eo Seis ems Fe i. ae a 22 Kotelnikov — Manual hitpsildoestokyodawn.netkotelikov-manuallKotanikov — Manual | Tokyo Dawn Knowledge Bas br ae) React AO En oy EA Deka) ee Uy area ea ee) cacy Eee 6 Gain Control Ro Create Cea) Coy aa ras ay as en) 7.5 More on the Timing Section Cease nt Deans De Oem ner a 9.1 Delta Pee ee yr 10 Gain Control Metering Soc RO) Dae as De Le] Dares cera 11.6 Help ac 411.8 Kotelrikov Gentleman's Edition Upgrade 12 Context Menu PS eon a 13 Mouse Control Behavior SCRA US Sac ECU RUC Su ae Cd ocs.tokyadawn.netKotelikov-manuallThe Concept r cos ad Poa Ly eh CC Dc ge RU Rn es cece AR CaN aT een OR ae Co coe aOR Ce eee RCT al Feedback Compressor product family, Kotelnikov has directly inherited several unique eR S eRe oe eM Dr Rene Rc) Pe cna Cee tC CRUE Ua Te Rear Eras With a sonic signature best described as “stealthy”, Kotelnikov has the ability to DET CRC aur Re eur ee Sm Reco RUE) Te eR eRe Mate Ihe me ecru stereo bus compression as well as other critical applications. Kotelnikov does not try to emulate any previously available device. The concept is a eR een ssa eee DRC Ce ee ne ee ane eae tee Dee neces et Race ect SPCR ee ea nie eae Rec aap) Tacoma eee) eco geo meee ame cu a ee eee a) eee SES Go RC Cornea cs Ne cn eRe eae oR On Dee One Re ete a ue coc Ur) eR Tene nee EUR en ra ca oC) eC hitpsildoestokyodawn.netkotelikov-manuallPrecision, Aliasing and the Solution Controlling the dynamic range of an audio signal in the digital domain is not as easy Ca oe We ured es Cen CR ere Ran acca Te Nc Re cose Reet The most significant restrictions are due to the discrete (i.e. “stepped’) nature of digital See cee UR OM nc Cnr come ees CnC understand that the data stored in audio-files is not the actual analogue audio signal. Itis a very economic, intermediate format. The true analogue signal is only Reece aE eee me Rey) econ a a CT Item cot c CNA on CNet On ieee ot Pee Oe eee oe en) POC ee ck ne cca eae eC Cen Moiré images. Aliasing appears in all discrete (i.e. “digital”) systems as soon the frequency of a signal exceeds the Nyquist rate (half the sample-rate). The evil detail De Tener tS Cuesta eee ie uCe CAS ue usalt PCa CMU ae ue eeu eC Rc ma) ROC ict ea A kee eR ons Ten Cee a Ce nee CMa nok Om Tn Ren Ce Ri eens i RR cu Rca ky bandwidth significantly. The more aggressive the non-linearity, the stronger and higher the newly generated partials (harmonics). If the sample-rate is too low to handle the Cen Ce am RoR ea RC eno CCS eet eR CCM RT Pee in cee Kotelnikov's algorithm was carefully designed to avoid these issues. To achieve this in Seca ene ea CLR ne ee rates than the original signal (given a standard rate such as 44.1kHz or 48kHz). See ery The sidechain is responsible for generating a control signal for the gain cell. It consists of several non-linear elements such as the threshold, RMS detection FE CeCe Cn ees rac Rua M on easy] Tut Oka Re esse ym Cer Re Oe US nt a ya mee eal hitpsildoestokyodawn.netkotelikov-manuallBore Me een ena ee Ce Sena Pe oc ukemi enc hc tae te ee) non-linear process and potentially doubles the bandwidth. To handle this Pe US ee Men eM RT) sample rate (i.e. at least 88.2kKHz). One interesting design feature of Kotelnikov PC aU Re ee came CSC un PTC MD oversampled. This leaves the original signal completely untouched — as long as OO ent en OA eae Cc ecm E iCeUNOM a CC ce Ty Cone can Geno C su eeot Neo cua kee eee Roe cee Sr a sonic point of view, and in the context of the fast growth of computer power, we think Come CRe MCU Re uy hitpsildoestokyodawn.netkotelikov-manuallAudio Dynamics Control Beside the more or less obvious technical issues illustrated in the previous chapter, Cee Oa cc Roa