Weiss DS1-MKII User Manual

digital audio

weiss engineering ltd.
Florastrasse 42, 8610 Uster, Switzerland

) [phone] [phone]
8 http://www.weiss.ch / http://www.weiss-highend.com

GAMBIT

DS1-MK2

OPERATING MANUAL

Software Version: 0S: 2.0

DSP: 2.0

OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 FRONT PANEL

°±²

FRONT PANEL

Graphic 1: Front Panel Elements

¬ - ® ¯

Graphic 2: Display Elements

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 FRONT PANEL

Front Panel Groups

The front panel of the DS1-MK2 offers several control and display features.

Control

Refer to Graphic 1: Front Panel Elements

Ê - Menu- and softkeys p. 6
Ë - Snapshot keys p. 13
Ì - Preset keys p. 13
Í - Gain / Data controller p. 7
Î - Crossover controllers p. 11
Ï - Envelope follower controllers p. 9

Ð+Ñ - Non-linear transfer curve controllers p. 10

Display

Refer to Graphic 2: Display Elements

¬ - Gain value p. 7

- - Crossover setting (frequency selective mode only) p. 11
® - Non-linear transfer curve and signal metering p. 10
¯ - Status display p. 6
° - Peak limiter gain reduction meter p. 10
± - Envelope follower settings p. 9
² - Compressor gain reduction meter p. 10

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 INTRODUCTION

INTRODUCTION

Congratulations on purchasing the Weiss Gambit Series DS1-MK2 De-esser / Compressor !

This two channel digital De-esser / Compressor
features linear-phase crossover filters covering
the whole audio band. Thus the DS1-MK2 is not
just a De-esser but can also be used as band se­lective or full band Compressor / Limiter. The
controls for the two channels are always ganged
and the sidechains are always linked.

Internal processing is either 88.2kHz (with 44.1
and 88.2kHz input) or 96kHz (with 48 or 96kHz
input) in DeEsser and in Compressor mode.
Double-precision up- and down-sampling units
within the DS1-MK2 result in negligible distortion
and high transparency for absolutely clean sound.

The non-linear segment can be adjusted from
1000:1 to 1:5, allowing every kind of dynamic
processing, from limiting to upward expansion
(for over-compressed signals). Put back a little
dynamics into that ultra-finalized mix!

An additional safety-limiter takes care of any overs
that are generated in DeEsser as well as in Com­pressor mode.

Display

Standardised peak meters for compressor-

stage in- and output with peak hold

Gain reduction meter with peak hold for

compressor and for safety-limiter each.

Logarithmic graph of the transfer function

of the de-esser/compressor calculated in
real time

Status display showing sampling frequency,

channel status data handling, current work­space and snapshot number and a resetable
peak-hold and over-hold per channel

Parameter display (activated by touch)

showing all timing, level and gain parame­ters

Signal status LEDs, showing OVERs, range

of envelope signal and the status of the re­lease time comparator

The large CFL LC display and the one-controller­per-parameter operation combine speed and ease
of use with complete control over audio process­ing.

This and the ability to remote control parameters
and snapshots makes the DS1-MK2 the perfect
tool for the recording and mastering engineer!

Processing

24bit digital input, internal 40bit floating-

point arithmetic, dithered output for 16bit,
20bit or 24bit wordlengths.

Transparent phase-linear crossover for

frequency selective compression

All parameters are immediately accessible

with instant feedback through LEDs and
the LC display.

Snapshots

3 x 128 non-volatile snapshots where all

parameters are stored

A-B workspaces for quick comparison

between two settings

Remote Control

Supports MIDI, RS-232 and RS-422 proto-

cols

Standard MIDI Continuous Controllers for

parameter remote control (including overall
gain)

Snapshot automatization with MIDI Pro-

gram Change Commands

MIDI Dump of Snapshots

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 UPDATE HISTORY

UPDATE HISTORY

Update from DS1 to DS1-MK2
v1.0 or v1.1

The main difference between these two versions
is the ability of the DS1-MK2 to accept 88.2 /
96kHz input signals. Contrary to the DS1, where
double sampling processing was only used in
compressor mode, the DS1-MK2 now uses inter­nal up- and downsampling stages and all process­ing is at 88.2 / 96 kHz.

There is a completely new feature available in the
DS1-MK2, the upward expander. This is the logi­cal extension of the compressor. Just turn the
ratio controller counterclock wise to experience
this new sound. New scale range on p. 19.

The DeEsser section has been enhanced with a
new crossover, which covers the whole audio
bandwidth (the DS1used 271 Hz as lowest cutoff
frequency, the DS1-MK2 can now be tuned down
to 41 Hz). New scale range on p. 18.

And for those who like it hot, there is a new peak
limiter section added in series to the compressor
/ de-esser, which cuts down spikes above

0.0dBFS. Read about its operation on p.7.

bass instruments without causing breathing or
pumping. You name it, it works very well.

Variations: Use it like the Dolby Spectral Enhan­cer, by split band [parallel] compression, so that
(for example) high frequency inner details at low
levels are enhanced. ”

The other change in architecture is the addition of
a second gain before the safety limiter, referred
to as pre-limiter gain. The old overall gain is also
still available. Read on p. 7.

Also, the scales of the gain, gain makeup and ratio
parameters has been modified to suit customer
feedback. New values on p. 19.

Update from DS1-MK2 v1.3 to
DS1-MK2 v2.0

In the v2.0 version POW-R dithering capabilities
have been added. The dithering menu now has a
"setup" entry which gives you access to the three
POW-R algorithms.

Update from DS1-MK2 v1.0 or
v1.1 to DS1-MK2 v1.3

The main new enhancement is the parallel com­pressor option. To read about operating and op­tions of the parallel compressor, turn to p. 12.
This way of using a compressor was motivated by
Bob Katz, here is what he says about it on the
Mastering Webboard:

“You want a patch that compresses without
stomping on the attacks at all, preserves tran­sients but gives you great inner detail? ...

