Recording Handbook - Hol.gr

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The action of reducing the amplitude of a signal can easily become a form of distortion, so the design of limiters is a delicate art. The usual approach is to set up the circuit so the transition from free to limited operation is somewhat gradual, and so that the transition back (called the RELEASE) is even more gradual. Appropriate release times vary with the nature of the program material, so this parameter is often adjustable. The limiting point (called the THRESHOLD) is of course also adjustable. COMPRESSION It is also possible for the soft spots of a program to become too low in amplitude, especially in a noisy medium like AM radio. A program with a wide dynamic range may have to have that dynamic range reduced in order to fit a particular audio system. (Surprisingly, the current switch to digital audio is making this problem more common as stations try to fit the wide range of compact discs through the restricted dynamic window of FM transmitters.) A device which reduces the overall dynamic range of a signal is called a COMPRESSOR. A compressor works by measuring the average amplitude of the input signal and using the information from that measurement to control the gain of an amplifier. If the measurement comes out above an adjustable threshold, the gain is reduced, if the measured input amplitude is below the threshold, the gain is increased. The amount of effect is usually adjustable and is expressed as a ratio of input dynamic range to output dynamic range, such as 2 to 1 or 3 to 1. The release time is adjustable just as with the limiter, but the adjustment is much more critical, because the compressor is constantly changing gain whereas the limiter only cuts in occasionally. It is impossible to find a release time that is perfect for all situations. A very short release time will cause the circuit to attempt to trace the waveform of low frequency components of the signal, resulting in intermodulation distortion of high frequency components; whereas a long release time will leave the amplifier in the wrong mode if the signal changes quickly. That second error results in brief bursts of expansion, a very disconcerting effect. (Sounds like heavy breathing.) 34 34
EXPANSION Expansion is the opposite of compression. It is accomplished with the same circuit as compression, but the rules are changed so that any signal with amplitude above the threshold will be amplified and any signal with amplitude lower than the threshold will be attenuated. Expansion is used primarily for special effects, such as super loud tacos. NOISE GATING Sometimes a program is encountered which has proper dynamic range but which has objectionable background noise. Very little can be done to reduce the noise without affecting the signal, but the spaces where there is no signal can often be cleaned up with a NOISE GATE. This circuit is an expander that only works on the low amplitude parts of the signal. Any section that is below the threshold will be attenuated rather drastically, so the space becomes nice and quiet. You can hear this device in action on old movies on TV. Release time adjustment is very critical in this application also, because if the circuit is too slow, the turning down of the noise will be painfully obvious, but if the circuit works too fast, the reverb at the ends of the sounds will be lost. X-Newsgroups: alt.music.4-track,alt.answers,news.answers (not yet) Subject: 4-track Recording FAQ v0.44 [alt.music.4-track] Followup-To: alt.music.4-track X-From: tom@zipcon.net (not yet) Summary: The frequently asked questions list for alt.music.4-track. Contains technical information and opinions on hardware, effects, and recording techniques relevent to 4-track and other home recorders. Also contains pointers to related online, print, and video resources, and a brief explanation of some acronyms and technical terms. 35 35
Page 1 and 2: 1 Από το Web Site του Αν
Page 3 and 4: 1. Sonic Fundamentals a. Loud vs. S
Page 5 and 6: 5 The "sampling rate", or how many
Page 7 and 8: . Guitars, Basses and Things With S
Page 9 and 10: levels of your boxes and how you in
Page 11 and 12: 11 physically replaying your moves,
Page 13 and 14: d. Harmonizers and Exciters Harmoni
Page 15 and 16: d. Computers Computers have become
Page 17 and 18: 17 Here is where the capabilities o
Page 19 and 20: Unfortunately, Syquest is out of bu
Page 21 and 22: • II. Specifications. • III. Pi
Page 23 and 24: No mic is perfectly linear; the bes
Page 25 and 26: MICROPHONE PATTERNS These are polar
Page 27 and 28: solve the problem by mounting the m
Page 29 and 30: 29 subtracted from the omni signal.
Page 31 and 32: Learning for yourself. Many student
Page 33: 33 The attenuation provided by a fi
Page 37 and 38: Warning: Send me any SPAM and I'll
Page 39 and 40: jeibisch@revolver.demon.co.uk (Jame
Page 41 and 42: Some changes between 0.4 and 0.41:
Page 43 and 44: Table of contents -----------------
Page 45 and 46: S3. Recording Techniques Q3.1 How d
Page 47 and 48: "So your best bet is to use whateve
Page 49 and 50: "DiY" - Do-it-yourself (music) "ind
Page 51 and 52: Q1.1 What is a 4-track machine? A 4
Page 53 and 54: Michael Parrott writes: "Note that
Page 55 and 56: The term "graphic" is used to descr
Page 57 and 58: Q1.1.4 What are balanced and unbala
Page 59 and 60: two guitars each get a track of the
Page 61 and 62: to a line level input and hear the
Page 63 and 64: Table of Features Note: this is way
Page 65 and 66: Price - Price is in U.S. dollars, m
Page 67 and 68: There is a brand missing from your
Page 69 and 70: good mic) and you're halfway there.
Page 71 and 72: "The $11.99 omni-directional ones (
Page 73 and 74: ak748@detroit.freenet.org (Daniel W
Page 75 and 76: comes with Quad is fully supported
Page 77 and 78: or ftp://ftp.winternet.com/users/df
Page 79 and 80: I was reading [about] SAW when I ca
Page 81 and 82: You require one track of the 4 for
Page 83 and 84: This audio output is plugged into t
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hits that frame. So, going back to
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Q1.8 How does an 8-track machine co
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psu02178@odin.cc.pdx.edu (Joshua Me
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Q2.2 What is reverb? benl@mojo.euro
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ack down. Similarly, a compressor c
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is, vocals don't need as much as a
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Companding is a two-stage process o
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sound becomes [dirty] when you repe
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Q3.1 How do I get a good sound? Dav
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Add lead guitar to one of the remai
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will@iglou.iglou.com (William M. Wi
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onto his Hi-Fi deck. I have to say,
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miked amps and put on another track
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everything at once and not making a
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Q4.1.2 What are some related FAQ li
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***********************************
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XCF.Berkeley.EDU has IP address 128
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DAT-Heads mailing list. ***********
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in the body of an email message (*n
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Currently, archives for GAJOOB Maga
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Everything in the tips was done usi
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http://www1.uniovi.es/musica/ LA FA
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Direct any further questions, comme
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Alfred Publishing Co., Inc. 16380 R
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e-create sounds you hear on hit rec
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that old manual you've been looking
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This version was completed 12/4/96.
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139 Cons: It can be VERY expensive.
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141 Studio time is fairly expensive
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lead guitar, then rhythm guitar and
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SECTION V: MIXING 5.1) What is the
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Recording Handbook - Hol.gr

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