Sue Ee ae Daren eee nee SCT) protection, loudness balancing or creative shaping is hard to achieve without introducing negative side-effects (audible collateral damage). The central problem SO RU esse nee ecm ec sound (and intellectual restrictions) onto the signal. In the best case, this common phenomenon is referred to as a compressor's “ Pee en eke a ae nar) Pee CnC ae NR ee Caan Pree ieee ee Se Rares eam ce ere aM ee POE CE Cou Rea eer ean ee car aS Peet nen OU S cue Rae cmc cake Te aR RCo on eee ii mene ea nena coll TOSCO R Gtr lo rumen read ae Rene on sometimes combined with more or less intelligent automatisms. In fact, they aren't DO er RR te eee tC CO ten en Ce mae ec ay Cem Ren Ee ce Rn ne Ce eco nea ce ee cs It's no wonder that dynamics control systems purely based on A/R models are much better suited to relatively simple signals such as monophonic instruments or other Ree OMe) cece a RY eA OR aR once they face more complex material and/or processing tasks. CeCe Sen Cee een un Ce ane occ n ce Cen ne ees ae ieee CRNA Maceo Rice NU Ree CR ee ne a ee cere ae compression algorithms in parallel: Pau) The peak detection/compression path primarily follows the rectified version of the (true!) audio waveform with great precision. The peak path’s release phase CR eR CR Tue an eS ea oe eee rey Peer COU Cee ae acu ne Cece TC aS hitpsildoestokyodawn.netkotelikov-manuallMcC Cm cu CCmmn Cann eas Cee eee ES et eee nae ar ese Cee COR ea Tat carom aS BS neon nr me Cu an FCS Ine Renee RC a eure oe CC ER Cec as CeO aC ed Fee Oe SE a Ceca se Re SE cre ons sense. Instead, it relies on a highly advanced derivate of the regular RMS Cece eat oe ne asus ccm} Gee Cane cna SR ccc cae aie Re Mas Ce met AOI Cr Ne cece a ad frequencies much like peak detectors and only higher frequencies as true ROR OC Ome SRS or Mr ie Nats ones RUS R Ti ge eae Tea ea AOC On ST nce ne ure) eee ie PSU Cu eee ace a) De OSC ee eg tate RS Rce Cac ce set cue ct Ren near SCM eur M Reese Rue ee ancl uae ayaa Derg a On ae Seo eer Neh EN en eg arc Rea eae ae eee ree aI during certain situations. The section generating the highest reduction at a specific point in time takes control of ON Rea es Ce mo cece oe CTS Ce AU ches Re Oa amplitude events and the RMS section takes control over sections having “steady state dynamics". This contradiction is perhaps better explained as “Sections without EU Roe RC cee gene et ee eRe CR PRUE Ce Coa Vike cs a Secon disadvantages of the peak path and vice versa. This design guarantees a very stable Dee Oe kee ar ook Re Re mur cuc ie U Seer Me oer eRe Curios are \ed hitpsildoestokyodawn.netkotelikov-manuallKotanikov — Manual | Tokyo Dawn Knowledge Base " Ly ep ir bi i ' ha a i" Ve ae ii" me "i in popes | Widen Dblin. i Hk. L at. li haha Tan) manual!t Mi. bolic. — ohfore ieel e-em PTE NZ Fe CTO SR ce een Ok nett eC cee tka RT Ce ec ae a cy DCR Cee een RO eee oe ceo Tey meaning and internal mechanisms of the user-interface. een ce ee Oe Rea cuca ec an cress oad oto — = ae = + Gain Control Parameters + Toolbar and Generic Settings Peer Mascara eae SMES Peer a eo hitpsildoestokyodawn.netkotelikov-manuall 40131Detection Pre-processing Low Frequency Relaxation LOW FREQ RELAX (low frequency relaxation) consists of a Reece gece ca ane Kay correct") the compressor's sensitivity to low frequency enn ee eu casa ae eee ena Ee compressor's threshold frequency dependent. The filter's CC ec Crna sel loa acura Ree Cs CMa eS ele Ae ae Sele t cma Cs orce 6dB/Oct and 12dB/Oct. PON] ei —— BO reget aka eek cue ue sc is not linear, Instead, it has the tendency to approximate a PO ae Suan nao Rs Sac octave). Given this fact, and without additional weighting, a Ree Ree