Conference napalm::commusic_v1

    Hmmm.  My MXR limiter has two modes for tweeking.  The one mode
    absolutely, positively will not allow the output to go above some
    value.  But, when it clamps it can sound unnatural.  The other mode
    clamps more gradually (in steps?  I'm not really sure how this works) 
    and sounds more natural.  But, a burst can cause it to let something 
    pass.  I usually leave it in this mode.  Also, I have adjustments that 
    control delay between when the peak is detected and when the thing 
    clamps.  I usually set that to its minimum.  Another adjustment
    controls the delay between when the peak disappears and the clamping 
    turns off.  That's also usually left at a minimum.  My unit has
    four LEDs for each channel that indicate when and how much clamping is 
    going on.  I usually adjust input levels so that when things are at 
    their loudest two of the LEDs are on (indicating moderate clamping).
    This usually takes care of peaking by keeping levels more or less
    flat.  The output levels are adjusted so as to get as high a reading
    on the recorders meters without peaking.
    
    
    Steve

    I recently bought a compressor/limiter/gate and all of the limiters
    I looked had a spec that indicated how quickly it can react.
    I think it was usually around 2-5 ms, obviously the more expensive
    units had quicker response times.
    
    So I think the answer to your question is "no", it is not true
    that you can't totally avoid peaking the meters.   Although we
    probably aren't interested so much in the meters as what gets
    onto the tape, it depends on how fast your meters respond.
    
    However I think what you're asking is "if I set the meters right,
    do I still have to worry about saturating the tape".  And I *think* that
    the pragmatic answer is no.  The amount that a decent limiter is
    likely to let through before it reacts is not likely to cause
    noticeable distortion from tape saturation as the duration is so
    short.
    
    	db

    
    Somewhere in the compressor note I described how they work and what
    the difference is between a compressor and a limiter. Basically
    a limiter is a compressor that's running a ratio greater than about
    8:1 and functions with a hard knee characteristic. That is, once
    the signal hits the threshold, the limiter clips the signal level
    off hard at that level. This is what might sound unnatural. A
    compressor is used at various ratios but is very effective on vocals
    at around 2:1, using a soft knee characteristic. That type of action
    is less radical than hard limiting and is more natural sounding
    to the ear. It also will reduce somewhat the proximity effect of
    the mike.
    
    If you want to smooth out your mic response and control the levels
    somewhat then you want to compress lightly. If you want to stop
    the maximum levels at a certain point, you want to limit. If you
    want both, you really have to have two units, or a multifunction
    unit like the Rane DC24 that has a discrete compressor and limiter
    per channel. A single compressor cannot function as a limiter at
    the same time.
    
    CdH
    

    I recently purchased a Yamaha GC2020B II.
    
    This is a dual channel, compressor/limiter but also has a noise
    gate for each channel.   It also has inputs for phone plugs AND
    XLR-type (mic) type inputs.
    
    I consider both noise gates and compressors to be extremely useful
    for recording off a microphone, particularly vocals.  I find the
    noise you get in between phrases and such to be far more obnoxious
    than tape noise.
    
    I found the original GC2020 to be a little bit noisey, but the B II
    version seems pretty quiet.  I think the combination of dual channels,
    XLR inputs, and a gate makes it particularly versatile.  It's just
    as useful for PA applications as it is for recording.
    
    It goes for a little over $300 at Daddy's.
    
    	db