I rewnewed my WA DL online...all the way from here in New Zealand!Quote:
Originally Posted by bfish
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I rewnewed my WA DL online...all the way from here in New Zealand!Quote:
Originally Posted by bfish
Just to get back on topic .
Technology changes so quickly that Tascam X48 outperfoms PROTOOLS.
TASCAM
http://www.digidesign.com/index.cfm?navid=49&itemid=18
This article on Dynamic Range Compression is a good 101 starter.
a compressor is an automatic volume control. Loud sounds over a certain threshold are reduced in level while quiet sounds remain untreated (this is known as downward compression, while the less common upward compression involves making sounds below the threshold louder while the louder passages remain unchanged). In this way it reduces the dynamic range of an audio signal. This may be done for aesthetic reasons, to deal with technical limitations of audio equipment, or to improve audibility of audio in noisy environments.
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http://www.hostboard.com/forums/hbmc.../2009/07/8.jpg
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As rock became prevalent on FM in the mid-60s, the CBS Volumax/Audimax was one legendary compression rig used, favored because it only "expanded" (lifting soft volume) if any existed. Consequently, it wouldn't expand an unmodulated signal, avoiding the boosting of the noise floor (hiss) as many previous units did. However, it could create an annoying "sucking and pumping" effect (compression and expansion) if driven too severely.
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Threshold
Threshold is the level above which the signal is reduced. It is commonly set in dB, where a lower threshold (e.g. -60 dB) means a larger portion of the signal will be treated (compared to a higher threshold of -5 dB).
RATIO
Different compression ratios
The ratio determines the input/output ratio for signals above the threshold. For example, a 4:1 ratio means that a signal overshooting the threshold by 4 dB will leave the compressor 1 dB above the threshold. The highest ratio of 8:1 is commonly achieved using a ratio of 60:1, and effectively denotes that any signal above the threshold will be brought down to the threshold level (unless some attack is in force).
Attack and release
A compressor might provide a degree of control over how quickly it acts. The 'attack phase' is the period when the compressor is increasing gain reduction to reach the level that is determined by the ratio. The 'release phase' is the period when the compressor is decreasing gain reduction to the level determined by the ratio, or, to zero, once the level has fallen below the threshold. The length of each period is determined by the rate of change and the required change gain reduction. For more intuitive operation, a compressor's attack and release controls are labeled as a unit of time (often milliseconds). This is the amount of time it will take for the gain to change a set amount of dB, decided by the manufacturer, very often 10 dB. For example, if the compressor's time constants are referenced to 10 dB, and the attack time is set to 1 ms, it will take 1 ms for the gain reduction to rise from 0 dB to 10 dB, and 2 ms to rise from 0 dB to 20 dB.
The attack and release phases in a compressor
In many compressors the attack and release times are adjustable by the user. Some compressors, however, have the attack and release times determined by the circuit design and these cannot be adjusted by the user. Sometimes the attack and release times are 'automatic' or 'program dependent', meaning that the times change depending on the input signal. Because the loudness pattern of the source material is modified by the compressor it may change the character of the signal in subtle to quite noticeable ways depending on the settings used
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Stand alone multitrack recorder for live and studio is the way to get Sound Engineers interested in recording again. As pro tools stands I see it more as an editing post production
mastering tool.
Good compressors are not cheep and if you have a good one on your mixer use that one.
Tascam did win the Tech Award for the 24 track model this X48 track will be a hit.