twin q manual - images4.static-thomann.de · 3 joemeek reborn – the legend grows the next...
TRANSCRIPT
-
Pla
ce
Sta
mp
H
ere
JO
EM
EE
KD
IST
RIB
UT
ED
BY
PM
I AU
DIO
GR
OU
P
23775 Madison S
treet Torrance, C
alifornia 90505 US
A
TWIN Q
Joem
eek
User
Gui
de
vis
it u
s o
n t
he
we
b a
t j
oe
me
ek
.co
m
twin q manual.indd 7/15/04, 9:22 AM2-3
-
3
JOEM
EEK
rebo
rn –
the
leg
end
grow
s
The
Nex
t G
ener
atio
n of
Joe
mee
k st
udio
pro
cess
ors
repr
esen
ts a
qua
ntum
le
ap in
the
his
tory
of
the
Joem
eek
lege
nd.
Long
reg
arde
d fo
r its
“B
ig S
ound
”,
the
orig
inal
Joe
mee
k ge
ar w
as b
oth
reve
red
and
revi
led
for
its s
omew
hat
“qui
rky”
nat
ure.
Now
we
have
tak
en t
he b
est
of w
hat
mad
e th
e Jo
emee
k pr
oduc
ts s
ound
gre
at,
refin
ed it
, di
still
ed it
, ad
ded
to it
and
rep
acka
ged
it.
Pro
perly
and
rob
ustly
eng
inee
red
for
pred
icta
ble,
con
trol
labl
e pe
rfor
man
ce,
the
new
ran
ge r
etai
ns th
e fa
mou
s Jo
emee
k so
und,
with
its
wid
e, fl
at fr
eque
ncy
resp
onse
ext
endi
ng f
rom
sub
soni
c to
ultr
ason
ic.
It al
so u
ses
genu
inel
y lo
w
nois
e ci
rcui
try,
with
lot
s of
hea
droo
m (
imm
unity
to
over
load
). A
ccur
ate
cali-
brat
ion
and
met
erin
g, t
oget
her
with
cle
ar p
anel
lab
ellin
g, g
ive
you
com
plet
e co
nfid
ence
in
wha
t’s g
oing
on.
Whi
le s
ome
equi
pmen
t pa
ys l
ip-s
ervi
ce t
o qu
ality
and
“pr
ofes
sion
al r
ules
” bu
t fa
ils t
o de
liver
, th
e N
ext
Gen
erat
ion
of
Joem
eek
prod
ucts
are
foun
ded
on g
ood
solid
ele
ctro
nic
and
audi
o en
gine
erin
g,
and
with
stan
d di
rect
com
paris
on w
ith t
he v
ery
best
nam
es i
n m
ixer
s an
d ou
tboa
rd g
ear.
The
Joe
mee
k ra
nge
prov
ides
eve
ryth
ing
you
need
to
get
your
per
form
ance
on
to t
ape/
disc
.
Abou
t th
e De
sign
er
The
Nex
t G
ener
atio
n of
Joe
mee
k ha
s be
en c
ompl
etel
y re
-eng
inee
red
by
reno
wne
d au
dio
elec
tron
ics
cons
ulta
nt A
llan
Bra
dfor
d. W
ith h
is b
ackg
roun
d in
phy
sics
and
30
year
s ex
perie
nce
with
the
des
ign
of i
nstr
umen
ts,
mix
ers,
pr
oces
sors
and
am
plifi
ers,
Alla
n’s
uniq
ue r
ange
of
expe
rtis
e en
sure
s th
at
Joem
eek
rem
ains
at
the
fore
fron
t of
mus
ic t
echn
olog
y.
Joem
eek
is m
anuf
actu
red
and
mar
kete
d un
der
the
dire
ctio
n of
:
PM
I A
UD
IO G
RO
UP
US
A:
2377
5 M
adis
on S
tree
tTo
rran
ce, C
alifo
rnia
905
05
toll
free
: 87
7-56
3-63
35
fax:
310
-373
-471
4 em
ail:
info
@jo
emee
k.co
m
UK
: P.
O. B
ox 3
58To
rqua
y, D
evon
TQ
2 5X
S
tel:
+44
(0)
180
321
5111
em
ail:
eus
ales
@jo
emee
k.co
m
Writ
ten
by A
llan
Bra
dfor
d, M
Sc
Joem
eek®
is a
reg
iste
red
trad
emar
k of
PM
I Aud
io G
roup
. ©
2004
PM
I Aud
io G
roup
. All
right
s re
serv
ed.
3
Cont
ents
twin
Q C
on
tro
ls a
t a
Gla
nce
......
......
......
......
......
......
......
....4
Ove
rvie
w...
......
......
......
......
......
......
......
......
......
......
......
......
.6P
rea
mp
lifie
r...
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
.6In
sert
Poi
nt...
......
......
......
......
......
......
......
......
......
......
......
.....7
C
om
pre
sso
r...
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
8 M
eequ
aliz
er...
......
......
......
......
......
......
......
......
......
......
......
..10
Out
put
Sta
ge...
......
......
......
......
......
......
......
......
......
......
......
10
Usi
ng
th
e tw
inQ
......
......
......
......
......
......
......
......
......
......
..12
Get
ting
Con
nect
ed...
......
......
......
......
......
......
......
......
......
....1
2U
sing
the
Pre
amp.
......
......
......
......
......
......
......
......
......
......
..12
Usi
ng t
he C
ompr
esso
r.....
......
......
......
......
......
......
......
......
..13
Usi
ng t
he M
eequ
aliz
er...
......
......
......
......
......
......
......
......
....1
3 U
sing
the
Out
put S
tage
......
......
......
......
......
......
......
......
......
13
Tro
ub
lesh
oo
tin
g...
......
......
......
......
......
......
......
......
......
.....1
4
Tech
nic
al S
pec
ific
atio
n...
......
......
......
......
......
......
......
......
15
twin q manual.indd 7/15/04, 9:22 AM4-5
-
54
48V
PH
AN
TO
M P
OW
ER
sw
itch
– fe
eds
48V
pow
er to
the
mic
roph
one
XLR
co
nnec
tor.
Mos
t co
nden
ser
mic
roph
ones
req
uire
pha
ntom
pow
er t
o op
erat
e.
IRO
N s
wit
ch –
sel
ects
tra
nsfo
rmer
cou
plin
g of
the
Mic
(X
LR)
inpu
t. T
he L
ED
ligh
ts w
hen
activ
e.
PA
D s
wit
ch –
sel
ects
20d
B a
ttenu
atio
n of
the
Mic
(X
LR)
inpu
t. T
he L
ED
ligh
ts w
hen
activ
e.
LIN
E s
wit
ch –
sel
ects
the
Lin
e an
d IN
ST
Rum
ent
(1/4
” ja
ck)
inpu
ts in
stea
d of
the
Mic
(X
LR)
inpu
t. T
he L
ED
ligh
ts w
hen
activ
e.
Ø s
wit
ch –
rev
erse
s th
e ph
ase
of a
ll in
puts
.
INS
TR
um
ent
inp
ut
– hi
gh i
mpe
danc
e in
put.
Plu
ggin
g in
her
e ov
errid
es
anyt
hing
plu
gged
into
the
Line
inpu
t.
PR
EA
MP
GA
IN –
set
s th
e am
ount
of
audi
o am
plifi
catio
n. T
oo li
ttle
gain
and
th
e so
und
will
be
too
quie
t; to
o m
uch
and
the
sign
al c
ould
bec
ome
dist
orte
d.
PE
AK
LE
D –
ligh
ts 6
dB b
elow
clip
ping
.
HP
F -
“h
igh
-pas
s fi
lter
” –
Mai
nly
for
use
with
mic
roph
ones
, thi
s he
lps
rem
ove
stag
e ru
mbl
e, h
andl
ing
nois
e an
d “p
ops”
. The
LE
D li
ghts
whe
n ac
tive.
