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The constantly-changing
hardware requirements of technical riders are just one of the many issues
audio rental companies and live music venues have to deal with. Having to
retain a comprehensive inventory of different devices, as well as
reconfiguring
outboard processing racks
is a costly, time-consuming task, further complicated by the number of
hardware options available.
The solution: Klark Teknik
Square ONE dynamics.Eight channels of flexible, configurable,
high-performance dynamics processing in one 3U package. The right brand,
the right combination, the right investment, every time.
Default Compressor
RMS sensing type. With both mode switches inactive 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 reduces the adaptive nature of the RMS
detection slightly, providing a little more manual control of the envelope
timings than is the case below. When Hard Knee is activated 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 no modification of the envelope occurs.
This means that attacks are more aggressive, but it also allows the
adaptive nature of the RMS detection to operate to its fullest extent.
This mode is good for natural sounding limiting of speech.
"Vintage" Compressor
Peak sensing type. When Hard Knee and Vintage are
activated the compressor operates with more precise envelope control and a
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 like bass guitar. When Vintage is active alone,
the compressor employs a dual time constant, linear attack profile. The
soft knee blurring of threshold occurs, (as in RMS mode), however, the
effect is greatly accentuated and 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 (i.e. signals 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. The peak sensing, however, increases harmonic overtones,
which add a "vintage" brightness and sparkle to the programme, producing
extremely transparent, lively sounding compression of acoustic
instruments.
Broadband frequency-conscious compressor
Setup as per compressor, in either RMS or "VINTAGE" modes.
Activate FILTER in wide mode, sweep to desired frequency & apply
frequency-dependant compression as required
Hi-Q frequency-conscious compressor (De-esser)
Setup as per compressor, in either RMS or "VINTAGE" modes.
Activate FILTER in NARROW mode, sweep to desired frequency & apply
frequency-dependant compression as required. Excellent for reducing
sibilance or other undesirable artefacts from vocals, or for removing
specific resonances from instruments or programme material.
Limiter
Set compressor to "VINTAGE" (peak) mode, hard knee,
fastest ATTACK, with the RATIO at infinity to one. Adjust RELEASE to suit
programme. Set THRESHOLD for onset of process.
Expander
Switch to "GATE" mode, set THRESHOLD, ATTACK, HOLD, and
RELEASE times to suit programme, control dynamic range expansion using
"RANGE" control. Use sidechain FILTER for frequency-dependant expansion,
i.e dynamic noise reduction.
Gate
Switch to "GATE" mode, set THRESHOLD, ATTACK, HOLD, and
RELEASE times to suit programme, set attenuation depth using "RANGE"
control. Use SIDECHAIN FILTER to "tune" the gate to open at selected
frequency - "wide" or "NARROW" modes. The attack characteristic of the
gate is exponential. This ensures that, even at extremely fast attack
settings, the attack envelope seamlessly blends into the audio waveform,
ensuring that no undesirable audio artefacts (clicks) are created.
i-TS (intelligent threshold shift)
This operates in conjunction with the gate hold function,
to reduce chattering within the gate. Chattering is the undesirable
condition that occurs when signals (especially low frequency ones) are
very close to the gate threshold. In this situation the gate can become
indecisive and repeatedly open and shut on the programme. i-TS ensures
that the gate remains open by automatically adjusting the threshold
downwards the moment the signal goes over the threshold setting. When the
signal eventually falls below the (new) temporarily adjusted threshold,
the i-TS re-sets, ready for the next gate opening. This hysteresis means
more decisive operation of the gate, ensuring that gating is rock solid.
Attacks start instantly and consistently, even on signals that are only
slightly over threshold.
Stereo & multiple-channel operation
Channels can be linked (in all modes) for stereo, or
multi-channel operation. When any number of channels are linked, the
linked channels all adopt the mode of the left-hand channel of the linked
group. This channel's settings now control all the members of that group,
only the make-up gain and Side chain filter are independent.
Solo Buss
Monitor the sidechain filter during the performance, using
the dedicated SOLO OUTPUT. Connect the SOLO OUTPUT to a spare input
channel, line return, FX return, etc. on your mixing console. Any SOLO
button press will route that processors' SIDECHAIN MONITOR to the SOLO
OUTPUT, allowing monitoring of the sidechain filter without interrupting
the audio output of the processor. If the SOLO IN PLACE mode is active,
the SOLO IN PLACE LED will illuminate. In this mode the SIDECHAIN MONITOR
signal will replace the audio output when the SOLO button is pressed.
Metering
When mixing live sound, it is essential to be able to see at-a-glance,
how the outboard processing is performing. Therefore, each channel of the
Square ONE convertible dynamics rack features a 6-segment 3-colour input
meter, and a 10-segment attenuation depth meter. The attenuation depth
meter operates in both compressor and gate modes. The use of vertically
oriented high-intensity LEDs makes for easy peripheral-vision awareness of
each channel's status.
Download User Manual
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