Tube Sound - Focusrite VoiceMaster Pro Mode D'emploi

- Determines when the OPTICAL COMPRESSOR
THRESHOLD (knob)
starts to compress the signal - the lower the threshold, the more the signal is
compressed. The signal is only compressed when it exceeds the threshold, so quieter
passages maintain their natural dynamic range, whilst loud passages (that exceed the
threshold) are compressed.
- Sets the output volume of the compressed signal.
MAKEUP GAIN (knob)
Since compressing a signal makes it quieter, use the MAKEUP GAIN control to
restore the signal to its original volume. Compare the volume of the original and the
compressed signal by using the IN switch to switch the OPTICAL COMPRESSOR
on and off.
- Determines the time taken for the gain reduction to return to
RELEASE (knob)
normal once the signal drops below the threshold. The faster the release, the louder the
signal appears to be.
GAIN REDUCTION (LED meter)
compression. Since compression reduces the volume of the signal, the meter drops as
compression is applied: for example, a 9 dB drop shows as -9 on the meter.
- When engaged (in), selects a higher compression
HARD RATIO (switch)
ratio, which gives a very flat, compressed sound. Do not use the HARD RATIO
switch if you want to maintain most of the original dynamics.
- When engaged (in), selects a slower attack time,
SLOW ATTACK (switch)
which allows more of the transient peaks of the signal through the compressor. This
can help retain a sense of the original signal's dynamics when compressing heavily. For
example, this can be useful to allow compression of a snare drum without losing the
initial 'crack' of the drum stick striking the snare skin.
- When engaged (in), inserts the OPTICAL
POST EQ (switch)
COMPRESSOR after the VOICE OPTIMISED EQ section in the signal path. When
disengaged (out), compression occurs pre-EQ. Placing the compressor after the EQ
means that you are able to affect the way the compressor responds by making changes
to EQ settings. If you prefer to have the compressor act independently from the EQ,
disengage the switch, placing the compressor section before the EQ section.
Note that the user has control of the position of both the OPTICAL COMPRESSOR
versus EQ section AND the VINTAGE HARMONICS versus OPTICAL
COMPRESSOR section. Hence four different signal flow arrangements are possible:
• VH → COMP → EQ – disengage both the VINTAGE HARMONICS section's
POST COMP switch AND the OPTICAL COMPRESSOR's POST EQ
switch.
- Displays the amount of gain 'lost' due to
• VH → EQ → COMP - disengage the VINTAGE HARMONICS section's
POST COMP switch, engage the OPTICAL COMPRESSOR's POST EQ
switch.
• COMP → VH → EQ - engage the VINTAGE HARMONICS section's POST
COMP switch, disengage the OPTICAL COMPRESSOR's POST EQ switch.
• EQ → COMP → VH - engage both the VINTAGE HARMONICS section's
POST COMP switch ANDd the OPTICAL COMPRESSOR's POST EQ
switch.

TUBE SOUND

The TUBE SOUND processor simulates the sound of valve (tube) and tape distortion.
The TUBE SOUND circuit is a FET-based circuit, and operates in 3 stages. As you
turn the pot clockwise you add firstly 2
nd rd th
finally 2 + 3 + 5 order harmonics (fully clockwise).
- Switches the TUBE SOUND section into the signal path. When
IN (switch)
engaged, the red LED in the switch cap is lit.
- Determines which frequencies are affected. In the BRIGHT
TONE (knob)
position (fully clockwise), the whole signal is saturated; as you rotate the control
counter-clockwise towards the MELLOW position, it introduces a low pass filter, so
that only the frequencies below the cut-off frequency (5 kHz) are affected by the
TUBE SOUND processing.
ENGLISH
nd nd rd
order harmonics, then 2 + 3 order, and
8