CO
MP
RE
SS
– s
ets
the
leve
l of
sig
nal
(or
“Thr
esho
ld”)
abo
ve w
hich
the
si
gnal
sta
rts
to b
e co
mpr
esse
d.
SL
OP
E –
set
s th
e co
mpr
essi
on r
atio
app
lied
to s
igna
ls a
bove
thre
shol
d.
AT
TAC
K –
set
s ho
w q
uick
ly t
he c
ompr
esso
r re
spon
ds t
o pe
aks
abov
e th
resh
old.
RE
LE
AS
E –
set
s th
e tim
e ta
ken
for
the
sign
al t
o re
turn
to
its n
orm
al s
ize
afte
r co
mpr
essi
on.
In g
ener
al,
the
long
er t
he t
ime,
the
les
s ob
viou
s th
e co
mpr
essi
on.
MA
KE
UP
GA
IN –
res
tore
s th
e le
vel o
f the
sig
nal a
fter
com
pres
sion
.
CO
MP
sw
itch
– tu
rns
the
com
pres
sor
on. T
he L
ED
ligh
ts w
hen
activ
e.
LF
– c
ontr
ols
the
volu
me
of L
ow F
requ
enci
es o
r “B
ass”
in th
e au
dio
spec
trum
. 15d
B o
f boo
st o
r cu
t is
avai
labl
e at
the
sele
cted
freq
uenc
y.
LF
FR
EQ
– s
ets
the
freq
uenc
y at
whi
ch th
e LF
con
trol
ope
rate
s,
anyw
here
from
40H
z to
650
Hz.
MID
– c
ontr
ols
the
mid
dle
freq
uenc
ies
in th
e au
dio
spec
trum
. 15
dB o
f boo
st o
r cu
t is
avai
labl
e at
the
sele
cted
freq
uenc
y.
MID
FR
EQ
– s
ets
the
freq
uenc
y at
whi
ch th
e M
ID c
ontr
ol o
pera
tes,
an
ywhe
re fr
om 3
00H
z to
5kH
z.
HF
– c
ontr
ols
the
volu
me
of t
he H
igh
Fre
quen
cies
or
“Tre
ble”
in t
he a
udio
sp
ectr
um. 1
5dB
of b
oost
or
cut i
s av
aila
ble
at th
e se
lect
ed fr
eque
ncy.
6kH
z sw
itch
– s
ets
the
freq
uenc
y at
whi
ch th
e H
F c
ontr
ol o
pera
tes,
in
for
6kH
z, o
ut fo
r 12
KH
z. T
he L
ED
ligh
ts w
hen
in.
EQ
sw
itch
– tu
rns
the
equa
lizer
on.
The
LE
D li
ghts
whe
n ac
tive.
OU
TP
UT
GA
IN –
the
volu
me
cont
rol o
r “F
ader
” fo
r th
e ou
tput
of t
he tw
inQ
.
PE
AK
FS
D L
ED
– l
ight
s 6d
B b
elow
clip
ping
. “F
SD
” m
eans
“F
ull
Sca
le
Dig
ital”
and
this
LE
D a
lso
war
ns y
ou if
the
Dig
ital I
nter
face
is a
bout
to b
e ov
erlo
aded
.
ME
TE
R –
ana
logu
e m
ovem
ent
show
s ou
tput
sig
nal
leve
l (V
U),
pre
amp
sign
al le
vel o
r th
e am
ount
of g
ain
redu
ctio
n (G
R)
in d
B, d
epen
ding
on
the
setti
ngs
of t
he M
eter
sw
itche
s. T
he m
omen
tary
“P
RE
” sw
itch
over
rides
bo
th “
VU
” an
d “G
R”
met
erin
g.
CO
MP
LIN
K –
for
ste
reo
wor
k, C
hann
el 1
’s “
Com
pres
s”,
“Atta
ck”
and
“Rel
ease
” co
ntro
l bo
th c
hann
els
(the
cor
resp
ondi
ng C
hann
el 2
con
trol
s ar
e re
dund
ant)
. T
his
avoi
ds s
tere
o im
age
shift
s. A
ll ot
her
cont
rols
stil
l op
erat
e in
depe
nden
tly o
n bo
th c
hann
els
and
mus
t be
set
the
sam
e fo
r co
rrec
t ste
reo
bala
nce.
‘EX
T C
LK
’ LE
D –
illu
min
ates
whe
n th
e tw
inQ
’s d
igita
l out
put i
s su
cces
sful
ly lo
cked
to a
n ex
tern
al w
ord
cloc
k.
+4d
Bu
/-10
dB
v sw
itch
– s
elec
ts th
e op
erat
ing
leve
l of t
he 1
/4”
jack
out
put,
eith
er to
the
prof
essi
onal
+4d
Bu
leve
l, or
to th
e -1
0dB
v se
mi-p
ro le
vel.
twin
Q Co
ntro
ls a
t a
Glan
ce
twin q manual.indd 7/15/04, 9:22 AM6-7
-
76Ov
ervi
ew
The
Joe
mee
k tw
inQ
is
like
havi
ng t
wo
chan
nels
of
a pr
ofes
sion
al r
ecor
ding
st
udio
in
one
box.
It
take
s m
icro
phon
es o
r in
stru
men
ts,
ampl
ifies
the
m,
com
pres
ses
and
equa
lizes
the
m r
eady
to
be r
ecor
ded.
Sim
ple
to u
se y
et
extr
emel
y po
wer
ful,
the
twin
Q w
ill b
ring
out
the
best
in
any
mic
roph
one
or
inst
rum
ent
and
give
the
glo
ss o
f a
prof
essi
onal
stu
dio
prod
uctio
n to
all
your
pe
rfor
man
ces.
As
wel
l as
reco
rdin
g it
will
als
o be
fou
nd u
sefu
l for
live
wor
k.
Th
ink
of
the
twin
Q a
s fo
ur
sep
arat
e it
ems
of
equ
ipm
ent:
• T
he
Pre
amp
lifie
r•
Th
e Jo
emee
k O
pti
cal
Co
mp
ress
or
• T
he
Mee
qu
aliz
er•
Th
e F
ader
Prea
mpl
ifie
r
Thi
s is
the
all-
impo
rtan
t fr
ont
end
to t
he t
win
Q.
Its j
ob i
s to
acc
ept
any
type
of
mic
roph
one,
ins
trum
ent
or o
ther
sou
rce
of a
udio
sig
nal,
and
mak
e it
loud
eno
ugh.
Mic
roph
ones
ofte
n ne
ed r
athe
r a
lot
of a
mpl
ifica
tion,
whi
le
guita
rs,
keyb
oard
s an
d C
D p
laye
rs n
eed
less
. M
ics
need
to
be c
onne
cted
to
low
im
peda
nce
inpu
ts,
whi
le i
nstr
umen
ts p
refe
r hi
gh i
mpe
danc
e in
puts
. To
ens
ure
corr
ect
impe
danc
e m
atch
ing,
the
inp
uts
are
split
int
o an
XLR
co
nnec
tor
for
Mic
s, a
nd 1
/4”
jack
“Li
ne”
and
“IN
ST
Rum
ent”
con
nect
ors
for
ever
ythi
ng e
lse.
A s
witc
h on
the
fron
t pan
el d
ecid
es w
hich
inpu
t con
nect
or is
ac
tive,
the
XLR
or
the
1/4”
jack
s. T
he L
ED
nex
t to
the
sw
itch
light
s to
sho
w
that
the
Lin
e in
puts
(ja
cks)
are
sel
ecte
d. I
n ot
her
wor
ds:
Sw
itch
out
(LE
D o
ff) =
“M
ic”
Sw
itch
in (
LED
on)
= “
Line
” or
“In
str”
Bot
h M
ic a
nd L
ine
inpu
ts a
re e
lect
roni
cally
bal
ance
d. N
ote:
alth
ough
the
Line
inpu
t is
not
nor
mal
ly u
sed
for
mic
roph
ones
, it
can
also
be
suita
ble
for
som
e h
igh
ou
tpu
t u
nb
ala
nce
d m
icro
ph
on
es,
su
ch a
s b
att
ery
p
ow
ere
d E
lect
ret
type
s.
