Summit Audio TLA-100A Manual
Summit Audio TLA-100A Manual
Disclaimer
Every effort has been made to ensure that the information in this manual is accurate. However, there are a
chance that we have made mistakes, and we hope that you understand that we are only humans. Please let
us know about the mistake, and we’ll fix it in the mix (or in the next version of this manual).
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On the Softube website (www.softube.com) you will find answers to common questions (FAQ) and other
topics that might interest you.
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SOFTUBE USER’S GUIDE | iii
Contents
1 User Interface 5
Menu Row. . . . . . . . . . . . . . . . . . . . . . . 5
Key Commands. . . . . . . . . . . . . . . . . . . . 6
1 User Interface
Menu Row
In the bottom of the plug-in interface, you will see
a thin black row with some buttons. We’ll use the
Dyna-mite plug-in as example, but the same goes
for all plug-ins.
Enable
About Box Opens the “About” Box with When the Enable switch is set to on (I), the plug-
version info. in is active and will process audio. When set to off
(0), it will be bypassed and not process any audio. It
Value Display Displays the knob value when will take considerably less CPU when it is bypassed.
the mouse is hovering over a
control.
Low Cut
It is always handy to have the ability to filter out the
lowest frequencies so that the compressor doesn’t
react on them. Here you also have the possibility to
choose whether you want to put the low cut on the
entire signal (just as if you would have had a Low
Cut inserted before the TLA-100 plug-in) or put
on just the detector part of the compressor (a.k.a.
“sidechain filtering”) amount of saturation from the tube output stage in
the compressor. Without it, you would have to use
Parallel Inject = Parallel Compression the Gain control to set the desired amount of dis-
Parallel compression, ie. mixing a compressed signal tortion and compensate for that loss or increase in
together with the original signal, is a standard prac- volume with a separate volume control. The Satura-
tice today. So instead of using several mix buses to tion does all that. In one knob.
achieve this we added a knob.
User Interface
The user interface consists of two panels, the upper panel, containting the original TLA-100A knobs and
switches, and the lower panel that offers extra functionality.
Upper Panel
Attack A three position switch with fast, medium and slow settings, which corresponds
to the time it takes the compressor to respond to the input signal.
Release Controls the time it takes the compressor to return to unity again. A three position
switch with fast, medium and slow settings. The release time is also effected by the
program material. The slower the release time setting, the more the program material
determines the release time.
Meter Select Allows monitoring the output level (output) or the amount of gain reduction taking
place (reduction).
Gain Output volume. Unity gain is at “25”. The value display in the lower menu bar will
show 0.0 dB.
Gain Reduction Sets the amount of gain reduction and the operating point where gain reduction
begins. The higher the gain reduction, the higher the ratio becomes. Works almost like
a threshold control.
SOFTUBE USER’S GUIDE | 9
Lower Panel
Low Cut Adds a low cut filter on either the detector or the input. From off to 600 Hz. Off
disables the low cut functionality.
Low Cut Selector Select if the low cut filter should affect the input: like a normal low cut filter placed
before the TLA-100A, or just the detector so that low frequencies doesn’t trigger the
compressor.
Saturation Sets the amount of headroom in the unit. If you need more distortion, turn up this
knob. Distortion can sometimes be very useful together with slower attack times when
you get loud transients. Use the Saturation knob to limit the transients.
Saturation LED Indicates distortion at the output. You will get the best result if the saturation is used
sparingly on percussive sounds, like a drum bus. Let it take care of occasional peaks,
and do not run it too hot.
Parallel Inject Adds the un-affected dry signal to the compressed (wet) signal. If you are using the
compressor to shape the sound instead of compressing the volume (a rather normal
use case these days), it is often useful to blend some of the original signal with the
compressed track. An overcompressed drum track has few transients, which will make
it sound dull and without energy, but if you blend some of the original transients into
that track you’ll get the energy back while maintaining the overcompressed sound.
Parallel Inject
Output
GAIN RED.
Input
DETECTOR