Arturia COMP DIODE-609 User manual

USER MANUAL
_COMP DIODE-609

Special Thanks
DIRECTION
rédéric Brun Kevin Molcard
DEVELOPMENT
Samuel Limier
Loris De Marco
Alexandre Adam
Corentin Comte
rancois Reme
Vincent Travaglini
Kevin Arcas
Baptiste Aubry
Timothée Béhéty
Yann Burrer
Hugo Caracalla
Raynald Dantigny
Alessandro De Cecco
Geoffrey Gormond
Rasmus Kurstein
Pierre-Lin Laneyrie
Cyril Lepinette
Mathieu Nocenti
Marie Pauli
Patrick Perea
Stéphane Albanese
anny Roche
DESIGN
Martin Dutasta Clément Bastiat Ulf Ekelöf Morgan Perrier
SOUND DESIGN
Lily Jordy
Maxime Audfray
Clément Bastiat
Jean-Michel Blanchet
Victor Morello
TESTING
Arnaud Barbier
Thomas Barbier
Matthieu Bosshardt
Emmanuelle Le Cann
lorian Marin
Germain Marzin
Aurélien Mortha
Benjamin Renard
Roger Schumann
Adrien Soyer
Christophe Tessa
BETA TESTING
Paul Beaudoin
David Birdwell
Gustavo Bravetti
Andrew Capon
Chuck Capsis
Jeffrey Cecil
Marco «Koshdukai» Correia
Raphael Cuevas
Dwight Davies
Ben Eggehorn
Jam El Mar
Ken lux Pierce
Tony lying Squirrel
Andrew Henderson
Mat Herbert
Neil Hester
Guillaume Hernandez
Jay Janssen
Mat Jones
Luca Lefèvre
Terry Marsden
Gary Morgan
Paolo Negri
Mateo Relief vs. MISTER X5
William «Wheeliemix»
Robertson
ernando Manuel
Rodrigues
Solidtrax
Tetuna
Peter Tomlinson
Bernd Waldstädt
George Ware
Elliot Young
Chuck Zwicky
TUTORIALS
Gustavo Bravetti rançois Barrillon
MANUAL
ernando M. Rodrigues (author) Jimmy Michon

© ARTURIA SA – 2021 – All rights reserved.
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38330 Montbonnot-Saint-Martin
RANCE
www.arturia.com
Information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Arturia. The software described in this manual is
provided under the terms of a license agreement or non-disclosure agreement. The software
license agreement specifies the terms and conditions for its lawful use. No part of this
manual may be reproduced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
All other products, logos or company names quoted in this manual are trademarks or
registered trademarks of their respective owners.
Product version: 1.0
Revision date: 8 June 2021

Thank you for purchasing Arturia's Comp
DIODE-609...!
This manual covers the features and operation of the Comp DIODE-609 plug-in.
Be sure to register your software as soon as possible! When you purchased Comp
DIODE-609, you were sent a serial number and an unlock code by e-mail. These are
required during the online registration process.
Special Messages
Specifications Subject to Change:
The information contained in this manual is believed to be correct at the time of printing.
However, Arturia reserves the right to change or modify any of the specifications or features
without notice or obligation.
IMPORTANT:
The software, when used in combination with an amplifier, headphones or speakers, may
be able to produce sound levels that could cause permanent hearing loss. DO NOT operate
for long periods of time at a high level or at a level that is uncomfortable.
If you encounter any hearing loss or ringing in the ears, you should consult an audiologist.

Introduction
Congratulations on your purchase of Arturia's Comp DIODE-609...!
Arturia's passion for synthesizers and sonic purity has given demanding musicians the best
software instruments for professional audio production.
Arturia also has a growing expertise in the audio field, and in 2017 launched the Audio use,
a pro studio quality audio interface that features two proprietary DiscretePRO® microphone
preamplifiers and a set of top-notch AD/DA converters. This line was recently expanded with
the launch of the Audio use Studio and the Audio use 8Pre. Arturia has also been busy
making effect plug-ins, launching in 2018 the first Arturia effects bundle, which included
the Pre 1973, the Pre TridA, and the Pre V76. This was our first step in the field of audio
effect processing plug-ins, and a logical one, considering all the experience gathered while
programming the effects sections for our own synth plug-ins.