esa ee eed See MCU Eee Nat eee ese Cerner Hc es Cnet ea ny ge MeMee ie elect ae rer) COCR CECE Rae aaa elie} OMe keto eRe aa sod evar ea PIMC ean Runes cue oreo eee cea ee So Pee RRR Reng Ce eS Been ecu ae ea mc en A more shallow slopes tend to reduce their impact (and potentially provoke audible side-effects). ee UN Cea Be) AR Ree eS aa stereo content, Technically speaking, it controls how the @ CE eee a Uke i a Ca aoe allowed to change gain of the L and R channels independently (‘dual mono’), as this would directly result in an uncontrollable blurring of the stereo image, and the stereo center in particular et cee ne nee Rue el hitpsildoestokyodawn.netkotelikov-manuallan See oe ey completely ignores “anti-phase" content, or in other words, the compressor is allowed to dynamically boost difference content (stereo “width’), if existent. This is equivalent to a “sum link". A acc eRe osm RO Ren aR Oe RSS Se CeCe Cue Re able to preserve the original stereo position and width, and of Derma RI ncaa cm aR ey are potential stereo cross-modulation products (which is to say, left channel produces distortion in the right channel). The best results are typically achieved somewhere between these two extremes. hitpsildoestokyodawn.netkotelikov-manuallGain Control mC Tee) Bsr ine UCN Ee Ran CU ee eee oR a threshold, the deeper the "grab" and the more compression. Keep in mind that the RMS level of a typical music signal is, Na MU CC nt OL Kos Dea ERR OR Ce ccc a Cy Cee emi names CER crace Ua ty BO a Che Cm acm} eens Peak Crest PEAK CREST adjusts the threshold of the peak path relative to the main (RMS) Threshold, A Peak Crest of zero sets both paths to equal thresholds, a positive Peak Crest increases the threshold of the peak path Oca ke ea ee cae RNAs Oe ec eo ecu me Ret eee peak stage's threshold even further, which in turn results in a NE eee seen COC Ue cca ase meg Coen Re ca eC ee Soke example has a peak level of approximately 0dB and an RMS ee ices Ma mee acy recommend to tune peak-crest in such a manner that a sine ROSE O RC Se nm Ske cn Pee coe eee ROR virtually distortion free handling of tonal content. Fee Oe CSS a RC Cg eect between 3dB and 8dB, depending on the material. Higher Pees Mon ee eRe ech mei See een a cee a) hitpsildoestokyodawn.netkotelikov-manuallPens eka cacao} Rea Os oon cue Ric Un aoe RaCCR eC TC Un nea Race co while higher knee values will compress more gradually, but Pee ten enon em ceNcu eG) cea) Sennen ea CT compressed as it exceeds the threshold. The range is fully Cet Ee Ae Cee So CRE eMC Rc EC Coenen an hitpsildoestokyodawn.netkotelikov-manuallRea enue a Rue econ) reach full gain reduction. Fast attack times respond quickly to level changes in the sidechain, Slow attack times on the other hand respond more slowly and smoothly, letting short events (transients) pass through the compressor without much gain eee Note that the indicated value is just a rough reference point. To be accurate, it specifies the attack time of the peak path Rees CR a Ren Caine Uc ee ce ech OMe nee Ome cay on the signal's characteristics and peak crest setting POI ute aCe Me than a single sample. Attack times that are too fast can easily distort low frequency content, so be careful with its use. OTE Ser J acsse resco: [CMO RE Ue ASRS co CRIES Cs eco path’ depending on the program material. Two virtual LEDs indicate the currently active release path. TET SS eR Te ec Ree mS a Cus NR aS ce as ere ec eet SC Neo CnC LeTY content such as drum, percussion or similar “clicky” material Dee eee ss un eg appearing after short dynamic events. hitpsildoestokyodawn.netkotelikov-manuall 15131The value specified by the user only describes the average Ce