- PASSIVE DI
The Radial JDI is a warm sounding passive direct box that can transfer extreme signal levels without distortion while eliminating hum and buzz caused by ground loops.PRODI
The Radial ProDI is a high performance passive direct box that is ideally suited for bass and acoustic guitar to deliver a warm, distortion-free sound.Trim-Two
The Radial Trim-Two is a passive direct box, designed for use with laptop computers and other consumer type devices where the user has a requirement for a 'ready access' volume control for quick adjustments on stage.JDI Stereo
The Radial JDI Stereo is a passive stereo direct box designed to handle extreme signal levels without distortion of any kind.PROD2
The Radial ProD2 is a high performance stereo direct box designed to easily interface keyboards to the PA and recording system without noise.StageBug SB-2
The Radial SB-2 is a passive direct box designed for keyboards and active bass. Features stereo to mono mix function to save mixer channels.JDI Duplex
The Radial JDI Duplex is a stereo passive direct box that fully capable of handling any audio signal without distortion, artefact or noise.ProAV1 & PROAV2
The Radial ProAV is a passive direct box with stereo-to-mono merge function designed specifically for the audio-video integrator to reduce channel requirements.StageBug SB-5
The Radial StageBug SB-5 is a compact stereo direct box designed to accommodate laptop computers, tablets and other consumer audio products when amplifying the signal through a PA system.JD6
The Radial JD6 is a 6-channel rackmount direct box designed for keyboards in studio and live touring where optimal signal transfer is required without noise.ProD8
The Radial ProD8 is a high density 8-channel rackmount direct box optimized for professional keyboard rigs where optimizing signal transfer without noise is needed.StageBug SB5W
The Radial SB5-W is a passive stereo direct box designed to fit inside a standard electrical wall box and utilizing a Decora wall plate cover.
- ACTIVE DI
The Radial Firefly is a class-A direct box that combines a 12AX7 tube drive with transformer isolation to deliver spectacular warmth and character.J48
The Radial J48 is a 48 volt powered active direct box that delivers studio quality performance while eliminating hum and buzz caused by ground loops.JDX 48
The Radial JDX 48 is a guitar amp DI that captures the sound of the amplifier and speaker to deliver the tone of a 4x12 half-stack without the need of a microphone.USB-Pro
The Radial USB-Pro is a high-resolution DI box that converts sound files from a laptop and seamlessly transfers them to a pair of balanced audio outs.JDV MK5
The Radial JDV is a class-A direct box with a unique zero negative-feedback circuit that delivers unmatched signal purity for the most demanding recordings.J48 STEREO
The Radial J48 Stereo is a high performance active direct box with extra headroom and advanced grounding for professional touring and studio recording.PZ-DI
The Radial PZ-DI is a unique direct box that is specifically designed for acoustic and orchestral instruments.JPC
The Radial JPC is an active stereo DI with transformer isolated inputs to eliminate noise that is common with computers and consumer audio devices.Headload
The Headload is a combination load box and attenuator that is capable of handling up to 130 watts RMS of continuous power and peaks of 180 watts.PRO48
The Radial Pro48 is a high performance active direct box that is ideally suited for bass and acoustic guitars to deliver clarity without distortion or artifact.StageDirect
The Radial StageDirect is a state-of-the-art active direct box designed for musicians who require extra control when they are on stage.J33
The Radial J33 is a combination stereo phono preamp and direct box designed to interface turntables to professional audio systems.Headload Prodigy
The Headload Prodigy is a combination load box and DI that lets you perform or record at low volume with maximum tone.StageBug SB-1
The Radial SB-1 is an ultra-compact active direct box designed for acoustic guitar and bass that fits inside a guitar case!StageBug SB-4
The Radial StageBug SB-4 is a compact active direct box that has been optimized for use with piezo transducers.BT-Pro
BT-Pro™ is a Bluetooth® DI designed to capture the wireless transmission from a Bluetooth® device and convert the signal to a balanced line for use in a PA.JDX Direct-Drive
The Radial JDX Direct-Drive™ is a unique and powerful device that simulates the sound of a guitar amplifier.4-Play
The Radial 4-Play™ is a multi-channel direct box that has been specifically developed for multi-instrumentalists to enable them to quickly change instruments on stage.