These also allowed us to take a first step in analyzing and reproducing retro and vintage
analog audio processing units.
Other bundles followed, dedicated to compressors, filters, delays, and reverbs. More
recently, Arturia added three new effects to the collection, this time dedicated to modulation,
this way consolidating its position as a leader in audio effect plug-ins.
The ARTURIA Comp DIODE-609 is part of a set of three new effects plug-ins, this time
dedicated to one of the most important tasks in audio processing: bus sound processing.
ARTURIA has a passion for excellence and accuracy. This has led us to conduct an extensive
analysis of every aspect of one of the most famous compressor/limiter units built by a
famous British manufacturer. Derived from the modules included in some of the most iconic
mixers ever built, this unit later became an independent processor, and a favorite in many
famous recording studios. We have carefully studied and reproduced the behavior of its
electrical circuits and components. We have also developed it further, including some extras
that enrich and expand its features.
The result is an effects plug-in that, although inspired by this sought-after compressor,
includes what may be considered our vision of what a vintage compressor can be
nowadays, suited for the modern studio environment.
Comp DIODE-609 runs as a plug-in in all major formats inside your DAW.
DISCLAIMER: All manufacturer and product names mentioned in this manual are
trademarks of their respective owners, which are in no way associated or affiliated with
Arturia. The trademarks of other manufacturers mentioned are used solely to identify
the products of those manufacturers whose features and sound were studied during the
development of this plug-in. All names of equipment inventors and manufacturers have
been included for illustrative and educational purposes only and do not suggest any
affiliation or endorsement of Comp DIODE-609 by any equipment inventor or manufacturer.
The Arturia team

Table Of Contents
1. WELCOME ......................................................................................................................................................................... 2
1.1. What is a bus effect? .......................................................................................................................................................... 2
1.2. What about the Comp DIODE-609?......................................................................................................................... 3
1.3. Where can you use a plug-in like this?.................................................................................................................. 4
2. ACTIVATION AND IRST START.......................................................................................................................... 5
2.1. Activate the Arturia Comp DIODE-609 license .................................................................................................. 5
2.1.1. The Arturia Software Center (ASC).................................................................................................................................................................... 5
2.2. Working with plug-ins ....................................................................................................................................................... 5
3. Comp DIODE-609 OVERVIEW ........................................................................................................................... 6
3.1. Arturia’s Comp DIODE–609 plug–in.......................................................................................................................... 6
3.2. Understanding the Comp DIODE-609 Signal low ....................................................................................... 7
3.3. Getting hands-on with Comp DIODE-609 ........................................................................................................... 9
3.3.1. The basics ......................................................................................................................................................................................................................... 9
3.3.2. The Compressor ....................................................................................................................................................................................................... 10
3.3.3. The Limiter..................................................................................................................................................................................................................... 12
3.3.4. Advanced Panel ......................................................................................................................................................................................................... 13
3.3.5. Other functionalities................................................................................................................................................................................................ 14
4. Comp DIODE-609 CONTROL PANEL ............................................................................................................. 15
4.1. Channel Configuration (Mono/Stereo) .................................................................................................................. 15
4.2. Main Control Panel ............................................................................................................................................................ 16
4.2.1. Stepped Controls ........................................................................................................................................................................................................ 16
4.2.2. Limiter Make-Up Gain (Left and Right) ........................................................................................................................................................ 17
4.2.3. Right Section................................................................................................................................................................................................................. 18
4.2.4. Compressor Section (Main Panel) ................................................................................................................................................................. 21
4.2.5. Limiter Section (Main Panel)............................................................................................................................................................................. 24
4.2.6. Advanced Panel ........................................................................................................................................................................................................ 26
5. USER INTER ACE ....................................................................................................................................................... 29
5.1. The Upper Toolbar.............................................................................................................................................................. 29
5.1.1. New Preset...................................................................................................................................................................................................................... 29
5.1.2. Save Preset................................................................................................................................................................................................................... 30
5.1.3. Save Preset As…......................................................................................................................................................................................................... 30
5.1.4. Import.............................................................................................................................................................................................................................. 30
5.1.5. Export Menu ................................................................................................................................................................................................................. 30
5.1.6. Resize Window options ........................................................................................................................................................................................ 30
5.1.7. Tutorials............................................................................................................................................................................................................................. 31
5.1.8. Help...................................................................................................................................................................................................................................... 31
5.1.9. About .................................................................................................................................................................................................................................. 31
5.1.10. Preset Selection ........................................................................................................................................................................................................ 31
5.2. The Lower Toolbar............................................................................................................................................................ 32
5.2.1. Stepped Controls ....................................................................................................................................................................................................... 32
5.2.2. Limiter Makeup Gain (Left and Right) ........................................................................................................................................................ 32
5.2.3. Bypass............................................................................................................................................................................................................................. 33
5.2.4. Undo ................................................................................................................................................................................................................................. 33
5.2.5. History ............................................................................................................................................................................................................................. 33
5.2.6. Redo .................................................................................................................................................................................................................................. 33
5.2.7. CPU meter..................................................................................................................................................................................................................... 34
5.3. The Preset browser.......................................................................................................................................................... 35
5.3.1. Delete Preset ................................................................................................................................................................................................................ 36
5.4. ine-tuning parameters................................................................................................................................................. 36
5.5. Resetting your controls.................................................................................................................................................. 37
6. Software License Agreement............................................................................................................................ 38