You have one control, one control only, and that
is the output level of the compressor [gain
makeup], the ‘sidechain’. You can bring out inner
details without losing breathing, and hardly af­fecting the upper dynamics at all. Works great.
Not just great, absolutely fantastically. Fattens

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 OPERATION

OPERATION

The following explanations assume that the de-esser/compressor is in power-up mode, i.e. no
menu is active. If a menu is active, press the “menu” key repeatedly until the status display ap­pears.

Status Display

Key A
Key B

Key C

Key C
Key D

Graph 3: Status Display

The status display (Graph 3) consists of four
groups displaying audio signal properties and in­formation about the current state of the DS1­MK2.

Channel Status Group

Situated adjacent to key A, displays the following
information:

sampling frequency in kHz: “44.1”, “48”,

“88.2” or “96”.

Peak-Hold
The numeric peak value is measured relative to

0dBFS (digital full scale).
Use this value to set the optimum gain for a spe-

cific session. Reset it for every session by pressing
key B twice.

Over-Hold
Whenever an over is encountered, the boxes to

the side of the peak-hold values are marked.
The functions of the over-LED’s and the over-

hold both depend on the NUMBER OF

CONSECUTIVE OVER-SAMPLES setting. To adjust this

setting, press key B once. Use the gain/ data
controller (Í) to change the value, then press
“menu” to return to the status display.

This setting defines the number of consecutive
over-samples needed for an over-indication. To
indicate every over-sample, enter 1. If another
value is entered, you are still able to detect a sin­gle over-sample with the peak-hold function.

pre-emphasis: “E” appears if pre-emphasis

is set (empty if not used)

input output channel status data format:

“C” for consumer and “P” for professional

Over-samples are defined as exceeding the
integer range. A full scale signal (0dBFS) will
not be treated as over.

To change the output channel status data format,
press key A and select format type or loop
through.

Remote Group

Situated adjacent to key C, displays remote con­trol protocol (“MIDI”, “RS 232” or “RS 422”),

Peak Group

Situated adjacent to key B, this group contains a
peak-hold and an over-hold for each channel. To

channel (“1” - “16”) and status (on/ off, displayed
with check box).

For setup see chapter Remote Control (p. 15).

reset these values press key B twice.

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 OPERATION

Out-

Output

Snapshot Display

Bottom line in the status display. Refer to this for
information on current workspace and snapshot.
There are two workspaces (“A” and “B”) for
quick comparison of two de-esser/compressor
settings. A workspace can be stored to a snapshot
for later use.

The number of the last recalled snapshot will be
displayed. If you change any value after the recall,
the “ ” will change to “ ” to symbolise that the
workspace is not equal to the displayed snapshot
anymore.

For snapshot handling see chapter Snapshots (p.

13).

Dither Icon

The dither icon is situated right next to key D
(see Graph 3). If dither is off, the icon contains
the number “24“, the word length of the output
signal in bits. Turning dither on will produce ar­rows above and below the new word length

Overall Gain

There are two gains, one pre-limiter and one
post-limiter, as depicted in Graphic 4.

Gain

from previous
processing

Graphic 4: Output section

X X

When touching the gain controller (Í), the re­quired gain can be selected from a menu. To
change the output gain, press softkey D. If an
arrow appears inside the output gain window, the
output gain can be adjusted. Press the D key again
to control the pre-limiter gain.

Both gains are bypassed when Bypass is active,
and stored in workspace snapshots.

Safety
Limiter

Gain

put

number (“16“ or “20“). Additionally, if auto­blacking is enabled, the bottom right corner of the
icon is inverted.

For details on dither refer to chapter Dither (p.

13).

The value shown in ¬ is the setting of the pre­limiter gain.

The post-limiter output gain should be used to set
the maximum output level only (usually 0.0dB).

Safety Limiter

This feature is activated by pressing the “safe”
key. When the “safe” key is lit, the limiter is on.

Safety limiter activity can be monitored with the
second gain reduction meter below the “GAIN”
window (°).

If the “safe” key is lit, overs will be limited by this
fast peak limiter. The parameters of the limiter
are fixed and cannot be adjusted.

However, the pre-limiter gain can be used to
drive the safety limiter.

Too much pre-limiter gain will result in dis­tortion!

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 OPERATION

Compressor Parameters

Following is a detailed description of all parameters that can be adjusted in the compressor stage. Guidelines
are given for settings (see also the presets), but optimal settings are usually programme dependent, so ex­perimenting and listening is inevitable for satisfying results.

Graphic 5 shows schematic and parameters of the DS1-MK2 compressor stage:

Graphic 5: Compressor schematic

Delay

A typical compressor/limiter circuit measures the
audio signal and then generates the gain reduction
control signal. At the time the control signal
changes the gain, the programme material is al­ready there, so the gain change occurs too late.
The result is overshoot and possible subsequent
distortion.

The DS1-MK2 uses a different method to gener­ate the gain control signal: The audio passing
through the mainchain is delayed by a fixed
amount of time, determined by the „overall de­lay“. By branching the signal out of the delay line,
the sidechain „sees“ the signal before it reaches
the output, thus allowing look-ahead compared to
the mainchain. The resulting corrected output
signal has no overshoots, no leading edge distor-

tion or other side effects due to timing lags in the
sidechain.

The preview (the time the signal reaches the
sidechain ahead of the multiplier) cannot, of
course, exceed the overall delay.

The overall delay is the sum of the maximum
overall delay („Delay“ box in Graphic 5) and the
delay required for other signal processing (linear­phase filtering for up- and downsamplers). Any
snapshot value of the preview delay which ex­ceeds this maximum, is clipped to the maximum,
because the overall delay is not stored in the
snapshots and therefore the preview delay in any
snapshot can exceed the currently selected over­all delay.

Setting overall delay: The overall delay is ad­justed by pressing the „menu“ key (Ê) then se-

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 OPERATION

lecting the „system“ and the „overall delay“ op­tion. Use the gain / data controller (Í) to change
the delay value. Maximum consequential preview
time and delay in frames is also displayed. Please
note that during delay change, audio is muted to
avoid audio signal cuts.

Setting preview: Touch either the „attack“ or
„release delay“ controller (Ï) to activate the
timing 1 window, then use the gain / data con­troller (Í) to adjust preview time.