ere ee occ oc where suitable, As always, and with every parameter, tune this Dea OEE UI) tana eo ae ic Breen rane May? STAM ULM et Lecter Rol cron Aenea TS release depends on signal frequency and dynamics. Fe OMA SC ee Mca eee coy Mee Cea eet infinity. More on the Timing Section aay OTe eee eM Cur Rm eat Cae a eRe recover quickly to avoid “dulling" and “breathing” side-effects. At the same time, sustained content like bass-lines or synth Pee eo ae nc ee typical side-effects like “pumping” and distortion eter eon Re eee ence ian aa cure CRC Rea ncaa etc ng Peet NC aE Cu Mee kee et RE Eee ease oe Re rec See CUE a coo Input characteristics and the selected PEAK CREST setting Tees cece ean l uoa TRS Te een Ie hn Ceci ee aun cas) PRS ae Rae ta ae tanned Cee tS UR m es cccs hitpsildoestokyodawn.netkotelikov-manuall 16131Output Section Makeup WTS ue Re ee Ca coe MAUR sod The makeup control can also attenuate the compressed signal DUO Ree Rm Rea ey eC RCRA aR ey MAKEUP to add subtle amounts of compression). Dry Mix blends the original signal into the processed (i.e. Cet ee ua cu ona Roc Rec cco techniques (upward compression, "NY compression’) without Ce een tee a yA NEC cao eu cue ean PAV Scur cen Rerun uae PA URC Clee n Cr aha eo ci on ine aS) Pern AN Output Gain Or er Ren Oe Rec ces ane eects Bice RU Cie ar une coccc ur aud Bes Chet hitpsildoestokyodawn.netkotelikov-manuallMonitoring Section Delta Se Mere g CUR Rae cca ecan Uy original and compressed signals. This is best described as Bene eee ee Rn eT a better understanding of how different settings affect the Crea e Equal Loudness Bypass Dee eco ceo emery compensated and the actual processing is never interrupted (gapless) to enable better comparisons. hitpsildoestokyodawn.netkotelikov-manuallGain Control Metering BURT here), Lice) a Petey Wars eR Ss filets eeel eS UMUC CeCe) = emo un ane S rr ere aig Sere Reema Rene a UE Res Ras) Cees uss DRY MIX and FDR. Total Gain SRM ae Poe conus Re SOT ony Peers emoaa sy (doing so would ask for an Teen ed CMD Tr} Ree Moi Pe ee ome fee am OR Ce aCe aa Pen a ey Pee Rnd eect ecco nar) Sc et ieee eee cag decrease gain reduction meter range respectively. hitpsildoestokyodawn.netkotelikov-manuallATT) yg TLL Ciefe) Use the undo/redo buttons to navigate to previous control Reet econ a once controls are not tracked by this function (e.g. “Bypass") CU uid on The preset drop-down list offers quick access to Racaa Coc n eC nea ecg so oes oun Beas Cen meme em Tk ke Medel ie Tie ane cos eee Ci Peer Pa eee Ce ee! eee een Caer Prestotr Ne ee a eee) Resett0 Ongna st Pee OU ee ena) Save As New Global User Pr elle eda Pee se aceon ee ren Een Coke Resa ete) dialog used to create User Presets. These Bee eee oa PA (presets are saved on your machine). The total amount of user presets is limited to ten CA Cece eng ray Cee ar nace cae ec CUCM con Lr) CO Coe RR cue Tce See section*Context Menu’below for details Pear 5 ie UES er eke ons hitpsildoestokyodawn.netkotelikov-manuallNE eee Cua eee cae kc settings. PS gS Co CERI R Process-Quality Fee ORR Crue Mes eee ene RU Cg lay Palla ce eae RCT) raul Set quality for all instances sets the currently selected quality mode to all instances of the plugin. Der CeCOcu cng cea ko non-creative, The different quality modes result in different ee ee Cee een aia (artifacts) tte Ee d ear Bee Ee te RO Re cs Mono | aR eeo eS A aM ME Ceca ru MUS Mee ReUn mene te Co cd Stereo enables conventional L/R processing. ST ec a ce Picen eeeot he ececoc a oen Ny the selected target is processed while the other is untouched Pee Rance ae cen ao processed exclusively. The dynamic help mode offers detailed information about the Pe ere A eM Cate] Or CO OECTA