1. WELCOME
1.1. What is a bus effect?
As far as audio effects are concerned, bus or masterbus effects occupy a place of their
own. These effects are used to polish a more complex, many times composite sound, be it
a group sub-mix or even the final master bus output. Since their main goal is to perfect and
balance the overall sound spectrum (and maybe add some color to it), they are specially
tailored for and tuned to those tasks.
Therefore, their audio circuits are more carefully planned and usually more complex, their
components are chosen with top quality in mind, and more expensive and retro parts are
sometimes used, like real tubes for example.
All in all, the objective is a sound that's richer, fuller and with more body, maybe
supplemented with the kind of saturation you don't usually get in today's pristine audio
chains, where we aim for the cleanest sound possible. And why not add a touch of EQ to
make the sound a bit more transparent and detailed in certain bands?
Traditionally, there are just a few types of these bus effects: Equalizers, compressors
(usually called bus compressors, to differentiate them from the usual channel compressors),
and maybe more complex units with complete audio channels, comprising several modules.
Arturia - Us r Manual Comp DIODE-609 - WELCOME 2

1.2. What about the Comp DIODE-609?
There are many reasons to use a compressor/limiter. or example, it can be used to protect
a recording (and your ears) from excessive peaks that can sound distorted and potentially
damage your speakers (or your hearing). Also, reducing the loudest parts of a recording can
make for a far more pleasing listening experience. This is because listeners can turn up the
volume and hear the softer parts without fear of earache when the louder parts come. This
is especially true in music with dynamic instruments that can produce sudden loud peaks
like a drum kit or the human voice. Compressors can even be used creatively, to shape and
contour sounds in pleasing ways. This flexibility is what makes compressors one of the most
popular tools in a recording engineer's toolkit.
In a mix bus, it is more a matter of sculpting the tone to what better suits your taste (or the
taste of the author, if you are working for someone else), or of adapting to the style of music
you are aiming for. There are many different types of compressors. That's why we can say
that we can never have too many compressors.
Arturia already proposes a pack of three compressor plug-ins modeled after vintage units
from the past. The Arturia Comp DIODE-609 completes that package, while also beautifully
fitting the X Collection 2. This is a stereo bus compressor unit inspired by classic designs
first seen in vintage mixing desks of a very famous British manufacturer. These classical
mixing desks may be seen in prestigious recording studios everywhere around the world.
Some devices made after the design of its individual modules have been manufactured and
are still sold today.
This was exactly the case of the hardware compressor being emulated here. It was a
compressor/limiter unit inspired by the modules that were featured in the mentioned
consoles. These modules present a very smooth and creamy dynamics processing, which
adds weight and color to instrument groups and individual tracks. Using a diode‑bridge
topology, they have separate compression and limiting circuits and are perfect for sculpting
the tone while applying dynamics control to any source. That's why later on these circuits
were featured in this compressor/limiter unit that became also famous.
Using this plug-in means you will get the richness given by the old analog discrete circuits
coupled with a modern design and features adapted to the modern studio and the working
environment of the computer.