The
Mic
inpu
t (X
LR)
is b
alan
ced
and
wire
d as
fol
low
s:P
in 2
: +
(ho
t)P
in 3
: -
(col
d)P
in 1
: gr
ound
The
Lin
e in
put
(jack
) is
bal
ance
d an
d w
ired
as f
ollo
ws:
Tip
: +
(ho
t)R
ing:
- (
cold
)S
leev
e: g
roun
d
The
fron
t pan
el In
stru
men
t inp
ut (
jack
) is
bal
ance
d an
d w
ired
as fo
llow
s:T
ip:
+ (
hot)
Sle
eve:
gro
und
(N
B:
use
a m
ono
jack
plu
g).
Not
e th
at i
f so
met
hing
is
plug
ged
into
the
Ins
trum
ent
inpu
t, an
ythi
ng
plug
ged
into
the
rea
r pa
nel L
ine
inpu
t w
ill b
e cu
t of
f.
PH
AN
TO
M P
OW
ER
Mos
t hi
gh-q
ualit
y st
udio
mic
s ar
e “P
hant
om p
ower
ed”,
whi
ch i
s to
sa
y th
ey h
ave
elec
tron
ics
insi
de t
hem
, w
hich
get
the
ir po
wer
fro
m t
he
prea
mp.
Mos
t m
ics
requ
ire a
sup
ply
of 4
8 V
olts
, so
Pha
ntom
Pow
er is
of
ten
labe
lled
“48V
”. T
he “
48V
” sw
itch
turn
s th
is p
ower
on
or o
ff an
d a
red
LED
lig
hts
whe
n ac
tive.
Whe
n sw
itchi
ng t
he P
hant
om P
ower
on
, qu
ite a
lou
d th
ump
may
be
prod
uced
, so
it
is a
goo
d id
ea t
o tu
rn
dow
n th
e O
utpu
t G
ain
(or
to m
omen
taril
y se
lect
the
Lin
e in
put)
, w
hen
pres
sing
the
sw
itch.
Whe
n us
ing
dyna
mic
or
ribbo
n m
ics,
do
not
turn
P
hant
om P
ower
on.
It p
roba
bly
won
’t do
any
har
m b
ut it
cer
tain
ly w
on’t
do a
ny g
ood,
so
leav
e it
off!
Con
sult
the
mic
roph
one
hand
book
if
you
are
unsu
re w
hat
kind
of
mic
you
hav
e.
The
mai
n co
ntro
l, la
belle
d “I
nput
Gai
n”,
cove
rs a
ran
ge o
f am
plifi
catio
n fr
om 1
0dB
to
60dB
. In
man
y ot
her
prea
mps
the
act
ion
of t
he G
ain
cont
rol
is r
athe
r un
even
, w
ith t
he 4
0dB
to
60dB
ran
ge b
eing
cra
mm
ed in
to t
he la
st
1/6t
h of
a t
urn.
All
Joem
eek
prea
mps
use
a s
peci
ally
des
igne
d co
ntro
l tha
t en
sure
s sm
ooth
ope
ratio
n ov
er t
he w
hole
ran
ge o
f ro
tatio
n. T
he (
0) s
ymbo
l ne
xt t
o th
e 25
dB m
ark,
mea
ns u
nity
gai
n, o
r 0d
B,
for
a si
gnal
in
the
Line
in
put.
Hen
ce f
or L
ine
inpu
ts t
he r
ange
of
gain
adj
ustm
ent
eith
er s
ide
of t
his
mar
k, is
+35
dB,
-15d
B.
The
PE
AK
LE
D l
ight
s 6d
B b
elow
clip
ping
, so
occ
asio
nal
brie
f fla
shes
are
O
K b
ut if
it’s
on
all t
he t
ime
you
need
to
back
the
Inp
ut G
ain
off!
HP
F m
eans
“hi
gh-p
ass
filte
r”.
Mai
nly
for
use
with
mic
roph
ones
, th
is h
elps
re
mov
e st
age
rum
ble,
han
dlin
g no
ise
and
“pop
s”. T
he L
ED
ligh
ts w
hen
activ
e.
TE
CH
NIC
AL
ST
UF
FV
ery
low
noi
se -
doe
s it
mat
ter?
Yes
and
no,
it
all
depe
nds
wha
t yo
u ar
e do
ing
- w
hat
real
ly m
atte
rs is
“si
gnal
-to-
nois
e ra
tio”.
All
elec
tron
ics
prod
uce
a ce
rtai
n am
ount
of b
ackg
roun
d no
ise
- it’
s in
the
natu
re o
f thi
ngs.
Pro
vidi
ng
ther
e is
onl
y a
rela
tivel
y sm
all a
mou
nt o
f noi
se, t
he s
igna
l will
cov
er it
up,
or
“mas
k” it
. S
o pr
ovid
ing
the
sign
al is
muc
h bi
gger
tha
n th
e no
ise,
you
won
’t be
aw
are
of th
e no
ise.
In o
ther
wor
ds th
e “s
igna
l-to-
nois
e ra
tio”
need
s to
be
a bi
g nu
mbe
r, id
eally
suc
h as
80d
B o
r 90
dB.
So
how
do
you
achi
eve
that
in p
ract
ice?
The
tric
k is
to k
eep
the
mic
roph
one
as c
lose
to th
e so
und
sour
ce a
s po
ssib
le w
ithou
t ove
rload
ing
it, s
o as
to g
et
as m
uch
sign
al o
ut o
f it
as p
ossi
ble.
The
n yo
u se
t th
e G
ain
cont
rol t
o gi
ve
only
as
muc
h ga
in a
s is
nee
ded
to g
et a
dec
ent
leve
l int
o th
e re
cord
er.
Of
cour
se w
hen
ther
e is
no
sign
al g
oing
on,
you
may
hea
r th
e ba
ckgr
ound
no
ise
of t
he e
lect
roni
cs.
In t
hat
case
, gi
ven
the
amou
nt o
f ga
in in
a t
ypic
al
stud
io m
onito
ring
syst
em, t
his
nois
e “f
loor
” sh
ould
idea
lly b
e in
the
regi
on o
f -8
0dB
u or
low
er,
in o
rder
for
it n
ot t
o be
not
iced
.
The
twin
Q m
icro
phon
e pr
eam
plifi
er u
ses
stat
e-of
-the
-art
ele
ctro
nics
and
ha
s an
equ
ival
ent
inpu
t no
ise
of a
roun
d -1
28dB
u (w
ith 1
50oh
m i
nput
lo
ad).
Des
pite
all
the
hype
rbol
ae a
nd o
bfus
catio
n, t
he t
heor
etic
al b
est
poss
ible
per
form
ance
for
sili
con-
base
d el
ectr
onic
s is
abo
ut -
132d
Bu.
S
o th
e pr
eam
plifi
er d
esig
n us
ed i
n th
e tw
inQ
and
all
othe
r N
extG
en
Joem
eek
prod
ucts
app
roac
hes
this
lim
it. T
o im
prov
e si
gnifi
cant
ly o
n th
is
wou
ld r
equi
re h
ighl
y sp
ecia
lised
ele
ctro
nics
and
pro
babl
y a
vat
of li
quid
N
itrog
en t
o co
ol it
!
The
max
imum
gai
n av
aila
ble
from
the
pre
amp
is 6
0dB
, in
whi
ch c
ase
the
nois
e flo
or w
ill b
e -6
8dB
u. T
his
is a
ctua
lly q
uite
noi
sy -
if y
ou r
ecor
d th
at n
oise
ont
o a
digi
tal
reco
rder
and
pla
y it
back
you
can
def
inite
ly
hear
it. I
n pr
actic
e of
cou
rse,
you
do
not r
ecor
d an
d pl
ay b
ack
“sile
nce”
an
d th
e re
st o
f th
e m
ix w
ill p
roba
bly
be m
ore
than
70d
B l
oude
r th
an
this
noi
se a
nd w
ill m
ask
it co
mpl
etel
y. E
ven
so i
t is
gen
eral
ly a
goo
d id
ea n
ot t
o us
e ga
ins
grea
ter
than
40d
B o
r 50
dB a
nd in
deed
, it
shou
ld
rare
ly b
e ne
cess
ary
to d
o so
.
