Home » Creative Manuals » Audio Cards » Creative 70EM896106000 » Manual Viewer

Creative 70EM896106000 Owners Manual - Page 97

Max Compression, Enabled

UPC - 054651126893

View all Creative 70EM896106000 manuals

Add to My Manuals
Save this manual to your list of manuals

Page 97 highlights

Max Compression This parameter is used to limit the amount of gain reduction that the compressor can apply. The limit is set as a maximum number of dB of gain reduction, from 3dB to UNLIMITED. 0dB -30dB Max. Compression Threshold: -30dB Ratio = 4:1 Max. Comp. = 6dB Max. Comp. = 15dB Max. Comp. = 24dB 5 - Effects Core Effects Descriptions -80dB This feature emulates the phenomenon of the compression "tail" found in the gain curves of some classic analog compressor/limiters. The phenomenon results from the inability of these devices to apply more than a certain amount of compression to the input signal. When the device "runs out" of enough gain reduction to compress a very high level signal, it resumes a 1:1 gain curve again. This "deficiency" has the unexpected sonic benefit of restoring some dynamics to the compressed signal - but only on the highest input peaks - thus adding some "life" back into otherwise overcompressed signals. Unlike analog compressors, the Max Compression parameter allows you to adjust the amount of gain reduction before the compressor returns to a 1:1 gain curve. The diagram shows three settings of the Max Compression parameter; the compressor "gives up" and returns to 1:1 after 6, 15 and 24dB of compression have been exhausted, respectively. The parameter is most useful at higher compression ratios, allowing the gain curve to be carefully tailored to the dynamics of the signal as well as the Threshold and Ratio parameters. The limit set by the Max Compression parameter does not apply to gain reduction performed in the Soft Knee region of the gain curve. Neg Compression When the Neg Compression parameter is Enabled, the range of compression values available to the Ratio parameter extends beyond INFINITE to encompass negative compression ratios from 1:-100 down to 1:-1. Using negative compression ratios results in an output signal that actually gets quieter as the input signal rises above the threshold. This action can be useful for applications like ducking and for other special effects. 0dB -30dB -80dB Threshold: -30dB Neg. Comp: Enabled Ratio -10:1 -5:1 -3:1 -2:1 -1.5:1 -1:1 Note: You may need to use the Gain parameter to keep these restored peaks from clipping the compressor output since Auto Makeup gain doesn't automatically take the compressor tail into account. E-MU PCIe Digital Audio Systems 97