The Radial X-Amp is a dual output class-A active Reamper that lets you take a pre-recorded track and send it through amps and pedals without noise.Reamp JCR
The Radial Reamp JCR is a high-performance passive Reamper that lets you take a pre-recorded track and send it through a guitar amp or pedal chain without noise.ProRMP
The Radial ProRMP is a passive Reamper that lets you take a pre-recorded track and send it through a guitar amp or pedal chain without noise.X-Amp 500 Series
The Radial X-Amp is a 500 series class-A active Reamper with isolated outputs that lets you send a pre-recorded track to two amps and re-record the new sound.Reamp KIT
The Reamp Kit combines a Radial J48 direct box for recording with a Radial X-Amp for Reamping amps & pedals to enhance the tone of your recorded tracks.SGI
The Radial SGI Studio Guitar Interface class-A line driver with load correction lets you send a guitar signal beyond 100 meters via balanced cable without noise.JD7
The Radial JD7 Injector is a class-A guitar distro/splitter with built-in Radial DI and Reamp that can drive up to seven amps or pedal chains simultaneously.JX44
The Radial JX44 Air Control is a wireless signal manager for concert stage that lets you remotely control 4 guitar inputs and 6 amp outputs at once.SGI-44
The Radial SGI-44 guitar interface is a balanced signal extender designed to send the signal from a wireless receiver to the pedalboard and back to the stage amp.
JS2 / JS3
The Radial JS2 and JS3 are high performance passive microphone splitters that lets you feed mixing consoles without signal degradation or noise caused by ground loops.PRO-MS2
The Radial ProMS2 is a high performance mic splitter that accepts a balanced microphone signal and sends it to three outputs simultaneously. As a passive device, there is no need for power.OX8
The Radial OX8 is an 8-channel rack mounted microphone splitter that lets you feed two mixing consoles without signal degradation or noise caused by ground loops.LX8
The Radial LX8 is an 8-channel rack mounted line level splitter that lets you feed two audio systems without signal degradation or noise caused by ground loops.JD7
The Radial JD7 Injector is a class-A guitar distro/splitter with built-in Radial DI and Reamp that can drive up to seven amps or pedal chains simultaneously.JX44
The Radial JX44 Air Control is a wireless signal manager for concert stage that lets you remotely control 4 guitar inputs and 6 amp outputs at once.mPress
The Radial mPress is a modular press box that can be expanded as needed to feed a community-sized press gallery or distribute audio for an international event.Exo-Pod
The Radial Exo-Pod is a passive broadcast splitter that can take the balanced line output from a mixing console and distribute the signal to 14 hand-held recorders, video cameras or wireless receivers.Catapult
The Radial Catapult is a 4-channel audio snake that lets you send analog or AES digital audio signals over standard Cat 5 or Cat 6 shielded twisted pair cable.LX-2
The Radial LX-2™ is a passive balanced line level audio splitter that allows you to easily send an audio signal to two different destinations at once without noise.LX-3
The Radial LX-3™ is a high-performance balanced line-level splitter designed to send one audio signal to as many as three destinations at once.
