droney massey 2001 compres

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TC ELECTRONIC A/S DENMARK • ✆ + 45 8742 7000

TC ELECTRONIC INC. USA • ✆ (805) 373 1828 • [FAX] (805) 379 2648

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N o : 6 0 6 0 0 5 9 1 1

By M



THE TC ELECTRONIC GUIDE TO C

TABLE OF CONTENTS

Part I: Introduction

Introduction

Why compress?

Overload protection

G ain consistency

Increased loudness

Part II: Contro ls & Features

Input

Threshold

Ratio

S oft Knee vs. Hard Knee

Attack

ReleaseOutput (Makeup G ain)

Bypass

Look-Ahead

S idechain Input

S tereo Linking

Full-Range vs . Multiband Compression

C ros sover (Multiband c ompres sion)

Envelope



PART III: COMPRESSION APPLICA

Compressing The Headphone Cue

When recording vocals, the objective is

singer to deliver as strong a performance awhile s till singing on pitch. To this

headphone cue mix is extremely impo

many singers prefer to hear the song

headphones in as finished a state as pos

this reason, many engineers opt to str

pressor or limiter across the auxiliary send

the hea dphone amplifier, often s etting the

sufficiently low and release time sufficienas to impart an audible pumping, sa me a

might s ound w hen played on the radio. S

use multiple dynamics processors for thi

strapping a mono compressor across

track and a stereo limiter across the bac

which is triggered by a sidechain input

vocal so as to impart a subtle "ducking"

the voca l enters. The bottom line, a s onesa ys: " Whatever the voca list likes to hea

them to deliver a performance, that's w

them."

Brickwall Limi ting With In-Ear Mon

As noted in Part I of this booklet, the u

ea r monitors during live performance pro

formers with an accurate, highly comeans of hearing themselves without hav

on onstage wedge speakers which are

feedback. However, an uncontrollably l

routed to an in-ear monitor can cause

hearing damage, so live sound enginee

severe limiting (often c alled " brick-wal

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droney massey 2001 compres

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