is used. This will keep more of the contrasts in volume of the
original performance. This approach may be more suitable for vocals.
– The speed with which a compressor reacts to signals louder than
PUNCH switch
the 'threshold' volume alters the way the compressor sounds. If the compressor reacts
quickly, the attack of a note might sound squashed. Sometimes this is desirable, but if the
time taken for the compressor to react is increased, the attack of each note isn't squashed as
much, therefore making the compressed signal sound 'punchier'. Use this function to
restore punch that is lost due to compression.
– Before MAKEUP gain is applied (see below), the
GAIN REDUCTION meter
compressor reduces the volume of loud signals. The GAIN REDUCTION meter shows
how many dB of gain reduction the compressor is causing. The more gain reduction, the
more heavily you are compressing. This meter is also a useful guide to how much
MAKEUP gain will be required in order to restore the original signal volume.
– This determines how quickly compression dies away once the volume of
RELEASE
the source signal has fallen below the 'threshold' at which the compressor reacts. When in
the anti-clockwise position, compression is released very quickly, which may be appropriate
for signals that vary rapidly in volume, as this allows the compressor to recover before beats
that follow. However, a short release time can lead to distortion on more sustained
material. Slower release times give a smoother effect, and may result in audible 'pumping',
which may help a piece of music sound more exciting, but may not always be appropriate.
Increasing the RELEASE control introduces a programme-dependent slower release time.
– The TrakMaster contains circuitry that simulates the warmth
TUBE SOUND
normally associated with tube or tape distortion. The TUBE SOUND control allows you
to add as much of this warmth as you like. This control is especially useful for adding
character when recording onto a digital medium.
– Since compressing a signal makes loud parts quieter, the maximum volume
MAKEUP
of the performance will now be lower than it was before being compressed. Therefore, it is
necessary to restore the maximum volume level back to its original value. Note that this has
the effect of making quiet elements louder, raising the perceived overall volume level of the
signal.
To set the MAKEUP gain correctly, switch the OPTICAL COMPRESSOR in and out
whilst slowly increasing the MAKEUP control from its anti-clockwise position. The
MAKEUP gain will be set correctly when the peak reading on the OUTPUT LEVEL
meter (on the far right of the unit) reads the same whether the OPTICAL
COMPRESSOR is switched in or out. The compressed signal should sound slightly louder
than the uncompressed signal.
–
When engaged, this switch causes the OPTICAL
POST EQ switch
COMPRESSOR section to process the signal after the 3-BAND EQUALISER section.
This is useful because boosting or cutting frequencies in the 3-BAND EQUALISER
section will alter the signal that the OPTICAL COMPRESSOR reacts to.
For example: a very bass-heavy guitar is compressed, then EQed. The low frequencies will
exceed the threshold and cause compression of the whole signal. If the EQ is applied first,
and some of the low frequencies are attenuated, the compressor will not respond to these
low frequencies so much.
COMP IN switch – When engaged, this illumintaed switch makes the OPTICAL
COMPRESSOR section of the TrakMaster active. To bypass this section, leave the switch
disengaged.
3-BAND EQUALISER
The 3-BAND EQUALISER (or 'EQ', as it is more commonly known) section of the
TrakMaster allows you to cut or boost certain frequencies. The TrakMaster EQ is
particularly versatile because the BASS and TREBLE bands can each be switched between
VOCAL and INSTRUMENT modes, giving a choice of voice-optimised EQ (with bell-
shaped sweepable low mid band and 10 kHz shelving high frequency band) or instrument
EQ (with shelving sweepable low frequency band and 3 kHz shelving high frequency
band.)
The use of EQ can be either 'creative' or 'corrective'. 'Creative' use of EQ is when it is
used to enhance the sound – usually by boosting desirable frequencies (although this is not
always the case.) 'Corrective' use of EQ is when it is used to remove some unwanted sound
or unpleasant frequency – usually by attenuating the offending frequency ranges. It is
always a good policy to get as natural a recorded sound as possible from the source before
any processing (compression or EQ) is applied. This will make the application of any future
processing much easier and more natural sounding.
BASS GAIN – This allows you to cut or boost frequencies below or around the
frequency selected by the FREQ control, depending on which mode has been selected by
the INST/VOCAL switch. The control offers up to 12 dB of boost and up to 14 dB of cut.
7