The Radial Twin-Iso is a two channel balanced line-level isolator that eliminates the hum and buzz caused by ground loops that is often encountered in audio systems.J-ISO
The Radial J-ISO & Pro-Iso are full bandwidth stereo interfaces that converts +4dB balanced line level signals to an unbalanced consumer level output.Pro-ISO
The Radial J-ISO & Pro-Iso are full bandwidth stereo interfaces that converts +4dB balanced line level signals to an unbalanced consumer level output.J+4
The Radial J+4 is a -10dB to +4dB stereo preamp that lets you boost a low output unbalanced signal and interface it with a balanced professional audio system.JPC
The Radial JPC is an active stereo direct box with transformer isolated inputs to eliminate noise that is common with computers and consumer audio devices.McBoost
The Radial McBoost™ is a high performance microphone signal booster designed to elevate the output of a typical dynamic microphone for greater transient response.SGI
The Radial SGI Studio Guitar Interface class-A line driver with load correction lets you send a guitar signal beyond 100 meters via balanced cable without noise.SGI-44
The Radial SGI-44 guitar interface is a balanced signal extender designed to send the signal from a wireless receiver to the pedalboard and back to the stage amp.STAGEBUG SB-6
The Radial StageBug SB-6 is a high performance 2-channel passive audio isolator designed to accommodate both balanced and unbalanced signals.STAGEBUG SB-7
The Radial StageBug SB-7 Earmuff Headphone Silencer lets you turn off one side of your headphones to stop the bleed.STAGEBUG SB-15
The Radial Stage Bug SB-15 High Performance Signal Buffer lets you drive guitar pedals without added noise and also powers 15V Tonebone pedals.ICECUBE IC-1
The Radial IceCube IC-1 is a balanced line level isolator designed to quickly eliminate hum and buzz problems in an audio system by simply inserting it into the signal path.DECODER
Decoder is a microphone preamp and Mid/Side stereo matrix that allows the user to easily create M/S recordings without having to re-configure a recording consoleSpace Heater
The Radial Space Heater is a single space 8-channel tube overdrive that can be used as a stereo summing mixer or as multi-channel studio distortion.Twinline
The Radial Twinline is a unique device that enables a guitarist to share effects pedals between two amps when using the amplifiers' built-in (rear-panel) effects loops.MR5
The Radial MR5 is a MIDI signal translator that allows you to use a MIDI controller to drive the JX44, JX42 and other Radial products that use the JR5 footswitch.
Radial studio products simplify the work-flow without affecting the signal quality to ensure creativity is not hampered during production.MC3
The Radial MC3 monitor controller is a 'straight wire' passive switcher that lets you control two sets of monitors, sub woofer and feed two sets of headphones.Gold Digger
The Gold Digger is a 4-channel mic selector that enables the engineer to quickly compare the sound of four different microphones while sharing the same preamp.Cherry Picker
The Radial Cherry Picker is a unique tool that simplifies the process of selecting the best preamp for use with a given microphone.
Guitar / Amplifier
Whether switching guitars on stage or amps in the studio, Radial offers a complete range of switchers from simple ABYs all the way up!JD7
The Radial JD7 Injector is a class-A guitar distro/splitter with built-in Radial DI and Reamp that can drive up to seven amps or pedal chains simultaneously.JX-42
The JX-42 is a compact guitar selector that lets you instantly switch between four guitars and two amps on stage.JX62
The Radial JX62 is a guitar and amp switcher designed for both wired and wireless guitars in a live concert touring environment.jx44
The Radial JX44 Air Control is a wireless signal manager for concert stage that lets you remotely control 4 guitar inputs and 6 amp outputs at once.JR5
The JR5 is a remote footswitch that lets you select guitars, amps or effects when used with the JX44 and JX42.JR2
The JR2 is a dual function remote footswitch that lets you switch or mute outputs, depending on the Radial device that is connected.BIGSHOT ABY
The Radial BigShot ABY is a true-bypass ABY switcher that toggles or combines two guitar amplifiers in phase and without hum & buzz caused by ground loops.BigShot I/O
The Radial Bigshot I/O is a true-bypass instrument selector that lets you switch between two sources and balance the signal level between them.BigShot EFX
The Radial BigShot EFX is a true-bypass effects loop switcher that lets you turn on or off two pedal-chains and take them out of the signal path when not in use.BigShot SW2
The Radial BigShot SW2 is a dual output remote control with choice of latching or impulse settings to control two amplifiers or effects.Twinline
The Radial Twinline is a unique device that enables a guitarist to share effects pedals between two amps when using the amplifiers' built-in (rear-panel) effects loops.
