Hi scervin, dattaper_2000, and all,
Gain position, as already indicated, will probably be in the 10-12 O'clock position assuming typical rock concert volume (around 100dB at FOH) and the MiniMe sensitivity on low (as determined by the internal jumpers).
Soft Limit is a form of compression (as limiters are). There are four parameters that comprise a compression circuit: attack, release, ratio, and threshold.
Attack: how fast the compression circuit kicks in after the threshold has been exceeded.
Release: how quickly the compression circuit lets go after the level drops below the threshold.
Ratio: The amount of gain achievable per dB of increase (ex: 2:1 means that for each additional 2dB of level increase from the source, the levels only go up 1 dB when leaving the compressor/limiter). See the “OFF” line below as it illustrates a 1:1 ratio (ie. No compression—1dB in equals 1dB out). The X-axis shows an increase in incoming level and the Y-axis is the output of the compressor/limiter. Note how the curves of each of the compressor settings change at a certain point and their compression kicks in well below where “Soft Limit” does. Take curve 3 as an example: From –30dBu to –10dBu, we see an output level that only changes from –14dBfs to –4dBfs. This is a nearly perfect example of a 2:1 ratio. Then we see the transition zone (in this case between –10dB to –5dB ), known as the knee, up to the –5dBfs to +15dBfs (a 20dB range) region above which we only see a 2dB increase in output level (a 10:1) ratio. This is an example of fairly heavy compression (with 2 and 3 being ever more drastic) assuming we are exceeding the –5dBu input levels on a regular basis. Notice how “Soft Limit” only kicks in around –3dBfs, thereby only acting on the hottest of levels.
Threshold: the level at which the compressor (or limiter) kicks in. Below the threshold, no compression or limiting is technically taking place, but some compressors are still noticeable sonically.
Picture below Taken from Apogee manual:
Compressors are frequently used in studio recording applications on snare and kick drums, as well as vocals, and other very dynamic instruments in order to achieve good recording levels without clipping. The Soft Limit or other limiters are more common in the mastering stage in order to get all levels relatively high without clipping. I bet Tim or Bri could expand on this.
In concert recording or mastering, the result is a hotter/louder recording overall. The hottest levels are held down enough to prevent clipping and the lower levels can be brought up. This limits dynamic range but gives more “punch” or a more “in your face” quality. I used soft limit on several hundred recording but later (especially once I started recording at 24-bit) gave it up in preference of the greater dynamic range (the difference between the hottest and the lowest levels of the recording).
The Apogee Mini Me manual on page 20 and 21 contains further explanation and application tips.
http://www.apogeedigital.com/pdf/minimeman.pdfI hope this is helpful.
Happy Recording,
Marc