The distinctive sound of the devices this software is modeled after, their much sought-after
"glue factor" and their colorful, rich British compression character, allows you to have that
"polished/expensive record" sound in your individual tracks and stereo buses.
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1.3. Where can you use a plug-in like this?
The Comp DIODE-609 plug-in is very versatile. It really shines in complex audio, like groups
and sub-mixes, where it may contribute to creating a more homogeneous (glued) sound,
but it is also perfectly suitable for individual audio tracks as a channel compressor. It can
be used pretty much everywhere.
The original has often been used as a stereo bus coupled with an analog EQ (such as the
the SITRAL-295, also featured in this X Collection 2) to "warm up" digital stereo tracks. But
many also swear by it as a killer kick /snare or even vocal compressor. Others also mention
it as being great for acoustic piano.
There are even those who mention it as a great bass comp. But don't hesitate to use it out
of the group and master buses to reveal its full potential, especially when coupled with an
analog EQ.
However, that's on group and master buses that it really shines, especially when coupled
with an analog EQ as mentioned before.
Arturia - Us r Manual Comp DIODE-609 - WELCOME 4

2. ACTIVATION AND FIRST START
The Arturia Comp DIODE-609 plug-in works on computers equipped with:
Windows 8 or later and macOS 10.13 or later.
You can use the Comp DIODE-609 plug-in as an Audio Unit, AAX, VST2 or VST3 plug-in
(64-bit only).
2.1. Activate the Arturia Comp DIODE-609 license
Once the software has been installed, the next step should be to activate your license, so
that you can use it without limitations.
This is a simple process that involves a different software program: the Arturia Software
Center.
2.1.1. The Arturia Software Center (ASC)
If you have not already installed the ASC, go to this web page:
https://www.arturia.com/support/updates&manuals
Look for the Arturia Software Center at the top of the page, and then download the version
of the installer that you need for your system (macOS or Windows).
ollow the installation instructions and then:
• Launch the Arturia Software Center (ASC)
• Log into your Arturia account
• Scroll down to the My Products section of the ASC
• Click the Activate button
That's all there is to it!
2.2. Working with plug-ins
The Comp DIODE-609 can be used in all major digital audio workstations (DAWs), including
Live, Logic, Cubase, Pro Tools and others, as it comes in all the main plug-in formats. Unlike
what happens with hardware, you can load as many instances of the effect as you find
useful. Using the software plug-in has two other big advantages over hardware:
• You can automate numerous parameters using your DAW’s automation system;
• Your settings and current plug-in state will become recorded in your project, and
you can pick up exactly where you left off the next time you open it.
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3. COMP DIODE-609 OVERVIEW
3.1. Arturia’s Comp DIODE–609 plug–in
Our goal was to give users the experience of a great tool, a Compressor/Limiter modeled
after one of the most sought-after hardware units, that descends from modules featured in
some of the most iconic mixers of the seventies and eighties.
The user interface we created allies the simplicity and analog feel of the original with a
modern approach more suitable for working in a computer environment. The Main panel
has the controls for the Compressor section, the Limiter section and some switches on the
right side, to control Mid/Side, changing from Stereo to Dual Mono, and channel linking
We also have a pair of VU meters to display the amount of gain reduction. Clicking on these
changes them to a digital overview of the audio representing simultaneously the original
input volume, the output volume and the gain reduction applied.
There is also an advanced panel, as has become usual with almost all the effect plug-
ins from Arturia. There, we have the controls for the side-chain, which largely expand the
processing capabilities of the compressor/limiter.
We will take a detailed look at all these elements in the Control Panel chapter [p.15]. Now, it's
time to check out how it works and how it sounds. Let's go!
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3.2. Understanding the Comp DIODE-609 Signal Flow
The Comp DIODE-609 is a compressor/limiter effect plug-in specially tailored for bus
tasks. As we stated in the Introduction, bus effects tend to be a little more complex (both
in functionalities as well as their inner workings) than their channel counterparts. Being
inspired from classic units featured in iconic mixers of the seventies, it keeps the simplicity
of those units. This means that, although its musicality makes it suitable for bus mixing,
it is simple to operate and understand, and you can (and probably should) also use it in
regular audio channels. However, bear in mind this is a compressor/limiter mainly thought
for overall sound sculpting.