Radial addresses the fast paced world of live touring with a range of switchers for backing tracks, wireless systems and mixers.Relay Xo
Radial Relay Xo is a 1-in, 2-out switcher for balanced audio used with mic or line level sources as talkback and communication router.SW4
The Radial SW4 is a four channel balanced audio switcher designed for wireless systems, mixing consoles and digital guitar processors.SW8
The Radial SW8 is a backing track switcher that automatically switches between two playback systems to prevent disaster during a live performance.HotShot DM-1
The Radial HotShot DM-1 is a combination mic mute and switch that enables the artist to communicate to band members and techs via momentary footswitch.HotShot ABi
The Radial HotShot AB1 is an XLR balanced input selector that can instantly toggle between two input sources to one output via a latching footswitch.HotShot ABo
The Radial HotShot ABo is an XLR balanced output selector that can instantly toggle one input between two output destinations via a latching footswitch.JR2
The JR2 is a dual function remote footswitch that lets you switch or mute outputs, depending on the Radial device that is connected.JR2-DT
The JR2-DT is a desk-top version of the JR2. It features two top-mounted activator switches to control AB and Mute functions.BigShot SW2
The Radial BigShot SW2 is a dual output remote control with choice of latching or impulse settings to control two amplifiers or effects.
The Radial Phazer is an analog phase alignment tool that lets you combine two sources and bring the fundamentals together for a more natural tone.Phazer Bank
The Radial Phazerbank is a 4-channel analogue phase adjustment tool that enables the engineer to effortlessly adjust the phase between two microphones when double mic'ing a single source.PhazeQ
The Radial PhaseQ is 500 series phase alignment tool that lets you combine two microphones and bring them into perfect phase for a more natural tone.EXTC-SA
The Radial EXTC-SA™ is a stand-alone audio interface that lets you incorporate guitar effects into the realm of pro-audio recording.EXTC
The Radial EXTC is a 500 series effects send & receive module that lets you incorporate guitar effects into the realm of pro-audio recording.Tank Driver
The Radial Tank Driver is a wonderfully unique 500 series module that allows you to drive a balanced line level signal through the reverb tank in your Fender Twin amp!Vocoloco
The Voco-Loco is a foot-controlled effects loop that enables the lead vocalist, sax or trumpet player to incorporate guitar effects pedals into the signal path, just like an electric guitarist adds effects for soloing.Trimode
The Trimode tube distortion takes you from slight overdrive to full-on distortion. Think Mesa-Boogie in a pedal and switch instantly from rhythm to lead.Vienna Chorus
The Vienna Chorus is vintage bucket-brigade chorus that delivers old-school analog tone. Dual-mode controls lets you switch from slow to fast choral effects like a Leslie.
- 500 SERIES
Choose between Radial's award-winning racks for ultimate control over your signal path. Compatible with all 500 series modules, Radial racks are equipped with extra features for greater connectivity plus resettble electronic fuses to keep your gear safe!Workhorse
The Radial Workhorse is an 8-slot 500 series power rack with a built-in analog summing mixer, headphone amp and extensive patching capabilities.WR8
The Radial WR-8 is an 8-slot power rack that lets you load up to eight 500 series modules. Can be expanded with the WM8 mixer for full Workhorse capabilities.Powerhouse
The Radial Powerhouse is a 10-slot power rack for 500 series modules designed to provide maximum density for professional studio setups.SIXPACK
The Radial SixPack is a desk-top 6-slot power rack for the popular 500 series, designed to create the ultimate channel strip with 1600 milliamps of available current.Cube
The Radial Cube is a desk-top 3-slot power rack for the popular 500 series, designed to create the ultimate channel strip with 500 milliamps of available current.PowerStrip
The Radial Powerstrip is a 3-slot power rack for the popular 500 series, designed to create the ultimate channel strip with 500 milliamps of available current.