Section	Page
1- Introduction	9
Welcome!	9
Both Systems Include:	11
E-MU 1212m System	11
E-MU 1616m System	11
Sync Daughter Card	11
PatchMIx DSP	12
Notes, Tips and Warnings	12
2 - Installation	13
Setting Up the Digital Audio System	13
Notes for Installation	13
System Requirements	13
Safety First!	14
Connector Types	14
Installing the E-MU 1010 PCIe Card	15
1212m Owners - Install the 0202 Daughter Card	16
Connecting the MicroDock	16
WARNING: E-MU 0202 & MicroDock	17
Software Installation	18
Installing the E-MU 1010 PatchMix Software and Drivers	18
Windows XP, Windows XP x64, Windows Vista, Windows Vista x64	18
Uninstalling all Audio Drivers and Applications	18
Note About Windows Logo Testing	18
3 - PCIe Card & Interfaces	19
The E-MU 1010 PCIe Card	19
Important	19
Connections	19
EDI Connector	19
S/PDIF Digital Audio Input & Output	19
ADAT Optical Digital Input & Output	19
The 0202 Daughter Card	20
Connections	20
Analog Inputs and Outputs	20
MIDI In/Out	20
The MicroDock	21
Front Panel Connections	22
Preamp Section	22
S/PDIF Digital Audio Input & Output	22
ADAT Optical Digital Input & Output	23
Headphone Output & Volume Control	23
Rear Panel Connections	25
Line Level Analog Inputs	25
Phono Inputs & Ground Lug	25
Line Level Analog Outputs	25
Computer Speaker Analog Outputs	26
MIDI 1 & 2 In/Outs	26
EDI Connector (Card)	26
1212m System Connections	28
Output Connections	28
4 - The PatchMix DSP Mixer	29
PatchMix DSP	29
Overview of the Mixer	29
Mixer Window	30
Mixer Block Diagram	30
Pre Fader or Post Fader	30
E-MU Icon in the Windows Taskbar	31
The Toolbar	31
The Session	32
New Session	32
Open Session	33
Save Session	33
Session Settings	33
System Settings	33
Using External Clock	34
I/O Settings	34
Input Mixer Strips	36
Input Type	36
Inserts	36
Pan Controls	36
Aux Sends	36
Volume Control	36
Mute/Solo Buttons	36
Scribble Strips	36
Mixer Strip Creation	37
Multichannel WAVE Files	38
Windows Media Player/DVD/Surround Sound Playback	38
Insert Section	39
Working with Inserts	39
The Insert Menu	40
ASIO Direct Monitor Send/Return	41
Meter Inserts	42
To Set the Input Levels of a Strip	43
Making the Best Possible Recording	43
Trim Pot Insert	44
Test Tone/Signal Generator Insert	45
Managing Your Inserts	46
Aux Section	47
Sidechain Diagram	47
Pre or Post Fader Aux Sends	48
Level, Pan, Solo & Mute Controls	49
Main Section	50
TV Screen & Selectors	51
Effect	51
Input	52
Output	52
Auxiliary Effects & Returns	53
Sidechain Diagram	53
Sync/Sample Rate Indicators	53
Output Section	54
Main Inserts	54
Main Output Fader	54
Output Level Meters	54
Monitor Output Level	54
Monitor Balance Control	54
Monitor Output Mute	54
5 - Effects	55
Overview	55
The Effects Palette	55
FX Insert Chains	56
The Order of Effects	57
Creating, Renaming & Deleting Categories or Presets	57
Importing and Exporting Core FX Presets and FX Insert Chains	58
FX Edit Screen	59
User Preset Section	60
Core Effects and Effects Presets	61
List of Core Effects	62
DSP Resource Usage	62
Core Effects Descriptions	63
1-Band Para EQ	63
1-Band Shelf EQ	63
3-Band EQ	64
4-Band EQ	65
Auto-Wah	66
Chorus	67
Compressor	68
Basic Controls	68
Distortion	70
Flanger	71
Freq Shifter	72
Leveling Amp	73
Lite Reverb	74
Mono Delays - 100, 250, 500, 750, 1500, 3000	75
Phase Shifter	76
Rotary	76
Speaker Simulator	77
Stereo Delays - 100, 250, 500, 750, 1500	78
Vocal Morpher	80
Gate	81
Applications	81
Parameters	82
Threshold	82
Release Time	82
Max Gain Reduction	82
Lookahead	82
Level Meter	83
Gain Reduction Meter	83
Reshaper	84
Applications	84
Multimode EQ	87
Applications	87
Parameters	88
Lowpass	88
Highpass	88
Highpass -> Lowpass	89
Highpass \|\| Lowpass	89
Band Pass	90
Band Cut	90
RFX Compressor	91
Signal Flow	91
Parameters	92
Threshold	92
Gain Reduction Meter	92
Ratio	92
Attack	92
Release	92
Gain	93
Advanced Parameters	93
Soft Knee	93
Gate	95
Comp Lookahead/Delay	95
Auto-Release	96
Max Compression	97
Neg Compression	97
Input Mode	98
Example Settings	99
Multimode EQ Settings	101
Compressor Settings	101
E-MU PowerFX	102
Automating E-MU PowerFX	104
E-MU PowerFX Resource Availability	104
Rendering Audio with E-MU PowerFX	106
General Tips for Rendering using PowerFX	106
Tips for using Freeze Mode on Cubase LE	106
Using E-MU PowerFX with WaveLab and SoundForge	106
E-MU VST E-Wire	107
E-Delay Compensator	108
E-Delay Compensator Use	109
E-Delay Units Parameter	110
Grouping Tracks	110
6 - Appendix	111
Using High Sample Rates	111
Overview	111
WDM Recording and Playback Behavior	113
Getting in Sync	114
Useful Information	115
Cables - balanced or unbalanced?	115
Balanced Cables	115
Unbalanced Cables	115
Adapter Cables	116
1/8” Mini-phone to 1/4” Adapters	116
Cinch (RCA) to 1/4” Adapters	116
Digital Cables	116
AES/EBU to S/PDIF Cable Adapter	116
Grounding	117
Phantom Power	117
Appearance Settings in Windows	117
Technical Specifications	118
Internet References	124
Forums	124

Match case Limit results 1 per page

5 - Effects

Core Effects Descriptions

E-MU PCIe Digital Audio Systems

Max Compression

This parameter is used to limit the amount of gain reduction that the compressor can

apply. The limit is set as a maximum number of dB of gain reduction, from 3dB to

UNLIMITED.

-8

eshol

Max. Co

essio

x. Co

p. = 6

x. Co

p. = 15

x. Co

p. = 2

o =

This feature emulates the phenomenon of the compression “tail” found in the gain

curves of some classic analog compressor/limiters. The phenomenon results from the

inability of these devices to apply more than a certain amount of compression to the

input signal. When the device “runs out” of enough gain reduction to compress a very

high level signal, it resumes a 1:1 gain curve again. This “deficiency” has the

unexpected sonic benefit of restoring some dynamics to the compressed signal - but

only on the highest input peaks - thus adding some “life” back into otherwise over-

compressed signals.

Note:

You may need

to use the Gain parameter

to keep these restored

peaks from clipping the

compressor output since

Auto Makeup gain doesn't

automatically take the

compressor tail into

account.

Unlike analog compressors, the Max Compression parameter allows you to adjust the

amount of gain reduction before the compressor returns to a 1:1 gain curve. The

diagram shows three settings of the Max Compression parameter; the compressor

“gives up” and returns to 1:1 after 6, 15 and 24dB of compression have been

exhausted, respectively.

The parameter is most useful at higher compression ratios, allowing the gain curve to

be carefully tailored to the dynamics of the signal as well as the Threshold and Ratio

parameters. The limit set by the Max Compression parameter does not apply to gain

reduction performed in the Soft Knee region of the gain curve.

0dB

-30dB

-80dB

Threshold: -30dB

Neg. Comp: Enabled

-10:1

-5:1

-3:1

-2:1

-1.5:1

-1:1

Ratio

Neg Compression

When the Neg Compression

parameter is

Enabled

, the range

of compression values available

to the Ratio parameter extends

beyond INFINITE to encompass

negative compression ratios from

1:-100 down to 1:-1. Using

negative compression ratios

results in an output signal that

actually gets quieter as the input

signal rises above the threshold.

This action can be useful for

applications like ducking and for

other special effects.