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7/23/2019 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
WWW.TCELECTRONIC.COM
S e p / 0
1 .
P r o d .
N o : 6 0 6 0 0 5 9 1 1
By M
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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
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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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