Envelope Follower

The envelope follower parameter controllers are
in area Ï. The purpose of the envelope follower
is to cause gradual gain changes, thus eliminating
distortion. The current values are shown in ±.

Thus, setting a preview of about 3 to 4 times the
length of the attack time parameter (as seen in the
parameter window of the display when touching
the attack controller) should catch leading edges.

Using a smaller preview value will pass short
transients (livelier sound). In this case engage the
safety limiter (see p. 7) to catch the resulting
overs. Experimenting will be necessary for best
results.

Release and Average: The input signal is moni­tored with two different methods: peak amplitude
and RMS value. The peak amplitude is the pro­gramme portion we don't perceive as very loud,
however which can easily cause overloads. The
RMS value of the programme material we per­ceive as loudness. Its variations contribute most to
the dynamic range of the audio.

The sidechain processor compares the two
measurements it obtained from the peaks and the
RMS. The ratio between the two determines
which time constant would be the appropriate
release, e.g. after short duration peak the faster
release will be applied during the release phase.

Graphic 6: Envelope Parameters

Attack and Preview: The longer the attack
time, the more will the leading edge of fast tran­sients pass by the gain reduction circuit unaltered
(as in Graphic 6 during attack phase). Very fast
attack time settings such as 20µs, i.e. one sample
period, do catch every transient, but may distort
low frequencies. To utilise longer attack times and
still catch fast transients, use preview.

Note:

attack phase 3 x attack time parameter

The time period over which the RMS value of the
programme material is averaged is set by the
"average" parameter. The effect of the average
parameter can best be studied on the gain reduc­tion meter (²). Fast "average" settings will cause
most of the gain reduction meter to move very
fast (depending on the "release fast" setting) ,
slower settings will just have the top part of the
gain reduction move fast, with the bottom part
depending on the "release slow" setting.

Release Delay: Normally the release phase be­gins immediately after the programme material
has fallen in level. The release delay determines
how long the DS1-MK2 holds the current level
before entering release (see Graphic 6).

The resulting dynamic characteristic is very
smooth and avoids otherwise typical 'pumping'
effects. The ideal setting is programme dependent
and experimentation may be necessary to achieve
the best combination of all dynamic parameters.

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 OPERATION

Non-Linear Transfer Curve

The transfer curve parameter controllers are in
area Ð. This part of the sidechain is responsible
for the actual gain reduction (²) calculations. The
detected signal envelope is compared with the
transfer curve, the gain control signal (see Graphic

5) is then adjusted accordingly if the envelope
overshoots the transfer curve.

Graphic 7: Transfer Curve Parameters

Threshold: Sets the level which the envelope
signal has to reach before gain reduction is ap­plied.

Ratio: Sets the slope of the segment above the
threshold. The ratio can be adjusted for compres­sion or expansion, depending on the requirement.
For full band expansion (e.g. to re-introduce
dynamics into an over-compressed signal), one
will usually work with the gain makeup set to
maximum. This means that a 0.0dB input will be
passed through without gain, signals below the
threshold will be reduced with a constant gain
(depending on threshold and ratio setting, can be
read from the display when touching the gain
makeup controller), and signals between the
threshold and 0.0dBFS get expanded. For full
band expansion, one will typically have quite high
thresholds (-1dB ... –4dB), because of the
resulting overall gain.

The expander can also be used in frequency
selective mode, for example to repair the effect of
a misused multi-band compressor – for this

purpose, the gain makeup can be set higher than
the calculated maximum setting, to compensate
for the overall gain that the expander causes. This
can potentially cause overs (for loud signals in the
expanded band), it is therefore good practice to
engage the safety limiter (see below).

The expander can only amplify gain differ­ences. This means that it cannot create a
dynamic signal if there was no initial gain
difference (as is the case in computer gener­ated music or with extremely hard-limited
mixes).

Soft-knee: Determines how much the knee is

rounded. The maximum setting (1.0) chooses a
curve that reaches from 0dBFS down to twice the
threshold value. This implies that if soft-knee is
engaged the signal is already affected even if its
envelope lies below the threshold.

Gain makeup Ñ: Moves the whole transfer
curve up or down. In de-essing mode the gain
makeup is usually set between the minimum (­10dB gain) and "off" (0dB gain) to actually attenu­ate the processed signal, while in compressor (full
band) mode the transfer curve usually gets to lie
anywhere between "off" and "max", according to
the amount of loudness correction one wants to
apply.

Once "max." is on, the transfer curve is attached
to 0dBFS for maximum possible gain. "max" is
engaged as soon as the curve reaches 0dBFS by
manipulating any combination of the above pa­rameters, or by selecting "max" from the gain
makeup menu. This mode can be exited by manu­ally reducing the gain makeup or by selecting "off"
from the gain makeup menu.

The applied gain reduction from the com­pressor section is displayed in ²².

Signal Meters: The meters in ® show the level

of the input (horizontally on top of the transfer
curve graph) and output of the compressor stage
(vertically to the right of the transfer curve). Refer
to Graphic 8 and Graphic 9 to see metering
points.

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 OPERATION

Out-

band-

width

monitor

peak / over

Safety

Limiter

+

X

X

X

Output

peak / over

Out-

Limiter

X

X

X

Band Selective Mode vs. Full Band Mode

Pressing this key allows you to listen directly to
the processed band, ideal for zooming in on of-

The DS1-MK2 can be used in conjunction with a
frequency crossover (band selective mode) or

fending material and listening to the effect of the
compressor stage.

straight (full range mode).
How to change modes: Touch the centre fre-

quency or bandwidth controller (º). The softkeys
become selection keys for the filter type: high­pass, bandpass, lowpass or bypass. In bypass the
full range mode (compressor) is selected. Any
other filter type engages the appropriate filter

If monitor is active, the output peak hold and
the over detection run on the monitor signal,
not on the main output!

Also, the input and output meters on the transfer
graph (®) are connected after the crossover and
before the adder.

ahead of the compressor stage.

filter­type

In­put

Cross-

centre
frequency

band
stop

Delay

over

band
pass

Gain

Gain

Gain

Comp.

put

input
meter

Graphic 8: Band Selective Mode

Band Selective Mode (Graphic 8): In this mode,
a frequency crossover is put into the signal path,
splitting it up into two or three bands, depending
on the filter type setting. One of the bands is
compressed, the other is delayed by the same
amount used as „delay“ in the compressor stage
(see Graphic 5 p. 8). This mode is completely
transparent if no gain reduction is applied.