Preamps & EQs
Radial gives you a choice between tube and solid state preamps to suit your most demanding recording needs. Compliment them with choice of induction coil or discrete class-A equalizers to add creative soul, sparkle or fat bottom end.POWERPRE
The Radial PowerPre is a 500 series 100% discrete mic preamp with Accustate input control for low noise and transformer coupled output for added warmth.JDV-PRE
The Radial JDV-Pre is a 500 series class-A instrument preamp with variable load for magnetic, piezo and active sources and high-pass filter to eliminate resonance.PowerTube
The Radial Powertube is 500 series 100% discrete class-A preamp with high voltage 12AX7 tube gain stage and transformer coupled input for vintage character.Premax
The Radial PreMax is a 500 series channel strip tha combines a state-of-the-art preamp with a 3-band EQ for easy signal manipulation in post production and recording.Q3
The Radial Q3 is a 500 series induction coil EQ that brings the character and excitement of old-school vintage EQ to your recordings with over 1700 EQ curves.Phaze-Q
The Radial PhaseQ is 500 series phase alignment tool that lets you combine two microphones and bring them into perfect phase for a more natural tone.Twin-Servo
The Radial Jensen Twin-Servo & 500 series preamplifier is an updated version of what may well be the most spectacular preamp ever made.PreComp
The Radial PreComp is a 500 series channel strip that combines a state-of the-art preamp with a full-function VCA compressor for dynamic control over the signal.Q4
The Radial Q4 is a 500 series state-variable, 100% discrete class-A parametric EQ that brings character and warmth to your recordings with minimal artifact
Effects & Routing
The 500 series is all about creative use of signal processing. Radial opens the door with compressors, signal routers, cross-over filters, effects interfaces, phase alignment tools and amp simulators. Finally… amazing tools that let your imagination run wild!EXTC
The Radial EXTC is a 500 series effects send & receive module that lets you incorporate guitar effects into the realm of pro-audio recording.Shuttle
The Radial Shuttle is a 500 series patch and insert panel that lets you bring balanced and unbalanced signals in and out a 500 series power rack.Komit
The Radial Komit is a 500 series one-knob compressor-limiter designed to get great results instantly and add crunch and distortion for unque effects.X-Amp
The Radial X-Amp is a 500 series class-A active Reamper with isolated outputs that lets you send a pre-recorded track to two amps and re-record the new sound.ChainDrive
The Radial ChainDrive is a 500 series signal distribution amplifier that lets you send balanced or unbalanced signals to four outputs and control them independently.Tank Driver
A unique module that lets you to drive a balanced line level signal through the reverb tank in your Fender Twin! Drive spring reverbs of all types and deliver the long trailing shimmering effect that is only possible with a true spring.JDX-500
The Radial JDX Reactor is 500 series guitar amplifier interface that lets you capture the tone of a guitar amp and cabinet without a microphone.Submix
The Radial SubMix is a 500 series mixer that lets you combine 4 instruments such as keyboards or effects into a single audio channel via front panel controls.Tossover
The Radial Tossover is a 500 series frequency divider that lets you separate and process low and high frequencies separately via fully variable controls and slopes.
- CABLES & SNAKES
The Komit is basically made up of two distinct circuits. These are polar opposites. At one end is a state of the art VCA compressor. THAT Corp. is well known as the market leader in voltage controlled amplifiers. Their integrated chips have been used for years by companies as diverse as Neve, API and SSL so choosing a THAT chip made sense. Smooth, clean and clinical.
The problem with compressors is that they can often end up sounding bad or unmusical. Kevin explains: "During the Komit development stage, we tested all kinds of compressors and found that the front-panel controls rarely matched what was actually going on inside. In essence, the controls had very little to do with the audible settings. This caused us to reassess how compressors are used and we came to the conclusion that most folks simply use their ears when setting the controls. By rethinking the approach we felt we could cover all of the bases with a single control and a 3-position switch. This way, the user does not have to adjust all kinds of knobs to achieve the dynamics he may be looking for. All you do is select the speed to match the type of program material and then set the ratio. This speeds up the process without hampering the creative flow."
At the other extreme is the bridge diode clipping limiter. This is the type of circuit protection that was used in transistor radios 50 years ago and today, variations of this are found in fuzz boxes and distortion pedals. For some, the distortion created conjures up extremes. For others, the effect is much too confining to a particular musical genre. Extreme, nasty and ugly.
When we finished the Workhorse, we had to go back and redesign the Komit so that it could fit the new format. And as we tested and listened, we got to know the good, the bad and the ugly. It became clear that in order for it to appeal to a wider audience, changes were needed. But we had to be careful… we wanted to retain the 'particularities' that made it special.