Inse
rt P
oint
Thi
s is
sim
ply
an u
nbal
ance
d “S
end
and
Ret
urn”
jack
on
the
rear
pan
el.
It al
low
s yo
u to
pat
ch a
ny o
ther
pie
ces
of e
quip
men
t in
to t
he s
igna
l pa
th, s
uch
as a
n ef
fect
s pr
oces
sor
or n
oise
gat
e. T
o us
e it
you
will
nee
d a
“Y”
lead
wire
d as
fol
low
s:
Tip
: se
ndR
ing:
ret
urn
Sle
eve:
gro
und
Whe
n no
jack
is in
sert
ed, t
he s
ocke
t is
inte
rnal
ly li
nked
, or
“nor
mal
led”
, so
that
the
sign
al fl
ows
unin
terr
upte
d. N
ote
that
the
Inse
rt P
oint
is a
fter
the
Pre
amp
but
befo
re t
he C
ompr
esso
r an
d E
Q.
twin q manual.indd 7/15/04, 9:22 AM8-9
-
9
Co
mp
ress
ion
Rat
ioW
hat?
? O
K, i
t’s s
impl
er th
an it
sou
nds.
If th
e in
put g
ets
10dB
loud
er b
ut th
e ou
tput
onl
y in
crea
ses
by 5
dB t
hen
the
com
pres
sion
rat
io i
s “2
to
1”.
If th
e in
put
goes
up
10dB
but
the
out
put
only
goe
s up
1dB
, th
en t
he c
ompr
essi
on
ratio
is
“10
to 1
”. I
n a
theo
retic
ally
ide
al c
ompr
esso
r, th
is r
atio
is
the
sam
e fo
r an
y si
ze o
f si
gnal
abo
ve t
he t
hres
hold
but
for
tha
t to
be
true
, th
e ga
in
cell
and
its c
ontr
ol c
ircui
try
mus
t be
per
fect
ly li
near
ove
r a
very
wid
e ra
nge.
In
pra
ctic
e on
ly c
ompr
esso
rs b
ased
on
VC
As
and
digi
tal p
oten
tiom
eter
s ar
e lik
ely
to b
ehav
e in
thi
s w
ay.
Som
e co
mpr
esso
rs h
ave
a co
ntro
l to
set
the
rat
io a
nyw
here
bet
wee
n 1:
1 (ie
: no
com
pres
sion
), a
nd 2
0:1
(whi
ch w
ould
be
rega
rded
as
a “b
rick
wal
l lim
iter”
). I
n th
e tw
inQ
the
“S
lope
” or
“C
ompr
essi
on R
atio
” is
var
iabl
e fr
om
1:1
(ie:
no c
ompr
essi
on)
to 1
0:1.
Slo
pes
arou
nd 3
:1 a
re g
entle
for
voc
als
whi
le h
ighe
r sl
opes
are
har
d fo
r dr
ums
and
guita
rs.
How
ever
tha
t’s n
ot a
ll th
ere
is t
o it.
Var
iab
le R
atio
In t
he J
oem
eek
optic
al c
ompr
esso
r th
e co
mpr
essi
on ‘t
hres
hold
’ is
not
clea
rly
defin
ed a
nd t
he c
ompr
essi
on r
atio
var
ies
with
the
am
ount
of
com
pres
sion
ap
plie
d. S
uppo
se t
he ‘
Slo
pe’
cont
rol
is s
et t
o 5:
1. F
or s
igna
ls o
nly
just
ex
ceed
ing
thre
shol
d, t
he r
atio
is
little
mor
e th
an 1
:1.
As
the
com
pres
sor
is
driv
en h
arde
r, th
e ra
tio r
ises
to
5:1,
at
leas
t up
to
a po
int.
It is
a f
eatu
re o
f th
e Jo
emee
k co
mpr
esso
r th
at th
e co
mpr
essi
on r
atio
act
ually
red
uces
aga
in
durin
g la
rge
tran
sien
ts a
nd,
adju
sted
cor
rect
ly,
this
hel
ps t
o re
tain
brig
ht-
ness
tha
t is
ofte
n lo
st w
ith o
ther
typ
es o
f co
mpr
esso
r. T
his
is w
hy v
inta
ge
com
pres
sors
ofte
n so
und
mor
e liv
ely
than
the
ir m
oder
n co
unte
rpar
ts.
Co
ntr
ols
‘CO
MP
RE
SS
’ se
ts t
he l
evel
of
sign
al (
the
“Thr
esho
ld”)
abo
ve w
hich
the
si
gnal
sta
rts
to b
e co
mpr
esse
d. T
urni
ng t
he C
OM
PR
ES
S c
ontr
ol c
lock
wis
e lo
wer
s th
e co
mpr
essi
on t
hres
hold
, an
d dr
ives
the
com
pres
sor
hard
er.
‘SLO
PE
’ se
ts
the
aver
age
com
pres
sion
ra
tio
appl
ied
to
sign
als
abov
e th
resh
old.
Low
er s
ettin
gs (
anti-
cloc
kwis
e) h
ave
less
effe
ct.
Tur
ning
the
co
ntro
l clo
ckw
ise
incr
ease
s th
e ra
tio a
nd m
akes
the
effe
cts
of c
ompr
essi
on
mor
e dr
amat
ic.
At
max
imum
(10
:1)
the
Joem
eek
com
pres
sor
effe
c-tiv
ely
beco
mes
a li
mite
r.
‘AT
TAC
K’
sets
how
qui
ckly
the
com
pres
sor
reac
ts t
o pe
aks
abov
e th
resh
old.
Tur
n th
is c
ontr
ol a
ntic
lock
wis
e fo
r a
quic
k re
spon
se.
Slo
wer
(c
lock
wis
e) a
llow
s th
e fa
st le
adin
g ed
ge o
f pe
rcus
sive
sou
nds
to p
ass
unco
mpr
esse
d fo
r a
mom
ent,
befo
re t
he c
ompr
esso
r re
acts
to
cont
rol
the
gain
. T
his
exam
ple
of “
chan
ging
the
env
elop
e” o
f a
soun
d ex
ag-
gera
tes
the
perc
ussi
ve n
atur
e of
dru
ms
and
othe
r in
stru
men
ts. S
ettin
gs
arou
nd m
id-p
ositi
on a
re u
sed
whe
re th
e co
mpr
essi
on n
eeds
to b
e le
ss
obvi
ous.
Voc
als
for
exam
ple,
req
uire
Atta
ck t
imes
aro
und
10m
sec
for
na
tura
l so
un
din
g
resu
lts.
Fa
ste
r a
tta
ck
time
s (a
nti-
clo
ckw
ise
) in
co
nju
nct
ion
with
la
rge
am
ou
nts
of
com
pre
ssio
n,
resu
lt in
ext
rem
e
“pu
mp
ing
” e
ffe
cts.
‘RE
LEA
SE
’ se
ts h
ow l
ong
the
com
pres
sor
goes
on
squa
shin
g th
e so
und
for,
once
the
sig
nal
has
drop
ped
belo
w t
hres
hold
. If
it st
oppe
d in
stan
tly th
ere
wou
ld b
e ve
ry n
otic
eabl
e m
odul
atio
n or
“pu
mpi
ng”
of th
e so
und.
So
we
may
wan
t it t
o st
op c
ompr
essi
ng le
ss a
brup
tly a
nd th
at is
w
hat t
he R
elea
se c
ontr
ol is
for.
Gen
eral
ly, t
he lo
nger
the
Rel
ease
tim
e,
the
less
obv
ious
is t
he c
ompr
essi
on.