Let's take a look at the inside, to understand a little more about Comp DIODE-609:
When the audio signal enters the unit, it is split in three paths. The first one is the Dry path.
The second is the Wet path, which is routed through the different processing modules of the
plug-in.
There is a third path, that is used solely for detection purposes. This is the Side-Chain (SC)
path, which may use the signal coming from the Input or an external side-chain signal.
The signal routed through the Wet path enters the Input Drive, which works as a preamp
before the signal goes to the Compressor Module. It also induces a certain amount of
saturation to the signal when it is above 0.00 dB.
After this stage, the signal reaches the Compressor module. Compression will happen
according to the set parameters, driven by the Side-Chain signal, in either stereo mode
(in which case compression will happen equally on both sides, controlled by the average
volume of both side-chain channels) or dual mono mode (in which case each channel will
be compressed differently and controlled by its correspondent side-chain channel).
After passing through the Compressor Module, the signal goes through the Limiter Module,
where it will be limited, again according to the set parameters, and also controlled by the
side-chain signal in exactly the same way as in the Compressor module.
The Side-Chain signal may be routed through the Look Ahead module (in which case
some latency will be induced, due to the nature look ahead works), or bypass it and
be routed through the SC EQ/ ilter module. This module output can only be used in the
Compressor module. Therefore, the side-chain signal used for limiting purposes will always
be unprocessed, as reflected in the signal-flow diagram above. The SC EQ/ ilter module
can be bypassed, in which case, also the side-chain signal used for compression will be
unprocessed.
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After the Limiter module, the Wet path signal is mixed with the Dry path signal. The resulting
signal is then sent to the Output. Mixing is controlled by the Mix knob, and allows for different
amounts of processed and unprocessed signal, in what is commonly known as parallel
compression.
And that's it. This is the complete signal flow of the Comp DIODE-609. Study the circuit
carefully, spend some time with the controls of each module, try the different routings and
signal configurations, try the side-chain possibilities, and we're sure you'll fall in love with
this unit and will enjoy its incredible power. The next section will definitely help you with this.
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3.3. Getting hands-on with Comp DIODE-609
3.3.1. The basics
• Load a stereo clip into an audio track in your DAW (or use a submix or group
track in one of your music projects, or even the master stereo output). A master
out or group submix would be great, since this is more of a tone sculpting
compressor/limiter;
• Load an instance of Comp DIODE-609 as an insert in that track. Open the plug-in
window;
• Ensure the Default preset is loaded. This way all parameters assume their default
values. Now click the "Advanced" button on the right side of the Upper Toolbar.
This will open the Advanced control panel below the main compressor controls;
• Start playback. You will notice several things. irst one is there is just a very
slight difference in the audio (you may check this by switching the plug-on off
and on again). Switching it off will put it in Bypass, leaving the audio untouched
- only the VU meters remain active. That's because, with the controls at their
default values, only the transformer model and the diode bridge model will be
processing the audio. If you click the vintage VU meters to change the display
to the modern digital one, you will see a flat line representing Gain Reduction,
and below the volume contour (In and Out are exactly the same). The GR level
indicator to the right remains Off, meaning there isn't any reduction happening;
• This display may not look as "vintage" or "cool" as the other one, but certainly
gives you much more information. Anyway, you can always go back to the other
one by clicking to it again;
DIODE-609 with the two channels unlinked and two different compressor and limiter
settings
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Now it's time to start processing the audio:
3.3.2. The Compressor
• With the audio playing, turn the Threshold knob until you start to see the GR line
move. The GR level indicator will also start to show an orange fill in the upper
part. This means that some gain reduction is now applied. The threshold sets the
volume around which the compressor starts applying gain reduction;
• Now that you are compressing, you have to define the compression ratio. This
ratio sets the amount of gain reduction. It shows the "ratio" between the output
level (the value on the left) and the input level (the value on the right, which is
always 1, for comparison purposes). The level of any signal above the threshold
will be divided by the value on the left. So, when you have a ratio of 2:1 it means
that for a level 1 dB above the threshold, the output will be reduced to half of it. or
example, if a signal exceeds the threshold level by 2 dB, it will be attenuated to a
value just 1 dB above the threshold level. Bear in mind that compression reduces
the dynamic range, and the dynamic range is what makes the music "breathe".
