User Guide - Harrison 32Classic Channel Strip

Plugin Type: Channel Strip 1/16

Description: The Harrison 32Classic Channel Strip is a full-featured channel strip plugin complete
with an Expander/Gate, Compressor, and an EQ that is emulated from the Harrison 32Classic
mixing console hardware. In addition to the 3 main processing elements, it also includes input,
output, saturation, and routing controls.

Supported formats:

AAX
VST
VST3
AU

Supported channel configurations:

Mono
Stereo
All multi-channel configurations with up to 16 channels

Plugin Controls/Components:

Master Section: The following controls/components pertain to the input and output stages of
the plugin.
Input Trim: Adjusts the gain trim of the signal at the plugin’s input stage before any other
processing takes place.
Polarity: Inverts the polarity of the input signal when selected.
Saturator Drive: Adjusts the gain trim of the input signal fed to the Saturator (post Input
Trim). Increasing the Drive will apply more saturation to the signal, while decreasing the
Drive will apply less saturation.
Saturator Drive Meter: Displays the level of signal fed to the Saturator (dBFS).
Saturator IN: Toggles the enablement of the Saturator. If toggled off, the Saturator
processing will be bypassed and the Saturator Drive control and meter will be disabled.
Output Trim: Adjusts the gain trim of the signal at the plugin’s final output stage after all
other processing takes place.
Output Level Meter: Displays the plugin’s output signal level (dBFS).

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Module Controls: The following controls can be found at the top of the Gate, Compressor,
and EQ modules and are used to perform various operations on each module.
Reset: Resets all the controls in the module to their default states.
Solo: Bypasses the processing of the other modules so that only the effects of the
selected module can be heard. This does not bypass the processing of the master input
and output controls.
IN: Toggles the enablement of the module. When toggled off, the module processing is
bypassed and all the controls within it are disabled.

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Gate: The following controls/components pertain to the Gate module.
Input Meter: Displays the signal level at the input of the Gate (dBFS). If the Sidechain
Filter is enabled, the meter will show the signal level post-filter.
Reduction Meter: Displays the level of gain that is reduced from the signal by the Gate
(dBFS).
Threshold: Sets the dB level in which the Gate will open whenever the input signal
reaches this level.
Depth: Sets the maximum amount of gain reduction applied. The value range of this
control varies based on the mode. In the default Gate mode, the Depth can be set up to
60dB of gain reduction. In Expander mode, the max Depth is 15dB. Note that if the Depth
is set to the minimum value of 0dB, no gain reduction will occur in either mode and the
Gate will have no effect on the signal.
Attack: Sets the amount of milliseconds it takes for the Gate to fully open once the input
signal reaches the Threshold.
Release: Sets the amount of milliseconds it takes for the Gate to fully close once the
input signal falls below the Threshold.
Sidechain Filter Frequency: Adjusts the center frequency of the Sidechain Filter applied
to the sidechain input of the Gate. The Sidechain Filter is a band-pass filter that boosts
the selected center frequency and cuts the frequency ranges above and below it. This
can be used to target certain frequencies to trigger the Gate with.
Sidechain Filter IN: Toggles the enablement of the Sidechain Filter. If toggled on, the
Sidechain Filter will be applied to the sidechain input of the Gate. If toggled off, the
Sidechain Filter will be bypassed and the Sidechain Filter Frequency control will be
disabled.
Sidechain Filter Listen: Allows for listening to the sidechain input signal that is
processed by the Sidechain Filter when toggled on. This will have no effect if the
Sidechain Filter is disabled.
Gate Hysteresis (Gate mode only): Sets the amount of dB below the Threshold in which
the Gate will close. This allows the signal to fall below the Threshold by a certain amount
of dB before the Gate starts closing. For example, if the Threshold is set to -12dB and
the Hysteresis is at 4dB, the Gate will open when the signal reaches -12dB and close
when it comes down to -16dB (4dB below the Threshold).
Gate Hold (Gate mode only): Sets the amount of milliseconds the Gate will stay open
after the signal has dropped below the Threshold/Hysteresis level.
Expander Knee (Expander mode only): Adjusts the “smoothness” of the Expander Ratio
angle. With a low Knee value (Hard Knee), the Expander will react more abruptly as the
input signal crosses the Threshold. With a high Knee value (Soft Knee), the Expander
will react more gradually.
Expander Ratio (Expander mode only): Sets the amount of gain reduction applied for
every decibel the input signal falls below the Threshold. For example, a Ratio of 2:1
means that an input signal that is 1dB below the Threshold will be reduced so that the
output is 2dB below the Threshold.
Expander Mode: Toggles between Gate mode (the default mode) and Expander mode.
When toggled on, this button activates Expander mode for a gentler form of gating. The
availability of certain controls depends on the selected mode. The Hysteresis and Hold
are only available in Gate mode and the Knee and Ratio are only available in Expander
mode.

