TL Audio A2 - Manual (Page 11)

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There are other benefits of compression as well as just controlling the peaks and
raising the quiet parts, applied properly, it can add punch and excitement to music, as
well as fattening up sounds and creating a more professional sounding recording. With
the Ebony A2, you have pristine Discrete Class A audio with the added benefit of a
valve stage that can be activated into the input stage of the signal path, this then offers
a warmth, clarity and presence just not obtainable with solid state or digital products.
Overview of Compressor Operation.
To operate the Ebony A2 successfully an understanding of each control will help to
obtain the best results. If you are unfamiliar with the effect of compression it may help
to adjust the controls to extreme settings and listen to the sonic effect. Generally
compressors are used in two different ways: either to enhance the signal and control
the dynamic range as unobtrusively as possible, or used more severely to specifically
to create an effect.
Threshold.
The Threshold is the point measured in decibels that any compression comes into
operation. The Threshold control is variable from +20dB in the most anticlockwise
position to -20dB at the most clockwise position. Any signal below the Threshold
passes through the unit unaffected; while signals above the Threshold are reduced in
gain (and are thus ‘compressed’). This does depend on the Soft or Hard knee to some
extent as the Soft knee is more gradual around the Threshold point.
Unlike some compressors, the Threshold control on TLA units including the
Ebony A2 starts at a ‘zero point’ value in the counter-clockwise position, and
decreases to a ‘minus’ value as you rotate the control clockwise. The reason for this is
as you turn the Threshold control on the Ebony A2 clockwise (i.e. towards the
negative region) then the degree of compression will increase. We think this is logical,
whereas the common method of turning the control ‘down’ to achieve more
compression is not - but beware, some other compressors may work in the opposite
direction!
Ratio .
Once the input signal has crossed the threshold, the degree of gain reduction is
determined by the Ratio control. The Ratio control is calibrated in decibels and is
simply the change in output level that results from a given change in input level. An
uncompressed signal will have a 1:1 compression ratio - every 1dB change in input
level results in the same 1dB change in output level. A compression ratio of 1:3, for
instance, means that a 3dB change in input level will only give a 1dB change in output
level. For more severe compression, simply turn up the Ratio control.