Let's pick a ratio that's not too high, like 2:1;
• Now that you have set threshold and ratio, it's time to define the attack and
release values. You may think of these as envelope segments, like the ones you
have in synthesizers. Attack marks the time it takes for the compressor to react
(reach the set compression ratio) once the audio goes over the threshold;
• The Attack time must be defined according to the type of audio you are dealing
with. Vocals don't have much in the way of attack transients you may want to
preserve, therefore the attack time there may be shorter. On complete drum
tracks, where you need to preserve the attack transients, the attack time may be
longer, but if you want a "pumping" effect, you can opt for a very short value (in
this case with a higher compression ratio). If you are using the compressor in a
bus channel, as is the case here, you probably want longer attack times, to avoid
messing with the attack transients. The original hardware unit has a fixed attack
time of around 3 ms, but here you have other options too. Let's pick something
like 25 ms;
• Rules of thumb for setting Attack: faster attack times make the sound tighter
and more even. They may give you a smoother front end sound. But there is
also the risk of cutting off the attack transients, making the overall sound duller
and lifeless. Slower attacks allow for a lot of initial impact so they may result in
a punchier sound. Attack transients will be more present, which gives a better
definition. On the other hand, any time inconsistencies will be exposed and
accentuated;
• Now, it's time to set the other envelope segment. Recovery is a parameter that
is nowadays usually referred to as Release. In a compressor, it sets the time it
takes to "restore" the original dynamics after the audio falls under the threshold
level. You need to give the processor enough time for a smooth transition. Again,
this also depends on the type of audio you are dealing with. There are a few
things to take into account when setting release times, Please refer to the point
below about the rules of thumb;
• In complex programs, some events might need a short release and others a long
one, so a fixed value is a compromise. An automatic release may fix that. We
have two automatic recovery times (labeled a1 and a2). a1 varies the release
times between 100 ms and 2 seconds, while a2 varies the release times between
50 ms and 5 seconds. You may start by trying those. If you don't get the result
you're aiming for, start with a longer recovery time, and then try reducing it until
you feel something "strange" (like a pumping effect) happening. Then restore the
previous value;
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• Rules of thumb for setting Recovery: faster recovery times mean compression
stops quickly after the signal has fallen under the threshold. The result is a more
aggressive sound. But going too fast on recovery times sometimes produces
"pumping" artifacts. Slower recovery times give you more dynamics and
smoothness, while exaggerating can mess up the groove and feel of the track.
Also, release times are tied to attack times. ast attack with slow release work
as a "protective" leveler, while slow attack and slow release work as a slow
RMS program leveler. On the other hand, fast releases with slow attacks let the
transients pass and make the compression expand the dynamic range;
• inally, you just have to set the makeup gain. Most of the time, you will only need
to add a little bit of gain;
Now that we have seen how the Compressor works, it's time to check the Limiter:
Comp DIODE-609 set for compression
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3.3.3. The Limiter
• irst turn off the Compressor section. You can do this using its "In" switch. When
a section is off, the audio bypasses it without any processing being applied, no
matter what values that section is set for. This is a good way to try each section
individually and to hear its effect on the overall audio;
• With the Compressor section turned off, only the Limiter will process the audio.
Remember that a limiter is a special kind of compressor with a very high
compression ratio, which acts as a ceiling for the audio, preventing it from going
over the value set by the Threshold. The Limiter Output Gain (make up) is defined
in the Lower Toolbar. You have a small display for each channel, with a default
value for the Limiter audio output gain set at 0.00 dB (no gain);
• With the Limiter output gain set to 0 dB, you will only have to move the
Threshold. In most cases, you will only need to adjust the Threshold slightly, and
it is not advisable for the GR line above the volume lines to move too much or too
often;
• If you move the Threshold low enough, you'll notice that the overall volume
decreases, and you'll see the orange line go down below the Input Line. This
means that the Limiter ceiling is now below the original output level, and the
audio output is being "squeezed" to fall under that ceiling;
• You may now raise the Limiter Output Gain to compensate for the volume loss;
This is a drastic way of using a Limiter. You may not want to do this, although this is a good
way to learn how a Limiter works. It's up to you to decide what better suits your taste and
your needs. However, do bear in mind that the GR line above the volume lines should not
move too much or too often.