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Compressor: The following controls/components pertain to the Compressor module.
Input Meter: Displays the signal level at the input of the Compressor (dBFS).
Reduction Meter: Displays the level of gain that is reduced from the signal by the
Compressor (dBFS).
Threshold: Sets the dB level in which compression will be triggered whenever the input
signal reaches this level.
Ratio: Sets the amount of gain reduction applied for every decibel the signal exceeds the
Threshold. For example, a Ratio of 2:1 means that an input signal that’s 2dB over the
Threshold will result in an output that’s only 1dB over the Threshold. The value range of
this control varies depending on the mode.
Attack: Sets the amount of milliseconds it takes to reach full gain reduction once
compression is triggered. The value range of this control varies based on the mode.
Release: Sets the amount of milliseconds it takes for the gain reduction to return to unity
gain once the input signal falls below the Threshold. The value range of this control
varies based on the mode.
Makeup Gain: Adjusts the gain of the Compressor output signal to compensate for any
decrease in the overall signal level caused by compression.
Emphasis Frequency: Adjusts the center frequency of the Emphasis Filter. The
Emphasis Filter is a high-shelf boost applied to the Compressor sidechain input. The gain
of the shelf increases along with the frequency so that the approximate gain is 10dB at
the minimum frequency of 100Hz and 40dB at the maximum frequency of 12kHz. This
control essentially adjusts the sensitivity of the Compressor to high frequencies. Higher
Emphasis Frequency values will cause the compressor to act more quickly on transients
but slower on lower frequencies, resulting in a more vintage character that is associated
with tube and opto-coupled compression devices.
Emphasis IN: Toggles the enablement of the Emphasis Filter. If toggled on, the
Emphasis Filter will be applied to the sidechain input of the Compressor. If toggled off,
the Emphasis Filter will be bypassed and the Emphasis Frequency control will be
disabled.

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Mode buttons: Sets the Compressor Mode which alters the internal characteristics of
the Compressor for different types of compression.
Leveler Mode: This mode offers more subtle compression than the default
Compressor Mode. It has a very low ratio with a small adjustment range, a very fast
release with a small adjustment range, and a widely adjustable attack.
Usage Note: Due to mic technique or other elements out of our control,
sometimes a signal has a very wide dynamic range. Leveler Mode with a fast
attack can be used to transparently reduce the level of the loudest parts, so
that the track has a more consistent level. Reducing the dynamic range of our
tracks can make them easier to mix, although it might rob some of the
performance’s natural dynamics. Leveler Mode with a slow attack allows the
initial sound (the first syllable of a word or phrase, for example), to be passed
through at full volume, while reducing the “body” of the sound slightly. This
retains and enhances the character of the recording, and it can help improve
intelligibility of words and instruments in a busy mix.
Compressor Mode: This is the default mode of the Compressor. It is the most
versatile of the three modes with full control over ratio, attack, and release.
Limiter Mode: This mode offers a more intense compression sound similar to a
limiter. It has a nearly-instant attack with little adjustment, a high ratio, and a widely
variable release time. Limiter Mode is an effect intended to sound like desirable
analog devices. It is not a brickwall digital peak limiter.
Usage Note: A limiter is a very fast-acting compressor, and these were initially
designed to capture signal peaks before they were passed on to sensitive
broadcast transmitters, disc-cutting lathes, or speaker systems. By taming the
transients of a very dynamic instrument (like drums), the limiter has the effect
of extending the instrument’s decay, and an inherent increase in room-sound
(reverb), sometimes called ‘bloom’ or ambience. A common use of the Limiter
is to increase the room & ambience of a drum mix.