Of
cour
se s
ome
“pum
ping
” m
ight
ac
tual
ly b
e de
sira
ble
as a
spe
cial
effe
ct a
nd t
hat
is a
noth
er w
ay i
n w
hich
the
env
elop
e of
a s
ound
can
be
mod
ified
. The
tw
inQ
Rel
ease
is
varia
ble
from
100
mS
up
to 3
sec
onds
giv
ing
a w
ide
varie
ty o
f ef
fect
s.
How
th
e co
mpr
esso
r be
have
s ac
tual
ly
chan
ges
with
pr
ogra
mm
e co
nten
t an
d vo
lum
e. S
o ex
perim
ent
with
the
con
trol
s w
ith d
iffer
ent
kind
s of
mat
eria
l to
dis
cove
r th
e ra
nge
and
dept
h of
effe
cts
that
can
be
ach
ieve
d. T
he ‘
CO
MP
’ in
/out
sw
itch
allo
ws
com
paris
on b
etw
een
com
pres
sed
and
unco
mpr
esse
d so
und
(blu
e LE
D li
ghts
whe
n ac
tive)
. R
emem
ber
that
the
‘MA
KE
UP
GA
IN’ i
s th
ere
to r
esto
re th
e le
vel o
f the
si
gnal
afte
r co
mpr
essi
on.
Cor
rect
ly a
djus
ted,
the
re w
ill b
e no
cha
nge
in v
olum
e as
the
Com
p in
/out
sw
itch
is o
pera
ted.
The
Com
pres
sor
is a
fter
the
Pre
ampl
ifier
and
the
Ins
ert
Poi
nt,
and
befo
re t
he M
eequ
aliz
er.
8Co
mpr
esso
r
The
ha
rdes
t de
vice
to
un
ders
tand
, ye
t on
e of
th
e m
ost
usef
ul,
the
Pho
toO
ptic
al C
ompr
esso
r is
wha
t gi
ves
Joem
eek
prod
ucts
the
ir un
ique
ch
arac
ter.
Its j
ob i
s to
mak
e qu
iet
soun
ds l
oude
r an
d lo
ud s
ound
s qu
iete
r, or
in o
ther
wor
ds t
o re
duce
the
dyn
amic
ran
ge o
f th
e pr
ogra
mm
e m
ater
ial.
It’s
a bi
t lik
e m
anua
lly r
idin
g th
e vo
lum
e co
ntro
l, ex
cept
the
com
pres
sor
does
it a
utom
atic
ally
, re
spon
ding
far
qui
cker
and
mor
e ac
cura
tely
tha
n yo
u ev
er c
ould
by
hand
. T
he c
ompr
esso
r is
app
lied
in s
ever
al w
ays:
1. M
ake
So
un
ds
Sta
nd
Ou
tB
ecau
se c
ompr
esso
rs m
ake
loud
sou
nds
quie
ter,
you
can
boos
t the
vol
ume
of t
he q
uiet
bits
with
out
the
loud
bits
get
ting
even
lou
der.
Tha
t m
eans
you
ca
n ra
ise
the
aver
age
leve
l of
an in
stru
men
t or
voc
al in
the
mix
, w
hich
has
th
e ef
fect
of
liftin
g it
and
brin
ging
it
forw
ards
. T
his
can
actu
ally
im
prov
e vo
cals
for
exa
mpl
e, b
ringi
ng t
hem
out
in f
ront
of
a m
ix,
mak
ing
them
sou
nd
dens
er,
mor
e ev
en,
and
mor
e co
nfid
ent!
2. C
ran
k U
p T
he
Vo
lum
eR
aisi
ng t
he a
vera
ge v
olum
e of
who
le m
ixes
mea
ns t
hey
can
be h
eard
in
nois
y en
viro
nmen
ts,
such
as
vehi
cles
and
fac
torie
s. B
oost
ing
the
aver
age
leve
l is
wha
t m
akes
rad
io s
tatio
ns s
ound
LO
UD
and
the
sam
e te
chni
que
is
used
on
TV
com
mer
cial
s to
o, w
hich
is
why
the
y al
way
s se
em a
nnoy
ingl
y lo
uder
tha
n th
e m
ovie
you
wer
e tr
ying
to
wat
ch!
3. P
rote
ctio
nF
ast
resp
onse
tim
es a
re g
ener
ally
use
d to
con
trol
brie
f tr
ansi
ents
. In
oth
er
wor
ds i
f an
occ
asio
nal
peak
stic
ks i
ts h
ead
abov
e a
max
imum
per
mitt
ed
leve
l, th
e co
mpr
esso
r cl
obbe
rs it
; thi
s is
kno
wn
as li
miti
ng a
nd a
com
pres
sor
desi
gned
sol
ely
for
this
pur
pose
is k
now
n as
a L
imite
r. Li
mite
rs a
re p
rimar
ily
used
to
prot
ect
reco
rder
s an
d m
onito
r sy
stem
s fr
om o
verlo
ad,
radi
o tr
ans-
mitt
ers
from
ove
rmod
ulat
ion,
etc
. The
Joe
mee
k co
mpr
esso
r is
not
prim
arily
in
tend
ed f
or t
his
purp
ose
as t
he A
ttack
is
not
real
ly f
ast
enou
gh t
o sa
tisfy
radi
o st
atio
n re
quire
men
ts, a
lthou
gh it
is g
ener
ally
goo
d en
ough
to p
rote
ct
reco
rder
s an
d m
onito
rs,
whe
re t
he e
ffect
of
tran
sien
ts i
s le
ss c
ritic
al.
Nor
mal
ly y
ou s
houl
d no
t he
ar a
lim
iter
oper
atin
g bu
t if
it is
driv
en h
ard
cons
tant
ly,
it ca
n re
nder
a m
ix s
omew
hat
flat
and
lifel
ess.
4. A
cco
mm
od
atio
nT
he d
ynam
ic r
ange
of
the
hum
an e
ar i
s ph
enom
enal
, ex
tend
ing
from
th
e th
resh
old
of h
earin
g (e
g: a
pin
dro
ppin
g on
to s
oft c
arpe
t) to
thre
shol
d of
pai
n (e
g: s
tand
ing
next
to
a je
t ai
rcra
ft) -
som
e 12
0dB
A i
n al
l. B
y co
ntra
st,
viny
l, ca
sset
te t
ape
and
radi
o br
oadc
asts
all
have
a d
ynam
ic
rang
e of
abo
ut h
alf t
hat.
Sin
ce th
e ad
vent
of t
he C
D, t
he d
ynam
ic r
ange
of
the
med
ium
is f
ar le
ss o
f an
issu
e an
d co
mpr
esso
rs a
re u
sed
mor
e to
giv
e a
cert
ain
“fee
l” to
a p
rodu
ctio
n. A
M a
nd F
M r
adio
how
ever
, is
still
ve
ry m
uch
com
pres
sed
to f
it its
res
tric
ted
dyna
mic
ran
ge.
5. M
od
ific
atio
nA
com
pres
sor
can
chan
ge th
e dy
nam
ics,
or
“env
elop
e” o
f the
trac
k an
d it
is h
ere
that
the
Joe
mee
k C
ompr
esso
r ex
cels
!
Typ
es o
f C
om
pre
sso
rM
ost c
ompr
esso
rs w
ork
in e
ssen
tially
the
sam
e w
ay: a
vol
ume-
cont
rolli
ng
elem
ent
or “
gain
cel
l” is
ins
erte
d in
to t
he a
udio
sig
nal
path
. T
he l
evel
of
the
sig
nal a
t an
y gi
ven
mom
ent
is m
easu
red
and
that
info
rmat
ion
is
used
to
cont
rol t
he g
ain
cell.
So
if th
e si
gnal
get
s bi
gger
, th
e vo
lum
e is
tu
rned
dow
n. V
ario
us t
ypes
of
gain
cel
l in
com
mon
use
inc
lude
FE
Ts,
valv
es (
tube
s), l
ight
-dep
ende
nt-r
esis
tors
(ph
otoe
lect
ric),
dig
ital p
oten
ti-om
eter
s an
d vo
ltage
-con
trol
led-
ampl
ifier
s, b
ette
r kn
own
as V
CA
s.