Now it's time to take a look at the Advanced Panel features:
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3.3.4. Advanced Panel
• irst, switch to Dual Mono to treat each stereo channel as a separate entity;
• Now press the Advanced button to open the Advanced panel. irst thing will
be to switch on the Look Ahead feature. This induces latency, but since we
are dealing with a bus track, it doesn't matter much. Look Ahead allows the
processor to "read" the audio signal prior to processing it, which allows for a
better compression by anticipating level changes. We will set the Look Ahead
value to the max - 5 ms.
• We will use the internal audio as side-chain source. You can also use an external
source. Please refer to your DAW's manual to know how to properly route audio
to achieve this;
• Press the side-chain listen button to monitor the original input audio. Now switch
on the side-chain equalizer. It's time to process the side-chain signal in order to
achieve a better detection signal. Remember that this processing is just for the
detection path - it will not affect the audio output in any way;
• In our testing, we opted to leave the high pass filter off, as the audio doesn't
have much lower frequency content. This may change, so it's up to you to decide
what fits best in the each circumstance. Activating the high band and reducing
it, while increasing the middle band, will increase the middle frequencies. This
way, you will get a more balanced detection signal. Since we activated the dual
mono switch, each channel will be triggered independently. This will result in
more balanced dynamics for both channels;
• Now, it's time to add a little character to the audio by turning the input drive knob.
This parameter is very subtle, so do not be surprised if you don't notice much
difference.
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3.3.5. Other functionalities
• You can treat the two channels of the stereo as separate entities. To do this, click
the "param unlink" switch, to put it in the unlink position. Now, you can change
parameters for one channel while the other remains untouched. Don't do this if
you want to preserve stereo consistency, but it can save the day if your stereo
image is severely unbalanced;
• Dual mono is about the way detection works to trigger compression. Generally,
the average stereo level is taken into account, and compression is triggered
equally on both channels. But if you activate dual mono, the left channel signal
triggers compression for the left side, and the right side signal triggers
compression for the right side. Again, this may be good when you are dealing
with an unbalanced stereo signal, with or without parameters unlinked. It may
also be handy when dealing with external side-chain sources;
• M/S stands for Mid/Side. Mid/Side is another way to control the stereo image,
used in some recording environments. or a more detailed explanation, please
refer to the Mid/Side mode [p.19] entry in the Control Panel chapter of this
manual.
• To the right of the M/S switch, you have the Mix (Dry/Wet) knob. This is the usual
Dry/Wet mixer control. With it, you can control the amount of unprocessed signal
that will be mixed with the processed signal in the plug-in output, to achieve what
is known as "parallel compression";
• Above the switches is a pair of "vintage" VU meters. These display the gain
reduction. Clicking them changes the display to a modern digital one, which is
more accurate and best suitable for a computer environment.
• inally, you have the On switch. This bypasses the audio processing circuit, but
the plug-in still receives audio to be able to display the output signal on the
meters.
And that's it. These are just a few examples of what you can do with Comp DIODE-609.
This is a very musical compressor /limiter, capable of some subtle (or not so subtle) tone
sculpting. It is very easy to operate, and you can get great results with it. Yet there's more
to it than meets the eye, and if you pay attention to detail and invest some of your time to
learn how to use it, you will be able to get the most out of it. As always, use your ears and
persevere, to find the best and more interesting ways of using it.
Arturia - Us r Manual Comp DIODE-609 - Comp DIODE-609 OVERVIEW 14

4. COMP DIODE-609 CONTROL PANEL
The Comp DIODE-609 plug-in can be used in Mono, Mono-to-Stereo, and Stereo
configurations.
The Mono configuration is automatically loaded when you use the plug-in with mono tracks.
When inserted in stereo tracks, the Stereo configuration is automatically loaded as well.
By default, the plug-in works according to the source material.
Not all DAWs work with mono tracks, in which case you will not be able to use the mono
configuration.
4.1. Channel Configuration (Mono/Stereo)
In stereo mode, the plug-in loads in full, with two processing modules, one for each channel.
When instantiated in stereo channels, the plug-in loads in stereo mode.
When instantiated in mono channels, the plug-in loads just one processing module. Also, the
M/S switch, Link switch and Stereo/Dual Mono switch are absent, as they would not have
any role to play in a mono signal.
Comp DIODE-609 Mono configuration.
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