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EQ: The following controls pertain to the EQ module. The EQ is an emulation of the analog
hardware EQ on the Harrison 32Classic console.
High Band (Bell/Shelf): This band can be either a high-shelf filter or a bell filter
depending on the selected mode, but it is a high-shelf filter by default. Note that the
ranges of the Frequency and Gain controls differ between Bell and Shelf modes, so the
set frequency and gain values may change when switching modes.
Frequency: Adjusts the center frequency of the high-shelf or high bell filter
depending on the mode.
Gain: Adjusts the gain of the high-shelf or high bell filter depending on the mode.
Bell/Shelf Mode: Toggles the High Band between Bell and Shelf filter modes. By
default the High Band is in Shelf mode, but selecting this button will toggle it to Bell
mode.
High-Mid Band (Bell)
Frequency: Adjusts the center frequency of the high-mid bell filter.
Gain: Adjusts the gain of the high-mid bell filter.
Low-Mid Band (Bell)
Frequency: Adjusts the center frequency of the low-mid bell filter.
Gain: Adjusts the gain of the low-mid bell filter.
Low Band (Bell/Shelf): This band can be either a low-shelf filter or a bell filter depending
on the selected mode, but it is a low-shelf filter by default. Note that the ranges of the
Frequency and Gain controls differ between Bell and Shelf modes, so the set frequency
and gain values may change when switching modes.
Frequency: Adjusts the center frequency of the low-shelf or low bell filter
depending on the mode.
Gain: Adjusts the gain of the low-shelf or low bell filter depending on the mode.
Bell/Shelf Mode: Toggles the Low Band between Bell and Shelf filter modes. By
default the Low Band is in Shelf mode, but selecting this button will toggle it to Bell
mode.
Filters
Low-Pass Filter Frequency: Adjusts the cut-off frequency of the Low-Pass Filter.
High-Pass Filter Frequency: Adjusts the cut-off frequency of the High-Pass Filter.
Bands IN: Toggles the enablement of the EQ Bands (High, High-Mid, Low-Mid, and Low
bands). When toggled off, the processing of the bands will be bypassed and the band
controls will be disabled.
Filters IN: Toggles the enablement of the EQ Filters (Low-Pass and High-Pass filters).
When toggled off, the processing of the filters will be bypassed and the filter controls will
be disabled.

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 Routing Section: The Routing Section at the bottom of the plugin window shows the order of
signal flow between the Gate, Compressor, and EQ from left to right. Each of the 3 processing
elements are represented by a routing item which you can click and drag around to change
the order of signal flow. Dragging a routing item to any of the arrows in between positions will
insert it at that position, shifting all other elements accordingly. If you drag one routing item
over another routing item, it will swap the positions of the two items. Regardless of the routing
order, the master input and output controls are always fixed at the input and output stages as
shown by the INPUT and OUTPUT labels located at the beginning and end of the routing
order.

Additional Features
At the top-right corner of the plugin window are the Momentary Bypass and Settings buttons.

Momentary Bypass

The Momentary Bypass button bypasses the plugin for as long as it's held. This is useful for
auditioning A/B comparisons quickly.

Settings

The Settings button reveals a pop-up menu where the window size can be adjusted. It also contains
a link to the plugin manual and version info at the bottom.