The
tw
inQ
Com
pres
sor
is a
uni
que
recr
eatio
n of
the
sor
t of
pho
to-
elec
tric
com
pres
sor
used
by
reco
rd p
rodu
cer
Joe
Mee
k in
the
196
0’s.
U
sin
g m
od
ern
co
mp
on
en
ts f
or
con
sist
en
cy a
nd
re
liab
ility
, it
no
ne
-th
ele
ss r
ep
rod
uce
s fa
ithfu
lly t
he
sa
me
pu
nch
y so
un
d t
ha
t w
as
so
cha
ract
eri
stic
of
the
pop
reco
rds
of t
hat
time.
twin q manual.indd 7/15/04, 9:22 AM10-11
-
11
plug
in a
mon
o ja
ck p
lug.
Eith
er w
ay, t
his
incr
ease
s th
e ga
in o
f the
“+
” si
gnal
by
6dB
, so
the
re is
no
drop
in le
vel c
ompa
red
with
bal
ance
d ge
ar.
All
outp
uts
on a
ll N
extG
en J
oem
eek
prod
ucts
are
pro
perly
bal
ance
d, w
hich
is
to
sa
y th
ere
is a
sig
na
l on
bo
th p
ins!
In
th
is w
ay
the
ma
xim
um
po
ssib
le
com
mon
-mod
e re
ject
ion
of in
terfe
renc
e, c
an b
e ac
hiev
ed a
t the
rec
eivi
ng e
nd.
‘CO
MP
LIN
K’
Thi
s is
im
port
ant
whe
n bo
th c
hann
els
of t
he t
win
Q a
re u
sed
toge
ther
for
st
ereo
wor
k. W
hen
two
mon
o co
mpr
esso
rs a
re u
sed
for
ster
eo,
diffe
ring
amou
nts
of g
ain
redu
ctio
n oc
cur
in e
ach
chan
nel,
whi
ch c
ause
s th
e st
ereo
im
age
to w
ande
r. T
he “
Com
p Li
nk”
switc
h av
oids
thi
s pr
oble
m b
y su
mm
ing
the
com
pres
sor
cont
rol
path
s an
d sl
avin
g co
ntro
l of
Cha
nnel
2’s
gai
n ce
ll to
Cha
nnel
1.
The
“C
ompr
ess”
, “A
ttack
” an
d “R
elea
se”
on C
hann
el 1
the
n op
erat
e bo
th
chan
nels
an
d th
e co
rres
pond
ing
Cha
nnel
2
cont
rols
ar
e re
dund
ant.
Not
e ho
wev
er t
hat
all
othe
r co
ntro
ls s
till o
pera
te i
ndep
ende
ntly
on
bot
h ch
anne
ls a
nd m
ust b
e se
t the
sam
e fo
r co
rrec
t ste
reo
bala
nce.
The
LE
D li
ghts
whe
n ac
tive.
ME
TE
RT
he a
nalo
gue
met
er d
ispl
ays
one
of t
hree
thi
ngs,
dep
endi
ng o
n th
e se
tting
of
the
“M
ET
ER
” sw
itche
s.
In V
U m
ode
(GR
sw
itch
out)
, th
e M
eter
sho
ws
sign
al l
evel
at
the
outp
uts,
af
ter
the
Out
put
Gai
n fa
der.
Not
e th
at t
his
is r
elat
ive
to t
he s
elec
ted
oper
atin
g le
vel
of “
+4d
Bu”
or
“-10
dBv”
. In
oth
er w
ords
if
you
have
sel
ecte
d “+
4dB
u”
and
the
met
er r
eads
“0”
, th
en y
ou h
ave
+4d
Bu
com
ing
out
of t
he 1
/4”
jack
ou
tput
soc
ket.
If yo
u ha
ve s
elec
ted
“-10
dBv”
and
the
met
er r
eads
“0”
, th
en
you
have
-10
dBv
com
ing
out
of t
he o
utpu
t ja
ck.
In G
ain
Red
uctio
n m
ode
(GR
sw
itch
in),
the
Met
er c
hang
es t
o re
ad “
0”dB
, w
hen
no s
igna
l is
pre
sent
. W
hene
ver
the
com
pres
sor
redu
ces
the
gain
of
a si
gnal
, th
e m
eter
the
n m
oves
“ba
ckw
ards
” to
sho
w t
he a
mou
nt o
f ga
in
redu
ctio
n ta
king
pla
ce a
t any
mom
ent.
Not
e th
at u
nlik
e m
any
othe
r pr
oduc
ts,
in t
he t
win
Q t
his
read
ing
is a
tru
e m
easu
rem
ent
of g
ain
redu
ctio
n, d
eriv
ed
by c
ompa
ring
the
inpu
t an
d ou
tput
of
the
Pho
toO
ptic
al g
ain
cell.
The
thi
rd m
ode
“PR
E”
allo
ws
the
outp
ut o
f th
e pr
eam
p to
be
met
ered
di
rect
ly,
rath
er li
ke t
he “
PF
L” b
utto
n on
a m
ixin
g co
nsol
e. T
his
is u
sefu
l fo
r ad
just
ing
the
gain
of
the
Pre
amp.
The
mom
enta
ry ‘
PR
E’
switc
h ov
errid
es b
oth
‘VU
’ and
‘GR
’ met
erin
g.
DIG
ITA
L I
NT
ER
FAC
ET
he J
oem
eek
Dig
ital A
udio
Int
erfa
ce p
rovi
des
high
qua
lity
digi
tal a
udio
ou
tput
s pl
us t
he a
bilit
y to
syn
chro
nize
to
an e
xter
nal
wor
d cl
ock.
The
di
gita
l aud
io o
utpu
ts a
re c
ompa
tible
with
mos
t dig
ital r
ecor
ders
, as
wel
l as
Dig
ital A
udio
Wor
ksta
tions
and
mix
ers.
S/P
DIF
for
mat
is
avai
labl
e fr
om t
he o
ptic
al a
nd R
CA
pho
no c
onne
ctor
s, w
hile
the
tra
nsfo
rmer
co
uple
d X
LR c
onne
ctor
pro
vide
s an
AE
S3
com
patib
le o
utpu
t.
The
Joe
mee
k D
igita
l Int
erfa
ce h
as h
ighl
y st
able
onb
oard
mas
ter
cloc
ks
for
low
-jitte
r, hi
-fi
resu
lts.
Inte
rnal
sam
ple
rate
s of
44.
1kH
z, 4
8kH
z,
88.2
kHz
or 9
6kH
z ar
e se
lect
ed b
y m
eans
of
rear
pan
el s
witc
hes.
44
.1kH
z is
the
sta
ndar
d us
ed f
or a
udio
CD
’s,
whi
le 4
8kH
z an
d 96
kHz
are
wid
ely
used
in r
ecor
ding
stu
dios
. In
gene
ral,
the
high
er th
e sa
mpl
e ra
te,
the
bette
r th
e au
dio
fidel
ity,
but
the
mor
e di
sk s
pace
is
requ
ired
for
the
reco
rdin
g. F
or e
xam
ple,
rec
ordi
ng a
t 96
kHz
requ
ires
twic
e as
m
uch
stor
age
as 4
8kH
z. C
onsu
lt th
e m
anua
l of
your
rec
orde
r or
DA
W
as t
o w
hat
sam
ple
rate
s it
will
acc
omm
odat
e.
Alte
rnat
ivel
y th
e tw
inQ
may
be
set
to t
he f
requ
ency
of
an e
xter
nal
mas
ter
wor
d cl
ock,
gen
erat
ed,
for
exam
ple,
by
the
stud
io’s
rec
orde
r or
D
AW
. Whe
n co
nnec
ted
to th
e B
NC
soc
ket p
rovi
ded,
a s
uita
ble
exte
rnal
w
ord
cloc
k w
ill b
e de
tect
ed a
utom
atic
ally
and
will
ove
rrid
e th
e tw
inQ
’s
inte
rnal
wor
d cl
ock.