Company President Peter Janis explains:"When we hired Kevin Burgin, we wanted to make sure that there would be no conflict of interest. Therefore, we decided to also buy the Komit design. It was amazing to hear the radical opinions from customers who either loved the Komit or hated it. In a way, it reminded me of a Fender Telecaster. Some folks hate them others swear by them… but there is no denying that in the right hands a Tele can sound amazing! After consulting many users, we chose to retain the character and charm of the original Komit while improving the functionality, updating the grounding, replacing the VU meter, adding metal cased switches and adding the Omniport key input. We believe the Radial Komit will not only enhance the experience for those who have used the original, but will delight those who have maybe stayed away due to the radical nature of the beast."
The Radial Komit is a combination compressor-limiter designed for 'one knob' operation. This eliminates the guess work that often makes dynamic processing a challenge. But don't let the diminutive front panel make you think that the Komit is 'limited'… there are tons of features just raring to get used!
The Komit is made up of two major building blocks: the compressor and the limiter. The FlexKnee™ compression circuit is a voltage controlled amplifier (VCA) while the limiter is a unique clipping circuit designed to simulate the sound created by old school diode bridge inputs from the early days of radio. In between is a gain make-up control that lets you adjust the output to compensate or drive the Clipper™ to create various effects.
Getting great sounding compression is often described as one of the most difficult challenges in audio. This is attributed to the complex balance involved in setting the input level, threshold, compression ratio, attack time, release, compression curve and gain make-up. Too much or too little of any one parameter and the track ends up pumping or modulating. With the Komit, many of these controls have been purposely omitted. Instead, each control has been carefully crafted to achieve great results with a limited amount of fiddling and knob twisting. In other words, instead of focusing on the minutia, we suggest paying attention to how it sounds.
What is Compression Anyway?
In simple terms, a compressor is an automatic level controlling device. In the early days before compressors, the audio engineer basically had to adjust the volume manually in order to keep the signal under control. Back then, the dynamic range of a typical recording system was limited to around 60dB and with big band orchestras generating peaks as high as 100dB, keeping the levels under control was an art to be sure. Compressors changed the way music was recorded by automatically adjusting the levels. With today's digital technology, we are now able to record with as much as 120dB of dynamic range. But this poses a new problem: when musical passages are low, we turn up the volume to hear the music above the ambient noise. And then when thunder strikes, the resulting transients can be deafening.
Compressors are used to limit the transients by attempting to keep the program material within a given range. For example, the yellow shading depicts the average program level. When the program level exceeds the average (the red line depicts the threshold), compression is applied.
Voltage Controlled Amplifiers
A VCA or voltage controlled amplifier is exactly that… an amplifier whose level is controlled by an external voltage. So instead of 'riding the fader', the process is automated. The control voltage uses what is known as an RMS detector that reads the program material. When a peak arrives that is above a predetermined threshold, the amplifier's output is reduced automatically. The amount of reduction is set by the engineer using the compression ratio control. The ratio can be set for slight compression to extreme whereby with every decibel (dB) that comes in, only a certain percentage will be allowed to pass.
Slight Moderate Significant Heavy Brick Wall 1.2:1 2:1 5:1 10:1 20:1 1.2dB in : 1dB out 2dB in : 1dB out 5dB in :1dB out 10dB in : 1dB out 20dB in :1dB out 83% allowed to pass 50% allowed to pass 20% allowed to pass 10% allowed to pass 4% allowed to pass
Using the example above, if the ratio is set at 2:1 and there is a 10dB peak, the VCA will only allow 5dB to pass. When the compression ratio is pushed above 10:1, the compressor is generally considered to be a limiter. When the ratio is above 20:1 it is often referred to as a 'brick wall'. In this case, for every 10dB that is applied, barely ½ a dB will pass. A brick wall limiter is used to keep the signal out of the red. As a rule, the less compression you apply, the more natural it will sound.
Controlling the VCA
The Komit's VCA employs what is known as a feed-forward detection circuit. In other words, it looks at the incoming signal before it arrives and adjusts itself accordingly to control the peak. When it 'sees' a peak that exceeds the threshold (red), depending on how the compression ratio has been set, the VCA will reduce the output to compensate.