A special feature of this mode is the monitor
function.

input
meter

In­put

Comp.

output
meter

Full Range Mode (Graphic 9): In this mode the
compressor input meter is at the input of the
DS1-MK2. The crossover controllers and the
monitor key have no function.

output
meter

Gain

Gain

Safety

hold

hold

Output
Gain

put

Graphic 9: Full Range Mode

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 OPERATION

peak / over

Out-

Limiter

Pre-Limiter

peak / over

Out-

Limiter

+

Parallel Compressor

The DS1-MK2 can be used as a parallel compres­sor, where the compressed signal is added to the
straight signal.

How to activate parallel compression: Touch
the gain / data controller (Í). In the menu that
appears, mark the checkbox with softkey B.
When using parallel compression, the DS1-MK2 is
able to run in frequency selective or in full band
mode.

input
meter

output
meter

Gain

In­put

Comp.

+

x

listen to the filtered signal for optimal crossover
setup.

Why parallel compression?

Read this quote from Bob Katz from the Master­ing Webboard:

“You want a patch that compresses without
stomping on the attacks at all, preserves tran­sients but gives you great inner detail? ...

You have one control, one control only, and that
is the output level of the compressor [gain

hold

Output
Gain

Safety

x

put

Graphic 10: Parallel full band compression

Parallel full band compression: As can be seen
in the schematic (Graphic 10), the input signal and
the compressed signal are added together. The
gain makeup value can be used to control the
amount of compressed signal. The pre-limiter gain
can be used to scale the mix before limiting.

input
meter

In­put

Graphic 11: Parallel band selective compression

Cross­over

band
pass

Comp.

Parallel band selective compression (Graphic

11): To add even more subtle compression, the
compressed signal can be filtered before com­pression. Using the monitor function, one can

makeup], the ‘sidechain’. You can bring out inner
details without losing breathing, and hardly af­fecting the upper dynamics at all. Works great.
Not just great, absolutely fantastically. Fattens
bass instruments without causing breathing or
pumping. You name it, it works very well.

Variations: Use it like the Dolby Spectral Enhan­cer, by split band [parallel] compression, so that
(for example) high frequency inner details at low

output
meter

Pre-Limiter
Gain

x x

Safety

Output
Gain

hold

levels are enhanced. ” The last paragraph refers
to parallel band selective compression (crossover
in highpass mode).

put

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 OPERATION

Presets

The DS1-MK2 has easily accessible presets (¸)
for a quick setup which can then be refined and
adapted to the programme being processed.
These presets are grouped according to their
function:

De-Esser: Four applications for high-frequency
transients removal. Adjust threshold and cross­over frequency as required.

Limiter: Three settings for loudness maximising ­experiment with the transfer curve parameters
for a programme optimised result. The last setting
uses the crossover to select the low-band and
applies a small gain, hence „bass boost“.

Dither

The DS1-MK2 v2.0 is able to apply POW-R type
dither algorithms to avoid distortion when re­quantizing from 24bit to 16bit or 20bit output
word length (see TECHNICAL DATA for dither
specifications).

Snapshots

Snapshots are copies of the DS1-MK2 parameter
settings. This allows recalling complete set-ups
including all parameters and controls settings.

Snapshots can be recalled from the front panel or
by remote control (e.g. MIDI Program Change).

Snapshot access keys are in ·. To see workspace
status refer to the status display (¯, see Status
Display p. 6).

A-B Comparison

You can compare two settings by using the two
workspaces “A” and “B”. To toggle between the
two press the “A-B” key. Restore a snapshot or
simply adjust parameters in one workspace, then
switch to the other to compare.

To copy workspace “A” to “B” or vice versa,
press the “copy” key and select an option (Graph

12).

To toggle dither on/off, press key D twice. To see
dither status refer to the status display (®, see
Status Display p. 6).

Word Length

To set output word length, press key D and select
the appropriate wordlength.

Setup

Press key D then chose the setup menu. This
leads to the menu where the type of POW-R
dither can be chosen (see TECHNICAL DATA
for dither specifications). Also selectable is:

Auto-Blacking

If auto-blacking is activated by marking the “0 IN
à 0 OUT“ option, dither will be turned off if the
input signal is zero As soon as the input signal
changes, dither will be turned on again. This en­sures that pauses between programmes are still
digital zero, even if dither is activated.

Graph 12: "copy" menu

The active workspace is shown in the status dis­play.

Recall

To recall a snapshot press the “recall” key. No­tice that the snapshot will be copied into the ac­tive workspace. If you do not want to lose these
settings, switch to the other workspace by
pressing the “A-B” key.

Using the gain/ data controller (¹) enter the
number of the snapshot you want to recall. The
graph of the snapshot will be displayed. However,
the audio signal is not affected if the “Preview”
option is marked. Once you have found the snap­shot, press key D to restore it.

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 OPERATION

If the “Preview” option is not marked, the
snapshots will be recalled as soon as you en­ter a new number.

Press the “recall” key to return to the status dis­play.

Graph 14: Backup Display

“Recall 0”

Snapshot 0 can be use for fast reset.

Store

To store the current workspace to a snapshot,
press the “store” key. With the gain/ data con­troller (¹) enter the snapshot number where you
want to store the workspace, then press key D.
Snapshots can be prevented from accidental era­sure by marking the “Safe” option.

A setting can be stored to multiple snapshots.
Press “To Range” in the “store” menu.

Graph 13: Store To Range Menu

Press the adjacent keys to select “Start” and
“End” snapshot number, use the “gain/ data” en­coder to enter a value (Graph 13). Pressing “Exe­cute” will store the setting from the displayed
workspace (“A” or “B”) to all snapshots between
the Start and End value. A “Safe” snapshot will
not be overwritten.

Select “Create 1” to save the current snapshots
to bank 1. Select “Restore 1” to overwrite the
current snapshots with bank 1 (ditto for bank 2).