The
fron
t pan
el L
ED
labe
lled
‘EX
T C
LK’ i
llum
inat
es
whe
n th
e tw
inQ
is s
ucce
ssfu
lly lo
cked
to
an e
xter
nal w
ord
cloc
k.
To a
void
dis
tort
ion,
car
e sh
ould
be
take
n no
t to
ove
rdriv
e th
e in
put
to
the
Dig
ital
Inte
rfac
e. T
he r
ed L
ED
nex
t to
the
Out
put
Gai
n co
ntro
l is
la
bele
d “P
EA
K F
SD
” w
hich
sta
nds
for
“Ful
l S
cale
Dig
ital”.
Occ
asio
nal
flash
es a
re O
K b
ut if
it is
on
all t
he t
ime,
tur
n so
met
hing
dow
n!
10
Mee
qual
izer
The
tw
inQ
“M
eequ
aliz
er”
is
a hi
ghly
ef
fect
ive,
ve
rsat
ile
and
mus
ical
ly
rew
ardi
ng t
hree
-ban
d eq
ualiz
er,
or t
one
cont
rol s
yste
m.
Eac
h st
age
allo
ws
boos
t or
cut
of
up t
o 15
dB a
roun
d th
e fr
eque
ncy
in q
uest
ion.
The
“E
Q”
switc
h tu
rns
the
equa
lizer
on,
and
the
gre
en L
ED
ligh
ts w
hen
activ
e.
The
LF
ban
d ca
n be
tun
ed o
r “s
wep
t” a
nyw
here
bet
wee
n 40
Hz
and
650H
z.
Thi
s ef
fect
ivel
y co
vers
the
who
le r
ange
of
low
fre
quen
cies
. It
may
hel
p to
th
ink
of it
as
like
a gr
aphi
c eq
ualiz
er, o
nly
inst
ead
of lo
ts o
f fre
quen
cy b
ands
, yo
u ha
ve ju
st o
ne,
but
it ca
n be
mov
ed t
o co
ver
any
give
n fr
eque
ncy
band
. C
uttin
g ca
n be
use
d to
red
uce
unw
ante
d LF
noi
se,
such
as
hum
or
rum
ble.
B
oost
ing
can
brin
g ou
t th
e w
arm
th a
nd b
ody
of b
ass
lines
and
(es
peci
ally
ar
ound
80H
z) k
ick
drum
s.
The
Mid
ban
d ca
n be
tun
ed o
r “s
wep
t” a
nyw
here
bet
wee
n 30
0Hz
and
5kH
z. T
his
effe
ctiv
ely
cove
rs t
he w
hole
ran
ge o
f m
id f
requ
enci
es.
Cut
ting
the
Mid
can
red
uce
sibi
lanc
e, b
oom
ines
s or
oth
er a
nnoy
ing
reso
nanc
es.
Boo
stin
g ca
n br
ing
out t
he b
ody
of a
voc
al, o
r th
e ha
rmon
ics
of in
stru
men
ts.
Incr
easi
ng o
r re
duci
ng t
he “
pres
ence
” of
an
inst
rum
ent
or v
ocal
in t
his
way
, ca
n ap
pear
to
mov
e th
e so
und
forw
ards
or
back
war
ds in
a m
ix.
The
HF
or
treb
le s
ectio
n is
cen
tred
at
eith
er 6
kH
z or
12k
Hz.
Boo
stin
g th
e 12
kHz
band
giv
es a
sen
se o
f “a
ir” o
r “s
park
le”
to v
ocal
s, i
nstr
umen
ts a
nd
mix
es,
with
out
boos
ting
hars
h up
per-
mid
fre
quen
cies
. A
ltern
ativ
ely
with
ba
ss i
nstr
umen
ts,
cutti
ng t
his
band
will
red
uce
HF
noi
se s
uch
as h
iss
and
cra
ckle
. T
he
6kH
z se
ttin
g i
s ve
ry e
ffect
ive
at
con
tro
llin
g s
ibila
nce
an
d
red
uci
ng
har
shne
ss,
or i
ndee
d cr
eatin
g it,
for
exa
mpl
e by
boo
stin
g th
e ha
rmon
ics
of e
lect
ric g
uita
rs.
The
M
eequ
aliz
er
is
afte
r th
e P
ream
plifi
er,
the
Inse
rt
Poi
nt
and
the
Com
pres
sor.
Tech
nic
al s
tuff
Ea
ch s
ect
ion
of
the
Me
eq
ua
lize
r h
as
a p
ea
kin
g o
r “b
ell”
sh
ap
ed
fr
eq
ue
ncy
re
spo
nse
, w
hic
h
will
b
e
fou
nd
to
b
e
mu
sica
lly
mo
re
satis
fyin
g t
ha
n c
on
ven
tion
al
“sh
elv
ing
” e
qu
aliz
ers
. T
he
use
of
be
ll cu
rve
s a
t L
F a
nd
HF
als
o a
void
s b
oo
stin
g s
ub
son
ics
an
d u
ltra
son
ics
wh
ich
ca
n h
ave
ad
vers
e e
ffe
cts
on
oth
er
stu
dio
eq
uip
me
nt,
su
ch a
s re
cord
ers
, m
on
itor
am
plif
iers
an
d s
pe
ake
rs.
Th
e “
Q”
valu
e o
f th
e
pe
aki
ng
filt
ers
is
1.9
(o
r 1
an
d 2
/3 o
cta
ves)
. Z
ero
ph
ase
dis
tort
ion
e
nsu
res
the
be
st p
oss
ible
au
dio
co
he
ren
ce.
Outp
ut S
tage
OU
TP
UT
GA
INT
his
ou
tpu
t vo
lum
e c
on
tro
l p
rovi
de
s u
p t
o 1
0d
B o
f g
ain
an
d a
lso
g
oe
s ri
gh
t d
ow
n t
o n
oth
ing
, so
act
ing
as
a f
ad
er
to f
ad
e a
so
un
d
ou
t co
mp
lete
ly.
CO
NN
EC
TO
RS
Two
outp
uts
are
prov
ided
, ja
ck a
nd X
LR,
so y
ou c
an s
imul
tane
ousl
y fe
ed (
say)
a r
ecor
der
and
a m
onito
r am
plifi
er.
The
sw
itch
adja
cent
to
the
1/4”
jac
k se
lect
s th
e ou
tput
ope
ratin
g le
vel
to e
ither
+4d
Bu
(sui
ts
mos
t pr
ofes
sion
al s
tudi
o eq
uipm
ent)
or
-10d
Bv
(sui
ts s
emi-p
ro o
r hi
-fi
equi
pmen
t).
The
XLR
out
put
is a
lway
s +
4dB
u. C
heck
with
the
han
d-bo
ok f
or w
hate
ver
you
are
feed
ing,
to
find
out
whi
ch le
vel i
s re
quire
d.
The
XLR
out
put
is b
alan
ced
The
jack
out
put
is b
alan
ced
an
d w
ired
as f
ollo
ws:
and
wire
d as
fol
low
s:P
in 2
: +
(ho
t)
Tip
: +
(ho
t)P
in 3
: -
(col
d)
Rin
g: -
(co
ld)
Pin
1:
grou
nd
Sle
eve:
gro
und
Bal
ance
d o
r U
nb
alan
ced
To r
un t
he X
LR o
utpu
t un
bala
nced
, it
will
be
nece
ssar
y to
gro
und
pin
3 of
the
cab
le c
onne
ctor
. To
run
the
1/4
” ja
ck o
utpu
t un
bala
nced
, ju
st
twin q manual.indd 7/15/04, 9:22 AM12-13
-
13
Usin
g th
e Co
mpr
esso
r
Sta
rt w
ith t
he C
ompr
esso
r an
d M
eequ
aliz
er o
ff an
d ad
just
the
inp
ut a
nd
outp
ut g
ain
so t
hat
the
VU
Met
er r
eads
aro
und
0dB
. N
ow s
witc
h th
e m
eter
to
rea
d ga
in r
educ
tion
usin
g th
e ‘G
R’ p
ushb
utto
n.