hitpsildoestokyodawn.netkotelikov-manuallonline help and move the mouse-cursor over the control of interest, A small info bubble will appear. Another left- click closes the help mode, prt are | a | Beene at Ci cune Keen eae keen oR Een ne ates SETTINGS sliders Continuous Drag Drag Sensitivity Mouse Configuration ght Butons | continuous 8 steaped Slider allows for changing the behavior of knobs and control points in response to the mouse. Under Continuous Drag,knob and controller movement relies on mouse Bere Cun tao ee ee Ree ae movement is proportional to mouse movement. Drag Sensitivity sets the linear sensitivity of the knob and controller movement further. Plug-in controls, knobs, and control points can be adjusted using Lef-click & drag COO ee cs ERC U a Peek a i eta Bre See Cenc ee eee aces Ma tcy PRC eau ead ens hte cnr ee Cee ead a ae RR Neer ee eee a Rel eC a EN a eA a Ce eur eR ence Oe hes ccc nC MCL St SU LL hitpsildoestokyodawn.netkotelikov-manuallDre eau ee Cro W Rou eae CM use eg rendering enables the option to always render at the highest Processing Quality, no matter what type is enabled in the Toolbar. See the “Processing Quality” subchapter OR ES Nes Registration offers access to offline and online product registration options. See the ae eR ee mC mm Ne Peer RI cag Re ceo Cee CaS ER ue ce Cee ee ccna ace eee ins using the Trash Can button. RE umes Cmte CaCO a ne cen emo aT Eien ee RRS UM Ce eee ee ire eed rag ae ee RC) Tree eos cS Coen RO Sea Cee came Car Pet Rens Re ee aCe ong} De eRe ee Ce RT acs About shows the version number, build date, format, credits, and other information. Kotelnikov Gentleman’s Edition Upgrade | + | This button opens the Kotelnikov Gentleman's Edition product page on the Tokyo Dawn Website in your default browser. For eR eee eR eee Cena cu Pee Rau oc ne kec nears cay hitpsildoestokyodawn.netkotelikov-manuallContext Menu Standard Context Menu KOTELNIKOV hitpsildoestokyodawn.netkotelikov-manuall Additional options can be accessed using the Ree Ret aca ae DY Teac ent RT eine ena ees Vc Rae interface size to a fixed percentage value of BLP Ts Deen ean ane tclica tea Tce fer Ieee eu cere Oa) Peake ct OCe oe Pees eRe a Re eC Re CR SuSE R EMRE Une mess Ae ne Rem a acoeen aR eee ir eR Pee Oe men oe Rm aR Ree Den enue ee oe ey settings dialog to access these options. Co eA eee come eee Ren Seon Ce hitpsildoestokyodawn.netkotelikov-manuallAppendix A: Getting started with Kotelnikov While all these advanced concepts of Kotelnikov might appear a bit intimidating at ee oe Re onc Cun ue ne OA Ree ose coca you'll benefit from the sonic goodies right away, and can learn how to fine tune details Pre Ea cot Om ana Cs Bee RU Cue oe a Retna Re eae r cos ad Poa Ly eH CC Geen Cen Re Ue en RRR =e RD clockwise until the GAIN REDUCTION METER flashes up during loud passages. Notice how the signal gets more dense, stronger and punchy without actually getting na RC Un em ogee Ear caed compression starts working. PRR OR en RR ss eeu eR Rue ur na air) Ce ee ne ec eI Ree Reece RCS ris RKO =O Ueno Se SNe ce Sam tor} ean al tie tau ene tne Rue cccgy eC ae Rua RAN Uma ni Pee Mer OCS Dee a Mele eR NOM ee ere el Me Re emt Lely een nao RMS ose ee Un ee Sa respond very quickly, which in turn help to tame fast events such as drums, percussion and similar. This however is not always beneficial. Longer attack times on the other hand tend to accentuate the attack phase of your signal, often adding a sweet “snappy” character to the original signal. hitpsildoestokyodawn.netkotelikov-manuallThe release knobs work similar way to other compressors at first glance, the main Cees Rare Re (eee ee oR eee Recency described as transients) and