A backup will overwrite “safe” snapshots.

Reset

To reinstall the factory snapshots you must press
the “menu” key then choose the “Snapshot” and
then the “Reset all” option. This will reset the
current snapshots. The snapshots that have been
backed up are preserved.

Dump

The settings of all 128 snapshots can be dumped
to a remote control port to be stored externally.
Please make sure that you have connected eve­rything correctly and that the proper remote
control port is activated (see chapter Remote
Control for setup).

When dumping to a MIDI-sequencer, make sure
that the sequencer is not sending or receiving data
other than the snapshot dump.

Certain sequencers are not capable of hand­ling the amount of data output by the DS1­MK2 and might crash during or after the
dump process.

Backup

All 128 snapshots can be transferred to another
non-volatile memory area for later reference.
There is enough memory for two complete snap-

To initiate a dump, press the “menu” key then
choose the “Snapshot” and then the “Dump”
option. Start the recording process on the se­quencer, then press “Transmit”. This releases the
dump to the sequencer.

shot sets to be backed up.

Loading

Press the “menu” key (¶) then choose the “Snap­shots” and then the “Backup” option to arrive at
the backup display (Graph 14).

To load a snapshot dump from sequencer, simply
play the dump sequence. The DS1-MK2 will
automatically switch into receive mode and dis-

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 OPERATION

play statistics about the snapshots it’s receiving. If
the transmission was OK, the program switches
back to normal mode. Upon error, you have to
manually switch back to normal mode.

When playing back the dump sequence, al­ways use the same speed as when the se­quence was recorded.

Meter Resolution

The transfer graph and the compressor peak
meters (®) work with different resolutions to
accommodate signals with a wide dynamic range.

The resolution for the peak meters and transfer
graph can be set in fixed steps of -20dB, -40dB
and -80dB, or alternatively, to auto. In auto mode,
the display switches to the next step as soon as
the transfer graph falls below the current win­dow. The peak meters resolution is always the
same as the transfer graph’s.

The same principle applies to the gain reduction
meters of the compressor (²) and the safety
limiter (°).

To adjust gain reduction or peak meter resolution,
press the „menu“ key (¶) and press the „Dis­play“ softkey. Then use keys A and B to select
either „gain reduction“ or „curve“ to change the
resolution of the corresponding graphs. Use the
gain / data controller (¹) to alter values.

LCD Contrast

To change the display contrast, press the “menu”
key (¶), then “Display”. Press key C to activate
„LCD Contrast“. Adjust contrast with the gain /
data encoder.

Bypass

The DS1-MK2 can be completely bypassed with
the green “bypass” key below the mains switch. If
the “bypass” key is lit, the DS1-MK2 is absolutely
transparent, making the output signal bit equal to

the input signal. However, the overall delay (see
chapter Delay) is still active.

While bypass is active (key is lit), the DS1-MK2
works in preview mode. This allows you to
change parameters without actually affecting the
audio signal.

Remote Control

All band parameters as well as control settings can
be set externally.

To see remote control status refer to the status
display (¯, see Status Display p. 6).

Protocol

To select a remote control protocol, press key C
from the status display menu. Select either “RS
232”, “RS 422” or “MIDI”. This will determine
which port at the rear of the DS1-MK2 is active.
The other inactive ports will be ignored.

Press the “menu” key to return to the status dis­play if you do not want to change remote on/ off
status.

When selecting a port other than MIDI you have
to specify the baud rate. Refer to the remote
control software manual for correct settings. The
set baud rate is displayed to ensure proper set­up.

Channel

To change the remote control channel number,
press key C (adjacent to the remote control field).
Use the gain/ data controller (¹) to select a value
between 1 and 16. Press the “menu” key to re­turn to the status display. Omni mode (listening
on all channels simultaneously) is not supported.

On/ Off

To enable or disable remote control, press key C
(adjacent to the remote control field). Press it
again to toggle the “ON/ OFF”-value.

While remote control is off, data will still be sent
to the selected port. Also, the MIDI THRU output
will always mirror the MIDI IN input data re­gardless of “ON/ OFF” or protocol status.

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Software Information

Press the “menu” key (¶), then select the “Sys­tem” and the “About” option. This displays a
screen with all the relevant information on your
DS1-MK2 and how to reach us. Have this page
ready when you want to report a problem.

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TECHNICAL DATA

AES/EBU Input

Sampling Frequencies: 44.1 kHz, 48.0 kHz, 88.2 kHz or 96kHz
Maximum Input Wordlength: 24 Bits
Channel Status Data: Input accepts professional or consumer format.
Channel Status Bits
forwarded to AES/EBU output: see table below
Connector: XLR female

AES/EBU Output

Sampling Frequencies: 44.1 kHz, 48.0 kHz, 88.2 kHz or 96kHz
Output Wordlength: 24 Bits
Connector: XLR male

AES/EBU Channel Status Data

The DS1-MK2 allows to convert the incoming Channel Status Data as follows:

From Consumer to Professional
From Professional to Consumer
Transparent mode, i.e. Channel Status Data is fed forward to the output without any conversion (one

exception, see below)

The following tables describe how the Channel Status Data bits are generated in the various con­version modes.

Output selected: Consumer format.

Input: Consumer format.

Output: All bits fed forward (transparent), except for:
Byte 1: Bits 0..6: 0000000 (category code general)

Bit 7: 1 (original)

Input: Professional format.

Output:
Byte 0: Bit 0: 0 (consumer)

Bit 1: 0 (audio)
Bit 2: 1 (copy allowed)
Bits 3,4: Preemphasis according to input
Bit 5: 0 (2 channel mode)
Bits 6,7: 00 (Mode 0)

Byte 1: Bits 0..6: 0000000 (category code general)

Bit 7: 1 (original)

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Byte 2: Bits 0,1,2,3: Sampling Frequency according to input

Bits 4,5: 00 (accuracy grade II)
Bits 6,7: 00

Bytes 3..23: reserved bytes

Output selected: Professional format.

Input: Professional format.

Output: All bits fed forward (transparent), except for:
Byte 2: Bits 0,1,2: 001 (max. sample length= 24bit)

Bits 3,4,5: 101 (24 bit word length)
Bits 6,7: 00

Input: Consumer format.