Control Behaviors & Shortcuts

Various mouse & keyboard shortcuts can be used to perform certain actions on the following
controls:

Sliders/Knobs

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Action Shortcut

Reset to default Double-click

Alt-click

Fine adjust Shift-click & drag

Control-click & drag

Command-click & drag (OSX only)

Adjust value Scroll mouse wheel

Labels

Action Shortcut

Reset to default Alt-click

Fine adjust Shift-click & drag

Control-click & drag (Windows only)

Command-click & drag (OSX only)

Adjust value Scroll mouse wheel

Close editor (discarding changes) ESC

Close editor (submitting changes) Enter

Combo Boxes (Drop-down menus)

Action Shortcut

Reset to default Alt-click

Scroll through menu items without opening menu Scroll mouse wheel

Select next/previous item (menu must already be open) Keyboard arrows

Close menu (if open) ESC

Band Controls

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 Action Shortcut

Reset Gain/Depth to default Double-click

Reset Frequency, Gain and Q to default Alt-click

Adjust Q Right-click & drag

Shift-click & drag

Temporarily set to Search mode (for EQ) or solo band (For Dynamics) Control-click

Fine adjust Frequency and Gain Command-click & drag (OSX Only)

Action varies per plugin Scroll mouse wheel

Graph Rulers

Action Shortcut

Reset Pan & Zoom or Trim Double-click

Alt-click

Fine adjust Pan or Trim Shift + Left-click & drag

Control + Left-click & drag (Windows only)

Command + Left-click & drag (OSX only)

Fine adjust Zoom Shift + Right-click & drag

Control + Right-click & drag (Windows only)

Command + Right-click & drag (OSX only)

Adjust Pan Scroll mouse wheel

Adjust Zoom Shift + Scroll mouse wheel

System Requirements
Your system must meet the following requirements in order to run Harrison plugins:

Windows 7 or higher
Mac OS 10.9 or higher
Linux GCC 5 compatible systems
OpenGL 3.2 or higher
libcurl-gnutls on Linux

macOS M1/ARM Support: This plug-in is provided as a universal binary for macOS and features
native M1 support.

Note for Pro Tools users: Pro Tools 11 or higher is required on Mac, 10.3.5 or higher is required on
Windows.

Additional requirements on Windows

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Harrison plugins require the “Windows C++ Universal Runtime” to be installed on your computer.
Universal runtime is part of the system’s core libraries on Windows 10. On Windows versions Vista
to 8.1, it will be automatically installed via Windows Update. It is also possible to install the runtime
manually, but that is outside the scope of this manual.

Note for Linux Users

If you’re experiencing issues with the plugin’s graphics or the GUI isn’t showing up correctly on
Linux, make sure your system’s graphics driver supports the minimum required OpenGL version of
3.2 or higher. To check this, run glxinfo | grep Max in a terminal window and make sure that the
value listed for the OpenGL core profile version string is at least 3.2 or greater.

If your core profile version meets this requirement but you are still experiencing graphics issues like
the ones mentioned above, it is likely that your system is reporting an OpenGL version lower than
3.2 to ensure backwards compatibility with deprecated OpenGL functions. To work around this, you
can force the system to report an OpenGL version of 3.2 or higher by setting this environment
variable: MESA_GL_VERSION_OVERRIDE=3.2

You can use this as a prefix when opening your DAW from a terminal command like so:

MESA_GL_VERSION_OVERRIDE=3.2 {command_to_launch_program}

This will set the environment variable for that particular terminal session only, so it will be reset once
the session is ended. If you don’t want to run this command every time you launch your DAW, you
can set the environment variable in your profile script so that it automatically gets set every time you
login.

Installation & Licensing

Licensing on macOS & Windows

This plugin is licensed through iLok on macOS and Windows. Visit iLok, Licensing and Activation for
guidance on activating your Harrison plug-in.

Licensing on Linux
This product includes software developed by the OpenSSL Project for use in the OpenSSL Toolkit
(http://www.openssl.org/)

In DEMO mode, after using the plugin for a certain amount of time, it will display a message:

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This message will come up periodically unless a license is provided. You can purchase a license
directly from Harrison’s web store or from an authorized plugin reseller. Once you’ve purchased a
license, install it by entering your license key into the designated field on this screen. Continue to
the next section for detailed instructions on how to obtain your license key.

Obtaining your License Key

After you purchase a license, you will receive a license key that will look something like this:

{your name}*AVA-BF*DC-138971-151520-1|gGLbnvCZJe386ULohzfQN6cIsoZ71n7c+AUg==|

This license key is required to install your license and activate the full version of the plugin. The way
to obtain your license key varies depending on where you purchased the license from.

