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Compresor 8 canales klark teknik square one

Por jaqjen el 23/11/2019 en Madrid
Expiración: 29/02/2020 | Visto 249 veces
300 €
Compresor 8 canales klark teknik square one
  • Compresor 8 canales klark teknik square one
  • Compresor 8 canales klark teknik square one
Se venden compresor de ocho canales klark teknik square one dinamic processor. Magnífico sonido y múltiples alternativas de funcionamiento: Se pueden combinar:
- Compresión RMS o PEAK (este último diseñado para emular el funcionamiento de los clásicos compresores a válvulas),
- Con modos HARD KNEE y SOFT KNEE,
dando lugar a mayor o menor automatización del attack y release, y haciendo que siempre encuentres un modo apropiado para cada instrumento.

Se pueden parear para estéreo e incluso para 5.1, y también se puede configurar cada canal para funcionar como un magnífico gate, en lugar de comprimir, ello de forma independiente.

Funciona perfectamente, ningún pote rasca ni mete ruido de ningún tipo. Siempre ha estado en mi estudio, libre de humos y con el adecuado mantenimiento.

Lo compré en thomann -nuevo- hará unos dos/tres años, se entrega con caja original, manuales, etc....

Aceptaría material musical y de estudio a cambio que me interesara.


The compressor has been designed to operate as a root-mean-square (RMS) sensing type or peak sensing
type compressor. Basically, this means that the unit's circuitry responds to either the effective average value
of the signal's waveform or its peak value. The peak sensing type mode of compression has been designed to
emulate the qualities and performance of 'vintage' valve-type compressors.
The two main compressor modes each operate in one of two modes, hard knee
or soft knee. Thus giving the four following compressor modes, selectable
using the VINTAGE and HARD KNEE switches (shown right) in combination.
Compressor soft knee and RMS (default setting)
With both the VINTAGE and HARD KNEE pushbutton switches switched out
(see left), the compressor behaves in the default soft knee and RMS mode. This gives the slowest and most
subtle feel to the compressor envelopes. The soft knee curvature combines with the adaptive RMS attack
and release times to produce gentle envelope curvatures that are ideal for compressing sung vocals, but
which can still be aggressive enough to limit transients when needed. The knee curvature also slightly
reduces the adaptive nature of the RMS detection, thus providing a little more manual control of the envelope
timings than is the case with the compressor set for hard knee and RMS.
Compressor hard knee and RMS
With only HARD KNEE switched in, the compressor operates in a more clinical way with a more defined
transition between under threshold and over threshold; this is better suited to limiting style compression. A
small amount of soft knee is still retained, keeping the sound reasonably natural but without any modification
of the envelope occurring. Thus, attacks are a little more aggressive but the adaptive nature of the RMS
detection is still allowed to operate to its fullest extent. This mode is good for natural sounding limiting of
speech.
Compressor hard knee and vintage
With the VINTAGE and HARD KNEE switches both switched in, the compressor operates with more precise
envelope control and, again, with a more defined transition between under and over threshold. This mode
uses faster peak sensing (not RMS), like many older compressor designs with exponential attack and release.
This produces aggressive compression that gives good fast control and/or limiting of extremely dynamic
material. It can also be used to add colour to low frequency signals, making it ideal for controlling
instruments such as the bass guitar.
Compressor soft knee and vintage
With only VINTAGE switched in, the compressor employs a dual time constant, linear attack profile. The soft
knee blurring of threshold occurs once more, as in RMS mode, although the effect is greatly accentuated.
This produces extremely subtle attack and release curves during the onset of compression that are largely
independent of the envelope control settings. As the compressor is driven harder (signals go further over
threshold) the soft knee effect reduces, gradually returning manual control of the attack and release times to
optimise capture of larger transients etc. Thus, like the RMS modes, this compressor mode is very adaptive,
making set-up of the envelope controls relatively easy. However, the peak sensing increases harmonic
overtones, adding a valve-like brightness and sparkle to the programme, and producing extremely natural
and lively sounding compression of acoustic instruments.
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