The control is processed outside the VCA using a circuit is known as the side chain. The side chain itself is governed by what are called time constants. These determine how quickly the VCA circuit will react. This involves carefully setting the attack and release times. When adjusting the time constant, you are basically telling the compressor how quickly it should react to the peak (attack time) and how quickly things should revert back to normal (release).
If set too quickly, it can click. If set too slow it can squash the dynamics to a point where the track sounds lifeless. One typically sets the 'conditions' by adjusting a variety of knobs such as gain, threshold, compression ratio, attack, release and so on. Trying to get the combination to sound right is difficult. This is precisely why the Komit is equipped with three speed settings and a single control knob. The Komit makes it easy to set the time constant based on the type of material that you are compressing and get great results quickly.
For ultra quick transients like percussion, a fast setting (A) is used. This sets the compressor to react very quickly to high-hats, tambourine, wood block or even a snappy snare. For instruments like guitar and bass a smoother time constant is generally used. The medium (B) setting avoids the abrupt turn-on transient and lets the note decay more naturally. And for voice or maybe a string section, the slower (C) setting may be preferred.
The FlexKnee Compression Curve
For the most part, there are two fundamental compression curves known as hard knee and soft knee. These are often confused with the attack time. The knee is the pivot point where compression begins. Hard knee compression abruptly affects transients above the threshold while soft kneed sets in before the threshold and does so in a smoother fashion. Most engineers feel that soft knee sounds more musical.
And as previously mentioned, lower compression ratios tend to sound more natural but may not prove to provide adequate control over peak transients. On the other hand higher compression ratios provide the needed control, but tend to introduce artifacts or squash the natural dynamics.
With the Komit, a scaled approach we call FlexKnee is employed that dynamically adjusts itself based on the incoming program material. At lower levels the compression ratio automatically decreases for a more natural rendering but as peaks are encountered, the compression curve changes, simultaneously lowering the threshold and increasing the compression ratio at the pivot point. As this happens, a larger portion of the signal's dynamic range becomes compressed all the while, automatically adjusting the output to that it stays within the predetermined range.
Simply set the input level to the desired program range between -10 and +4dB and set the compressor to the desired ratio. Should sibilance or pumping become audible, simply back off the compression. If more output is needed, adjust the make-up gain to suit. It truly is that easy!
Good and bad limitations!
In general terms, a limiter is basically compressor that is set at a higher ratio. And although there are no set rules, one usually refers to limiters when the compression ratio is set above 10:1. Some compressors like the Komit employ VCAs while others employ opto-couplers (photocells), FETs (field effect transistors or even go as far as using light bulbs to work their magic. These are available in various tube or solid state circuit permutations that together give them a particular sound. Because each type of compressor-limiter will introduce a sonic signature, engineers will select one or another depending on preference. The Komit's 12 position limiter control has been set up to work two ways: Either as a clipping limiter or as a super clean brick wall.
Diode Bridge Clipping Limiter
Back in the early days of radio, diode bridge circuits were used as a means to limit the signal in a classic communication receiver. These 'nasty' sounding circuits would 'clip' the peaks in the truest sense of the word. Just as you encountered clipping when you exceed the rail voltage of a given electronic device, these circuits also clipped the signal. With the Komit, you decide when the onset of clipping will occur.
The Komit simulates the effect with 10 presets for quick, repeatable set ups. These are scaled from slight clipping to down-right nasty. Adjusting the amount of clipping is merely a matter of selecting one of the 10 presets and then using the drive gain to decide how hard you want to hit the Clipper circuit.
Brick Wall Control
Although the aggressive effect of radical diode bridge limiting can be fun, there is often a need for clean high-ratio compression or brick wall limiting. The application is simple: to keep the signal out of the red. Only this time, we want to do it with minimal artifact. When the Komit is set to BW, it basically bypasses the diode bridge circuit and 'resets' the limiter by increasing the compression ratio. When set to maximum it can actually reach a ratio of 25:1 compression which means that for every dB that is applied, you are only allowing 4% of the signal to pass.