If you purchased the license from Harrison’s web store, you will receive an email with a link to
download a text file containing your license key. If you purchased the license from a reseller, you will
receive an email containing the license key text.

Licensing your Plugin

When prompted by the plugin, copy and paste your license key into the designated text input field.
This will automatically install your license and register it with the plugin.

Once installed, Harrison’s license files are simple text (.txt) files which are stored in the user’s
HOME folder. The HOME folder is the folder that contains your Desktop, Downloads and other
folders. The location of your HOME folder is different for each operating system:

Linux: /home/{your username}

You may keep a copy of this file for your own use. The license is a per-user license and you may
install the license file on all of your computers. To install the file on a new computer, simply save the
file to a USB key or other transferable disk; then transfer the license file to the new computer’s
HOME folder. The license file has your name encrypted in it, so you should not share it with other
people. Your name will appear on the top of the plugin’s control panel to indicate that it is licensed to
you.
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The plugin will automatically detect your license key as long as the license file is stored in the HOME
folder of the computer you are using. After transferring the license file to a new computer, it may be
necessary to close and re-open your DAW in order for the plugin to detect the license.

If you don’t want to keep your license in your HOME folder for whatever reason, you may also store
it in the following alternative location: ~/.config/harrisonconsoles

Finding the plugin in your DAW

DAW operations vary tremendously. Generally speaking, to use the plugin you must follow these
steps:

1. Install the plugins, using the provided plugin installer application.

2. Follow your DAW’s instructions to “scan” for new plugins.

Please refer to your DAW manual to see which plugin formats (AAX, AU, VST, or VST3) are
supported by your workstation.

Most plugin formats require that plugins are installed to a specific location on the system. In these
cases, the installer will place the plugins in the default locations.

For VST format, on Windows, it is normally expected that the user defines the location of VST
plugins, and tells the workstation where to find the plugins. The default location for VST plugins is
C:\Program Files\Steinberg\VST. The plugin installer will save the VST (.dll) files to that location if a
custom VST path is not provided by the OS. If you are having trouble, you should verify that the
path is included in your DAW VST scan paths.

Thank you for purchasing this Harrison plugin!

Harrison has been making products for the audio engineering industry since 1975. We continue to
make these products, with intense dedication, from our Nashville, Tennessee factory.

As the audio industry has changed through the decades, Harrison has too. Originally launched to
provide mixing consoles for music recording studios, the Harrison brand has extended to provide
products for live broadcast, live sound, theater installations, post-production, film dubbing stages,
and bedroom studios. We’ve lived through the launch of the commercial music industry, the
maturation of analog, the digital revolution, the establishment of the internet, and now the
acceptance of computers as the de-facto platform for the audio industry. In our pursuit of audio
excellence, we’ve developed our own analog circuits, digital I/O solutions, digital DSP engines,
control surfaces, audio workstations, and nearly every aspect of pro-audio technology.

“If you asked a hundred engineers, mixers and producers to define the “perfect console” you
would probably get a hundred answers. The answers, however, would all contain the same
salient points.”
“The “perfect console” would have totally transparent sound, capturing the true musical
quality of all performances. It would have unlimited features, facilities, and functions. It
would perform all required tasks with a minimum of operator effort. It would be totally reliable
and require no preventive or corrective maintenance…
You can spend the rest of your life looking for the “perfect console”. You’ll never find it. You
will find, however, that we have what you need.”- quote attributed to Dave Harrison; Harrison
MR20 brochure; circa 1982 15/16
True-er words were never spoken; indeed every year there are many products and technologies that
seem tantalizingly necessary for audio excellence. Our lasting experience has proven that simple,
straightforward, well-engineered, and great-sounding tools are the only necessity.

These plugins represent the pinnacle of Harrison’s engineering practices for digital audio sound &
workflow. We sincerely hope that you enjoy using these tools as much as we enjoyed creating them.
Your continued support is greatly appreciated!

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