Yamaha 01X 用户手册

01X   Owner’s Manual

● Compressor parameters/ranges

Threshold
Determines the amount of signal necessary to trigger 
compression.  Any signal softer than this level passes 
through unprocessed, while signals louder than the 
Threshold are compresses at the specified Ratio 
(below).

Range: -54.0 — 0.0

Ratio
Determines the amount of compression, or the change 
in output relative to the change in input.  A 1:1 ratio rep-
resents no compression or normal (unity) gain—output 
is the same as input.  A 2:1 ratio means that for a 10dB 
change in input level, the output changes only by 5dB.  
Higher ratios obviously result in greater level “squash-
ing.”  For vocals, piano and bass, a range between 2:1 
and 6:1 is commonly used.  Greater ratios are used on 
drums and guitars and for special effects.

Range: 1:1 — 

∞

 :1

Attack 
Determines the amount of time before compression is 
applied to the signal.  The smaller the value, the faster 
the compression is applied. 

Range: 0 — 120 ms

Release
Determines the amount of time before the compression 
effect returns to normal (unity) gain.

Range: 5 ms — 42.3 sec

Gain
Determines the level of the compressed signal.  Since 
compression reduces the overall level, use this to raise 
the level appropriately.

Range: 0.0 — +18.0

Knee
Determines how abruptly or smoothly compression is 
applied.  Keep in mind that this is related to yet different 
from Attack (above).  The “Hard” (hard-knee) setting 
abruptly, while the settings 1 to 5 give smoother, loga-
rithmic increases in processing (soft-knee)—resulting a 
more natural and less obvious compression.

Range: Hard, 1 — 5

● About Compression settings

Keep in mind that all of these settings interact with one 
another.  This is another one of the reasons compres-
sion is widely misunderstood and misapplied.

Attack and Release are particularly interdependent.  
Fast Attack settings allow you to compress transients 
and initial peaks in the sound.  Different Release times 
allow you to create sustain effects and make the tails of 
individual notes louder.

For example, if you want the compressor to do its work 
and get out of the way quickly, set both fast Attack and 
Release times.  For a guitar solo sound that seems to 
sustain forever, use a moderate Attack time with a long 
Release.  Note that if Release is too short, you may get 
an unnatural pumping or “breathing” sound.  If it’s too 
long, the compressor may not return to normal in time 
to properly “catch” the next high-level signal.

Since compression is a subtle effect, it may take time to 
learn how to use it properly.  Make sure to play with the 
on/off controls, switching the compression in and out to 
hear how it changes the sound.  Listen especially for 
how the compressed and uncompressed sounds “sit” in 
the mix, and use the effect judiciously to get the bal-
ance right.