Output:
Byte 0: Bit 0: 1 (professional)

Bit 1: 0 (audio)
Bits 2,3,4: Preemphasis according to input
Bit 5: 0 (source fs locked)
Bits 6,7: Sampling Frequency according to input

Byte 1: Bits 0,1,2,3: 0001 (two channel mode)

Bits 4,5,6,7: 0000 (no user bit encoding)

Byte 2: Bits 0,1,2: 001 (max. sample length= 24bit)

Bits 3,4,5: 101 (24 bit word length)
Bits 6,7: 00

Bytes 3..12: All bits 0
Byte 23: CRCC byte

Output selected: Transparent.

Input: Any format.

Output: All bits fed forward (transparent), except if not bypassed:
Byte 2: Bits 0,1,2: 001 (max. sample length= 24bit)

Bits 3,4,5: 101 (24 bit word length)
Bits 6,7: 00

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Power

Mains Voltage: 110 / 220 Volts with voltage selector
Fuse rating: 500 mA slow blow
Power Consumption: 40VA max

Overload

Number of consecutive
over-samples to cause
“over” display: 1..16 settable

Peak Meters

Peak meters timing for compressor input and output stage adhere to AES recommendations.

Parameter Table

Overall Gain

All numbers in dB:

- , -80.0, -75.0, -70.0, -65.0, -60.0, -55.0. -50.0, -45.0, -40.0, -35.0, -30.0, -28.0, -26.0, -24.0, -22.0, -

20.0, -18.0, -16.0, -14.0, -12.0, -10.0, -9.5, -9.0, -8.5, -8.0, -7.5, -7.0, -6.5, -6.0, -5.8, -5.6, -5.4, -5.2, -

5.0, -4.8,

-4.6, -4.4, -4.2, -4.0, -3.8, -3.6, -3.4, -3.2, -3.0, -2.9, -2.8, -2.7, -2.6, -2.5, -2.4, -2.3, -2.2, -2.1, -2.0, -1.9,

-1.8, -1.7, -1.6, -1.5, -1.4, -1.3, -1.2, -1.1, -1.0, -0.9, -0.8, -0.7, -0.6, -0.5, -0.4, -0.3, -0.2, -0.1, 0.0, 0.1,

0.2, 0.3, 0.4, 0.5, 0.6, 0.7, 0.8, 0.9, 1.0, 1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 1.8, 1.9, 2.0, 2.1, 2.2, 2.3, 2.4, 2.5,

2.6, 2.7, 2.8, 2.9, 3.0, 3.2, 3.4, 3.6, 3.8, 4.0, 4.2, 4.4, 4.6, 4.8, 5.0, 5.2, 5.4, 5.6, 5.8, 6.0, 6.5, 7.0, 7.5, 8.0,

8.5, 9.0, 9.5, 10.0

Bandwidth

All numbers are fractions of octaves:
1/6, 1/3, ½, 2/3, 5/6, 1, 11/6, 1 1/3, 1 ½, 1 2/3, 1 5/6, 21/6, 2 1/3, 2 ½, 2 2/3, 2 5/6, 31/6, 3 1/3, 3 ½, 3

2/3, 3 5/6, 4 1/6, 4 1/3, 4 ½, 4 2/3, 4 5/6, 51/6, 5 1/3, 5 ½, 5 2/3, 5 5/6, 6

Frequency

All numbers are Herz and are either center or cutoff frequency:
41, 44, 46, 49, 52, 55, 58, 62, 65, 69, 73, 78, 82, 87, 92, 98, 104, 110, 117, 123, 131, 139, 147, 156, 165,

175, 185, 196, 208, 220, 277, 294, 311, 330, 349, 370, 392, 415, 440, 466, 494, 523, 554, 587, 622, 659,
698, 740, 784, 831, 880, 932, 988, 1050, 1110, 1170, 1240, 1320, 1400, 1480, 1570, 1660, 1760, 1860,
1980, 2090, 2220, 2350, 2490, 2640, 2790, 2960, 3140, 3320, 3520, 3730, 3950, 4190, 4430, 4700,
4980, 5270, 5590, 5920, 6270, 6640, 7040, 7460, 7900, 8370, 8870, 9400, 9960, 10500, 11200, 11800,
12500, 13300, 14100, 14900, 15800, 16700, 17700

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Attack, Release Delay, Release Fast & Slow, Average, Preview (when applicable):

All numbers are in seconds:
20 , 40 , 60 , 80 , 100 , 125 , 160 , 200 , 250 , 315 , 400 , 500 , 630 , 800 , 1m, 1.25m, 1.60m,

2.00m, 2.50m, 3.15m, 4.00m, 5.00m, 6.30m, 8.00m, 10.0m, 12.5m, 16.0m, 20.0m, 25.0m, 31.5m, 40.0m,

50.0m, 63.0m, 80.0m, 100m, 125m, 160m, 200m, 250m, 315m, 400m, 500m, 630m, 800m, 1, 1.25, 1.60,

2.00, 2.50, 3.15, 4.00, 5.00, 6.30, 8.00

-6

= 10

m = 10

-3

Soft-knee:

0.0, 0.1, 0.2, 0.3, 0.4, 0.5, 0.6, 0.7, 0.8, 0.9, 1.0

Threshold:

All numbers are in dB:
0, -1, -2, -3, -4, -5, -6, -7, -8, -9, -10, -11, -12, -13, -14, -15, -16, -17, -18, -19, -20, -21, -22, -23, -24, -

25, -26, -27, -28, -29, -30, -31, -32, -33, -34, -35, -36, -37, -38, -39, -40, -41, -42, -43, -44, -45, -46, -47,

-48, -49, -50, -51, -52, -53, -54, -55, -56, -57, -58, -59, -60

Ratio:

1:5.00, 1:4.95, 1:4.90, 1:4.85, 1:4.80, 1:4.75, 1:4.70, 1:4.65, 1:4.60, 1:4.55, 1:4.50, 1:4.45, 1:4.40, 1:4.35,
1:4.30, 1:4.25, 1:4.20, 1:4.15, 1:4.10, 1:4.05, 1:4.00, 1:3.95, 1:3.90, 1:3.85, 1:3.80, 1:3.75, 1:3.70,
1:3.65, 1:3.60, 1:3.55, 1:3.50, 1:3.45, 1:3.40, 1:3.35, 1:3.30, 1:3.25, 1:3.20, 1:3.15, 1:3.10, 1:3.05,
1:3.00, 1:2.95, 1:2.90, 1:2.85, 1:2.80, 1:2.75, 1:2.70, 1:2.65, 1:2.60, 1:2.55, 1:2.50, 1:2.45, 1:2.40, 1:2.35,
1:2.30, 1:2.25, 1:2.20, 1:2.15, 1:2.10, 1:2.05, 1:2.00, 1:1.95, 1:1.90, 1:1.85, 1:1.80, 1:1.75, 1:1.70,
1:1.65, 1:1.60, 1:1.55, 1:1.50, 1:1.45, 1:1.40, 1:1.35, 1:1.30, 1:1.29, 1:1.28, 1:1.27, 1:1.26, 1:1.25,
1:1.24, 1:1.23, 1:1.22, 1:1.21, 1:1.20, 1:1.19, 1:1.18, 1:1.17, 1:1.16, 1:1.15, 1:1.14, 1:1.13, 1:1.12, 1:1.11,
1:1.10, 1:1.09, 1:1.08, 1:1.07, 1:1.06, 1:1.05, 1:1.04, 1:1.03, 1:1.02, 1:1.01, 1 : 1, 1.05:1, 1.11:1, 1.17:1,

1.25:1, 1.33:1, 1.43:1, 1.54:1, 1.67:1, 1.81:1, 2.00:1, 2.22:1, 2.50:1, 2.86:1, 3.33:1, 4.00:1, 5.00:1,

6.66:1, 10.0:1, 20.0:1, 1000:1

Gain Makeup:

Scale is symmetrical around 0.0, only positive values listed. All numbers are in dB:

0.0, 0.2, 0.4, 0.6, 0.8, 1.0, 1.2, 1.4, 1.6, 1.8, 2.0, 2.2, 2.4, 2.6, 2.8, 3.0, 3.2, 3.4, 3.6, 3.8, 4.0, 4.2, 4.4, 4.6,

4.8, 5.0, 5.2, 5.4, 5.6, 5.8, 6.0, 6.5, 7.0, 7.5, 8.0, 8.5, 9.0, 9.5, 10.0, 10.5, 11.0, 12.0, 13.0, 14.0, 15.0,

16.0, 17.0, 18.0, 19.0, 20.0, 22.0, 24.0, 26.0, 28.0, 30.0, 32.0, 34.0, 36.0, 38.0, 40.0, 45.0, 50.0, 55.0,

60.0
off, max.

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Dither

Dithering algorithm is implemented using the POW-R set of algorithms. Graph 15 shows the three algo­rithms at 44.1kHz and 88.2kHz sampling rates each.

Graph 15: Output spectrum with 80dBFS / 1kHz sine wave, dithered to 16 Bits, using the three POW-R algorithms at 44.1kHz and

88.2kHz respectively

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Remote

MIDI Implementation

System Inclusive

All band parameters plus the controls parameters are remote controllable. Each parameter has its corre­sponding MIDI controller number.

According to the different parameters, the controllers are limited in their range. Invalid values are replaced
by the maximum allowable value. Following is a list of the supported MIDI commands:

Action MIDI Message Status Byte Data Byte(s) Comment

Restore Snapshot Program Change 1100 cccc 0ppp pppp (cccc) Channel No.

(ppppppp) New Prog No: 0 - 127

Center Frequency Control Change 1011 cccc 00000000 ($00) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 – 105

Bandwidth Control Change 1011 cccc 00000001($01) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 - 36

Filter Mode Control Change 1011 cccc 00000010 ($02) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0= limiter, 1= Bandpass,
2 = Lowpass, 3 = Hipass

Preview Delay Control Change 1011 cccc 00000011 ($03) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 - 32

Attack Control Change 1011 cccc 00000100 ($04) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 - 43

Release Delay Control Change 1011 cccc 00000101 ($05) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 - 53

Release Fast Control Change 1011 cccc 00000110 ($06) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 - 53

Average Control Change 1011 cccc 00000111 ($07) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 - 53

Release Slow Control Change 1011 cccc 00001000 ($08) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 - 53

Soft Knee Control Change 1011 cccc 00001001 ($09) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 - 10

Gain Makeup Mode Control Change 1011 cccc 00001010 ($0A) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0= off, 1 = manual, 2= maximum

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Ratio Control Change 1011 cccc 00001011 ($0B) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 - 124

Threshold Control Change 1011 cccc 00001100 ($0C) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 - 60

Gain Makeup Control Change 1011 cccc 00001101 ($0D) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 - 126

Gain Control Change 1011 cccc 00001110 ($0E) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 – 127

Output Gain Control Change 1011 cccc 00001111 ($0F) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 – 127

Safety Limiter Control Change 1011 cccc 00010000 ($10) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 – 1

Parallel Compressor Control Change 1011 cccc 00010001 ($11) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0 – 1

Bypass Control Change 1011 cccc 00010010 ($12) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0= off, 1 = on

A-B Select Control Change 1011 cccc 00010011 ($13) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0= WS A, 1 = WS B

Monitor Control Change 1011 cccc 00010100 ($14) (cccc) Channel No.