the average RMS “body’ of the signal. DO OREN ee ee SCO ee eg acne Eee ea ne Ren Reno ec Rn aCe Toe r cos ad Poa Ly eH CC VEN mac et ac RR ce uc and Reenter RCo eC occa ae CC Neca ONIN ee ei kn Sent ca To wrap things up, here's a short glimpse at the remaining, more advanced features, Te RC AO eae eee omen Ree rccd ee Re Rican eens cae r cos ad roma co Cec creer MS Ch ON Rae ne eur crc om cary to the most, helping you avoid common problems related to compression. The top section called LOW FREQUENCY RELAX basically tells Kotelnikov to ignore low er ee ORCC CR une Rec coe Cane a PR Rao Moe Se eM Cay hitpsildoestokyodawn.netkotelikov-manuallMO Ce oe cea a ORR A SCS Ree en ian Umea Une ae Oa) the tendency to widen stereo content during compression. The deeper the gain eee nome ere TOS ee ee en eee ec NaCl Ce AU na Ro es RC r cos ad Poa Ly eh CC creer anaes cee Cc) compression, favoring one or the other. This parameter allows manipulating the Ce Stem a as Se aN ae oe Coa tee acl passes the threshold like flicking a switch, as opposed to a higher value, which gives Me ene eee coe ROU ee ORCS Ree ae One eRe eee IC aCe one Rae chan) ay function r cos ad Poa Ly co CC hitpsildoestokyodawn.netkotelikov-manuallThat leaves the top bar, a common feature in all TDR plugins since Slick EQ — here's where you find the convenience functions to make your life easier, like AB Ce ea Scenics © > | Beau Poa Ly co CC It is worth noting that you can save chose different processing modes for Kotelnikov. Bea ee OC Ol Ce Re gsr l lle omen eRe} force mono processing at this point (“Mono”) or even process either the Stereo Sum Geren nm Me Se ue ae Rm ue oe CnC ea to “Side” in Mid/Side microphone array). Bee ae amu ce Meu ca the innovative features above. Take your time, have fun exploring this mighty tool and know that the advanced parameters are preset to sensible values by default and are ST CCI Og ue eet nner a Re Na hitpsildoestokyodawn.netkotelikov-manuallAppendix B: Vladimir Aleksandrovich Kotelnikov Viadimir Aleksandrovich Kotelnikov (Russian CO Eee ea co Ue ee transliteration Vladimir Alexandrovié Kotelnikov, 6 Be mE cre ee PE Deseo Ree tue Cun aes See acm Cue ag CRT rece mm aC WEN Reed en ee Conese rca RMU ELAR OP acy See oe eae Caos Seay Pea anu Ek eee h ace ar) theorem in 1933, independently of others (e.g. Edmund Whittaker, Harry Nyquist, rt SR Ses ei UC oa anu) since the end of the 19th century and circulated in the 1920s and 1930s in the On ecUne Ren a ROC CR eee cu eg CS ae CDSS EO eT im Re eae ikea ee POS ecm a ec Peon eco nC Ona eis a cd one of the first efforts to probe the planet Venus with radar. In June 1962 he led the first probe of the planet Mercury with radar. PoC eM Ee SN Rio ei a eae ce Cece time pad; his results were delivered in 1941, the time of Nazi Germany's invasion of the Soviet Union, in a report that apparently remains classified to today. In this, as with the above-mentioned sampling theorem, he and Claude Shannon in the US reached Oe Rens eo Ca Nek eRe ae ea oro was awarded the IEEE 2000 Gold Medal of Alexander Graham Bell and the honorable fas Racca ek ee aol Cen ec aC Se Rae ace ee ge recognized all over the world. In front of us is the giant of radio engineering thought, who has made the most significant contribution to media communication Cee cae csc y Pn oe eaROT AT See TAM a eat A note from the developers: The decision to call the new compressor “Kotelnikov’ is hitpsildoestokyodawn.netkotelikov-manuall 3013112122122, 5:12. AM Kotanikov — Manual | Tokyo Dawn Knowledge Base eee an Mauna nema enue col CE Cee ae eas oR ae uses Cee er eae eS ee ns etme nee aarlt [eee SO Res ee tps sidocstokyodawn.nevkotelnikov-manual 3131