Set
‘CO
MP
RE
SS
ION
’ and
‘AT
TAC
K’ f
ully
ant
i-clo
ckw
ise,
with
‘SLO
PE
’ and
‘R
ELE
AS
E’ a
t m
id-p
ositi
on.
Pre
ss t
he ‘C
OM
P’ p
ush-
butto
n an
d tu
rn u
p th
e ‘C
OM
PR
ES
SIO
N’ c
ontr
ol u
ntil
the
com
pres
sor
GR
met
er s
tart
s to
rea
d 3d
B
or 5
dB o
n au
dio
peak
s. Y
ou s
houl
d no
w b
e ab
le t
o he
ar t
he c
ompr
esso
r w
ork
ing
as
the
vo
lum
e d
imin
ish
es.
Use
th
e ‘
MA
KE
UP
GA
IN’
con
tro
l to
re
sto
re t
he
sig
na
l to
its
pre
vio
us
(un
com
pre
sse
d)
leve
l. A
lter
the
SL
OP
E
an
d l
iste
n t
o ho
w t
he s
ever
ity o
f th
e ga
in r
educ
tion
chan
ges.
Try
cha
ngin
g th
e A
ttack
and
list
en fo
r pe
rcus
sive
sou
nds
getti
ng lo
uder
. Red
ucin
g th
e A
ttack
an
d R
elea
se t
imes
sho
uld
emph
asis
e th
is e
ven
mor
e an
d th
e co
mpr
esso
r sh
ould
sta
rt to
“pu
mp”
aud
ibly
.
The
ove
rall
resu
lt of
com
pres
sion
dep
ends
on
the
com
bine
d se
tting
s of
the
C
ompr
ess,
Slo
pe,
Atta
ck a
nd R
elea
se c
ontr
ols.
Exp
erim
ent
with
diff
eren
t co
mbi
natio
ns to
dis
cove
r w
hat b
est s
uits
the
mat
eria
l you
wis
h to
com
pres
s.
Wat
ch th
e G
R m
eter
and
don
’t ov
erdo
thin
gs -
it’s
pos
sibl
e to
app
ly 2
0dB
of
gain
red
uctio
n be
fore
you
rea
lise
it!
Use
the
‘C
OM
P’
switc
h to
mak
e co
mpa
rison
s be
twee
n co
mpr
esse
d an
d un
com
pres
sed
sign
als.
Usin
g th
e M
eequ
aliz
er
Alw
ays
star
t w
ith t
he M
eequ
aliz
er b
oost
/cut
con
trol
s (L
F, M
ID a
nd H
F)
set
to “
0” (
the
cont
rol k
nobs
set
ver
tical
ly,
in t
heir
cent
re n
otch
es).
Thi
s se
tting
is
als
o kn
own
as “
flat”
.
You
nee
d to
be
care
ful
abou
t to
o m
uch
boos
t or
“lif
t”,
sinc
e bo
ostin
g ta
kes
the
twin
Q c
lose
r to
ove
rload
. T
he t
win
Q h
as g
ener
ous
over
load
m
arg
ins
bu
t w
he
n a
lo
t o
f b
oo
st i
s u
sed
, it
ma
y b
e n
ece
ssa
ry t
o
com
pe
nsa
te b
y re
duci
ng t
he O
utpu
t G
ain
or t
he I
nput
Gai
n (t
he la
tter
will
affe
ct th
e C
ompr
esso
r se
tting
thou
gh).
Kee
p an
eye
on
the
VU
Met
er w
hen
adju
stin
g th
e E
Q.
Whe
n th
e re
d LE
D (
labe
led
“PE
AK
FS
D”)
lig
hts,
the
tw
inQ
is
with
in 6
dB o
f cl
ippi
ng.
Occ
asio
nal f
lash
es a
re O
K b
ut if
it is
on
all t
he ti
me,
turn
som
ethi
ng d
own!
The
way
to u
se th
e LF
FR
EQ
and
MID
FR
EQ
con
trol
s, is
to a
pply
qui
te
a lo
t of b
oost
, the
n sw
eep
the
freq
uenc
y un
til y
ou “
tune
in”
to th
e so
und
you
are
inte
rest
ed in
. Onc
e yo
u fin
d it,
adj
ust t
he a
mou
nt o
f boo
st o
r cu
t to
giv
e th
e de
sire
d ef
fect
.
Exp
erim
ent
with
com
bina
tions
of
setti
ngs
of E
Q a
nd t
ry t
o pi
ctur
e ho
w
the
audi
o si
gnal
is b
eing
affe
cted
. Use
the
‘EQ
’ sw
itch
to m
ake
com
pari-
sons
bet
wee
n E
Q’d
and
non
-EQ
’d s
igna
ls.
Usin
g th
e Ou
tput
Sta
ge
Fin
al a
djus
tmen
ts t
o th
e ou
tput
lev
el c
an b
e m
ade
with
the
OU
TP
UT
G
ain
cont
rol,
agai
n ke
epin
g an
eye
on
the
VU
met
er a
nd P
EA
K F
SD
LE
D.
Not
e ho
w t
his
cont
rol
can
also
be
used
to
fade
out
the
sig
nal
com
plet
ely.
12
Usin
g th
e tw
inQ
GE
TT
ING
CO
NN
EC
TE
D
The
fig
ure
show
s th
e tw
inQ
bei
ng u
sed
inst
ead
of a
mix
ing
desk
in a
re
cord
ing
setu
p:
• A
mic
roph
one
is c
onne
cted
to
the
Mic
Inp
ut
• A
gui
tar
is c
onne
cted
to
the
Inst
rum
ent
Inpu
t
• T
he in
sert
poi
nt is
bei
ng u
sed
to d
iver
t the
pre
ampl
ified
sig
nal t
hrou
gh
a
n ex
tern
al e
ffect
s pr
oces
sor
• T
he r
ecor
der
outp
ut i
s co
nnec
ted
to t
he L
ine
Inpu
t fo
r pl
ayba
ck.
P
revi
ousl
y re
cord
ed t
rack
s m
ay a
lso
be r
epla
yed
via
the
Line
Inp
ut,
t
o pe
rmit
com
pres
sion
and
equ
aliz
atio
n
PO
WE
R S
UP
PLY
Con
nect
the
tw
inQ
pow
er c
ord
to t
he A
C c
onne
ctor
on
the
rear
pan
el
and
switc
h on
the
mai
ns s
uppl
y. N
B: e
nsur
e th
at th
e tw
inQ
is s
et to
the
corr
ect
mai
ns v
olta
ge f
or y
our
regi
on –
eith
er 1
15V
or
230V
. O
rient
ate
the
fuse
hol
der /
mai
ns v
olta
ge s
elec
tor d
raw
so
that
the
requ
ired
volta
ge
appe
ars
at th
e to
p. If
in d
oubt
con
sult
a co
mpe
tent
eng
inee
r.
Usin
g th
e Pr
eam
p
Tur
n th
e ‘IN
PU
T G
AIN
’ co
ntro
l to
min
imum
and
con
nect
the
inp
ut
sour
ce.
If yo
u ar
e us
ing
a co
nden
ser
mic
roph
one,
rem
embe
r to
sw
itch
on th
e 48
V P
hant
om P
ower
. Set
the
‘OU
TP
UT
GA
IN’ t
o “0
dB”.
Tur
n up
th
e ‘IN
PU
T G
AIN
’ unt
il th
e m
icro
phon
e so
und
regi
ster
s on
the
VU
Met
er,
adju
stin
g it
so t
hat
the
met
er r
eads
bet
wee
n “0
” an
d “+
3” o
n so
und
peak
s. W
hen
the
red
LED
(la
bele
d “P
eak”
) lig
hts,
the
tw
inQ
is
with
in
6dB
of