0vvv vvvv (vvvvvvv) New Value:

0= off, 1 = on

System Reset 1111 1111 - Recall Snapshot 0 to WS A

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System Exclusive

Snapshot format:

Bytecount Value Description

1 F0 Sysex Header
2 00 Manufacturer's ID
3 30 Manufacturer's ID
4 5A Manufacturer's ID
5 08 Model ID: 8 = Gambit DS1-MK2
6 0000nnnn Device ID: -> Midi channel number
7 00000001 message = Snapshot dump Message Type 1
8 0nnnnnnn Package number ( 0..7F) Data
9 0nnnnnnn scale set number
10 - 24 0nnnnnnn 15 Bytes of Snapshot data
25 0ccccccc Checksum without byte one (F0 Sysex Command) Checksum
26 F7 EOS EOS

Dump request:

Bytecount Value Description

1 F0 Sysex Header
2 00 Manufacturer's ID
3 30 Manufacturer's ID
4 5A Manufacturer's ID
5 08 Model ID: 8 = Gambit DS1-MK2
6 0000nnnn Device ID: -> Midi channel number
7 00000010 message = dump request Message Type 2
8 F7 EOS EOS

Version request:

Bytecount Value Description

1 F0 Sysex Header
2 00 Manufacturer's ID
3 30 Manufacturer's ID
4 5A Manufacturer's ID
5 08 Model ID: 8 = Gambit DS1-MK2
6 0000nnnn Device ID: -> Midi channel number
7 00000011 message = version request Message Type 3
8 F7 EOS EOS

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Version send:

Bytecount Value Description

1 F0 Sysex Header
2 00 Manufacturer's ID
3 30 Manufacturer's ID
4 5A Manufacturer's ID
5 08 Model ID: 8 = Gambit DS1-MK2
6 0000nnnn Device ID: -> Midi channel number
7 00000100 message = send version Message Type 4
8 00000100 OS Version data
9 00000100 DSP Version
10 00000100 Scale Version
11 00000100 Coeff. Version
12 F7 EOS EOS

PC programming mode:

Bytecount Value Description

1 F0 Sysex Header
2 00 Manufacturer's ID
3 30 Manufacturer's ID
4 5A Manufacturer's ID
5 08 Model ID: 8 = Gambit DS1-MK2
6 0000nnnn Device ID: -> Midi channel number
7 00000101 message = pc programming mode Message Type 5
12 F7 EOS EOS

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Addendum to the Manuals of the Gambit Series DS1 and DS1-MK2

DeEsser / Compressor / Limiter

The graphs on the pages below have been made to convey a better understanding of the dynamic parameters of the
Gambit DS1 DeEsser/Compressor.

Please also read the appropriate pages in the DS1 / DS1-MK2 manual to have a proper understanding of the sidechain
process.

The test signal is a repeating sine wave burst with a certain "on" and a certain "off" level. The frequency of the sine wave
is above 10kHz (period less than 100 s), so there is no influence of the sine wave frequency on the timing behaviour.

The table below shows the timing parameters set on the DS1. For the static parameters a threshold of -20dB, a
1000:1 ratio and no softknee have been chosen.

Figure Preview Attack Rel.Delay Rel.Fast Average Rel.Slow burst duty cycle

1 bypass
2

20 s

20ms

20 s

200ms 800ms 1s 50%

3 63ms " " " " " "
4 " " " " " 200ms "
5 " " 5ms " " " "
6 " " 20ms " " " "
7 " " " 25ms " 500ms 0.5%
8 " " " " " " 2%
9 " " " " " " 5%
10 " " " " " " 10%
11 " " " " 40ms " 0.5%
12 " " " " " " 2%
13 " " " " " " 5%
14 " " " " " " 10%

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OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 TECHNICAL DATA

Fig. 1 Fig. 2
Fig. 1 Bypass, this is how the 50% dutycycle sinewave burst looks like. X-axis shows time in milliseconds, Y-axis shows

linear level in percentage of full scale. Just like a scope.
Fig. 2 A very short preview time combined with a long attack time cause an overshoot at the onstart of the burst. As

the sidechain reacts to the input signal (slowly because of the long attack time) the level of the burst is brought to the
anticipated level.

Fig. 3 Fig. 4
Fig. 3 The preview time is now about three times the attack time, which gives the sidechain a headstart on the audio

signal. The result is a proper limiting without overshoot.
Fig. 4 As useful the preview facility in Fig 3 is, it can have an unwanted effect at the release portion. A relatively short

release time causes the release to show up during the last milliseconds of the burst. This because the sidechain "sees"
the "burst off" before the gain stage sees it (preview delay), so the end of the burst gets influenced by the release.

- Weiss Engineering Ltd., Florastr. 42, CH-8610 Uster Page 27 of 29
[phone] 2 [phone] http://www.weiss.ch * [e-mail]

OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 TECHNICAL DATA

Fig. 5 Fig. 6
Figs. 5 and 6 The effect described in Fig. 4 can be eliminated with the Release Delay parameter. The release is delayed

for a certain time and thus can not influence the end of the burst anymore. In Fig 5 the release delay is not quite long
enough, while in Fig. 6 there is no release influence visible anymore.

Fig. 7 Fig. 8

The following figures show the effect of the automatic release time algorithm and the Average parameter.
Fig. 7 A very short burst duration, like a short peak in the music. The Release Fast, Average and Release Slow parame-

ters are set to typical values. Fig. 7 shows that after a short peak the Release Fast time is chosen, so that the short peak
does not have much influence on the programme after it.

Fig. 8 The burst is now longer which gives it more influence on the average measurement (averaging oft he signal). First
there is a Release Fast portion followed by a short segment of Release Slow.

- Weiss Engineering Ltd., Florastr. 42, CH-8610 Uster Page 28 of 29
[phone] 2 [phone] http://www.weiss.ch * [e-mail]

OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 TECHNICAL DATA

Fig. 9 Fig. 10
Fig. 9 The burst is even longer, causing a longer Release Slow portion.
Fig. 10 Still longer burst, with even longer Release Slow portion.

Fig. 11 Fig. 12
Figs. 11 to 14 For these figures the Average time is relatively short, causing the average measurement value to follow

the peak measurement more quickly than with Fig. 7 to 10. The effect is that depending on the burst length, there is
not that much of an influence of the Release Slow parameter as it was with figures 7 to 10.

- Weiss Engineering Ltd., Florastr. 42, CH-8610 Uster Page 29 of 29
[phone] 2 [phone] http://www.weiss.ch * [e-mail]

OPERATING INSTRUCTIONS FOR GAMBIT DE-ESSER/COMPRESSOR DS1-MK2 TECHNICAL DATA

Fig. 13 Fig. 14

- Weiss Engineering Ltd., Florastr. 42, CH-8610 Uster Page 30 of 29
[phone] 2 [phone] http://www.weiss.ch * [e-mail]