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Audio Review: Klark Teknik Square One Dynamics Processor
Klark Teknik was founded by English brothers Phil and Terry Clarke in 1974. Their engineering prowess resulted in some of the world’s first digital delays and reverbs, as well as a long line of highly regarded graphic and parametric equalizers. Today, the Klark Teknik line includes top-shelf digital EQs and processors, a 96-track digital recorder for live shows, and digital snake (audio-over-Ethernet) products.
The Klark Teknik Square One line is designed to bring high-quality analog processing to live applications. The line includes a flexible 8x24 active/passive splitter, stereo 31-band EQ and eight-channel dynamics processor. We tested the Square One Dynamics processor ($2,118 list).
COMPRESSORS, GATES AND FILTERS
The first thing I noticed about the Dynamics processor is its distinctive—and attractive—purple color scheme. The processor has eight channels arrayed side-by-side in a three-rack-space chassis. Main inputs and outputs are on XLR connectors, while external key inputs are on balanced 1/4-inch connectors.
The Dynamics processor offers a somewhat unique take on compression and gating. Each channel will perform compression or gating—not both. Several of the controls do double-duty, performing a similar function in both modes. These include the threshold, ratio, attack time, release time knobs and side chain filter controls; input and gain reduction meters perform identical functions in both modes as well.
In compression mode, two switches work together to deliver four different compression sounds. The first switch selects between RMS (average) and peak detection, the latter labeled “Vintage.” The second switch selects between hard and soft knee. These switches interact greatly with the threshold and attack/release time controls, changing the compression response from subtle to much more pronounced. Change the knee setting from soft to hard, for example, and you’ll need to raise the threshold to achieve similar gain reduction. Switch from peak (vintage) to RMS detection, and your attack time setting will likely be too slow.
Another feature that sets the Dynamics processor apart is its sidechain controls. In addition to an external sidechain input for each channel, the processor offers a sweepable sidechain filter. This filter spans from 40 Hz up to 16,000 Hz and offers both normal and narrow settings. The filter allows you to “tune” the compressor or gate to be more sensitive at certain frequencies. Filter a compressor’s sidechain to pass a narrow band of high frequencies, for example, and you’ve just created a de-esser. If you want the compressor on a drum submix to compress kick more than snare, set the filter to a narrow band around 100 Hz. Similarly, you can use the filter to “tune” the gate to be more sensitive to the desired sound (an upper-mid filter to pass acoustic guitar and reject bass, for example).
Since it’s tough to dial in a sidechain filter without hearing it, the Dynamics processor offers two options for hearing the filter settings. In normal solo mode, pressing a filter’s Solo button routes its signal to a solo bus with dedicated output. Send this solo output to an extra channel of your mixer for monitoring in headphones while you dial in the filter. The second option doesn’t use the solo bus. Instead, a sidechain “solo in place” mode replaces the channel’s output signal with the sidechain signal. You clearly can’t use this mid-show or mid-service, but it’s sure a nice option during sound check.
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Loren Alldrin is a regular contributor to Church Production Magazine.
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