This is placed next to a photoresistor. The brighter the bulb gets, the lower the resistance of the photoresistor. This is used to control the gain of an amp and therefore loud signals get less gain than soft signals. What's the history of compression? It starts by saying the WE unit was introduced "some months ago", with other manufacturers announcing units "recently".
The information on the Gates B is mentioned as "having just been received, and with no field reports concerning performance". It goes on to say that a limiting amplifier of very similar nature has been in regular unnamed; probably the RCA Photophone unit? The earliest I can come up with There is a modified example looking mean and fierce behind my shoulder as this is being written.
A German broadcast monster that apparently had an influence on the Fairchild. You know it's there It's there in my links, unless you choose to drive by in your batmobile. Top Mentioned Manufacturers. Facebook Twitter Reddit LinkedIn. Subscribe to our Newsletter. By using this site, you agree to our use of cookies.
Just do a Google search for "loudness wars" if you aren't up on what that means, and you'll find enough reading to keep you busy for a long time. To the "untrained ear", louder and brighter always sounds "better" But, the problem with today's music is that, in an effort to make each release louder than every other release, music has been compressed and peak limited to death, resulting in very loud and harsh CDs and MP3s that are generally fatiguing to listen to for any extended amount of time.
Yet, people think they sound "better" because they are so much louder, and our ears are very easily fooled. You might also think of this general loudness as being "punchy", when in reality it's just LOUD and all the dynamics have been totally removed from the music. In my mind, in order to have true "punch" there needs to be dynamics and contrast between loud and soft. Also, punch is all about transients and peaks, which are generally squashed away and removed as much as possible when trying to make digital audio as loud as possible.
Thanks for the response. I didn't mean to hit a sore spot, but truthfully, your response was interesting in many ways. I've taken some of the recordings from the 60's and 70's and have "turned up the volume" in order to compare recordings from then to more current recordings. It seems the bottom end on newer recordings are much more pronounced and clearer. For example, compare the bottom end to an early Beatles' song like "I Saw Her Standing There," a personal favorite of mine, and then compare the bottom end to something like the Pretenders' "My City Is Gone.
Yet the difference is stunning. I don't know. I was hoping that you might provide a little insight into the matter. Again, thank you for your time. I really find your responses informative. No problems If you're talking specifically about the bottom end, and bass in particular, I don't think it really has to do with compressors.
The most coveted compressors these days are still some of the oldest. Fairchild, , LA2A are all classic compressors that have been around for a long time, and are still copied and even emulated with plug-ins today.
Compressor technology really hasn't evolved enough over the years for that to be the difference you are hearing. I believe it's simply more of a progression of the recording medium and the enhanced techniques allowed as recording technology improved.
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Contact Me. Buy me a coffee? Compression is the process of reducing the dynamic range between the loudest and quietest parts of an audio signal. This is done by boosting the quieter signals and attenuating the louder signals. Compression is mainly used on vocals, however can and should be used across the board of mixes, to ensure full control of the final mix. Compression should be enough to control the mix, and whenever using the effect it should not be obtrusive — this is all how your own ears perceive the sounds however.
Ratio — How much compression is applied. For example, if the compression ratio is set for , the input signal will have to cross the threshold by 6 dB for the output level to increase by 1dB. Knee — sets how the compressor reacts to signals once the threshold is passed. Hard Knee settings mean it clamps the signal straight away, and Soft Knee means the compression kicks in more gently as the signal goes further past the threshold.
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