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Articles Tagged Compression

  • Tuesday, April 26, 2016
    dynamic processing
    PSW Staff 04/26/16 05:52 AM,
    Dynamic range can be defined as the distance between the loudest possible level to the lowest possible level. For example, if a processor states that the maximum input level before distortion is +24 dBu and the output noise floor is -92 dBu, then the processor has a total dynamic range of 24 + 92 = 116 dB. However, the average dynamic range of an orchestral performance can range from - 50 dBu to +10 dBu on average. This equates to… View this story
    Filed in: Church SoundFeatureStudy HallProcessorSignalSound Reinforcement

  • Thursday, December 31, 2015
    PSW Staff 12/31/15 11:17 AM,
    Celestion announces the launch of the CDX20-3020; a new 2-inch exit, ferrite magnet compression driver. With a 3-inch copper clad aluminium voice coil driving a titanium diaphragm, the device delivers 75Wrms power handling and 107dB sensitivity across a frequency range of 500 to 18,000Hz. Recommended minimum crossover frequency (at 12dB/octave) is 1kHz. According to Celestion’s head of engineering Paul Cork “This compression drivers bring together the best elements of technology used in the most successful products of our CDX range.… View this story
    Filed in: AVNewsProductAVLoudspeakerManufacturer

  • Wednesday, December 30, 2015
    PSW Staff 12/30/15 07:55 AM,
    Celestion announces the launch of CDX1-1070; a new one-inch exit, ferrite magnet compression driver. Developed at Celestion’s headquarters in Ipswich, England, CDX1-1070 is a 25mm/1-inch exit compression driver. Driven by a 25mm/1-inch copper clad aluminium voice coil, this device provides 12Wrms power handling and 106dB sensitivity across a frequency range of 1500 to 20kHz. It features a single piece PETP diaphragm and surround is held in place by a precision aluminium carrier, ensuring consistent reliable performance and facilitating a smooth… View this story
    Filed in: AVNewsProductAVLoudspeakerManufacturerSound Reinforcement

  • Friday, September 04, 2015
    audio compression
    Casey Campbell 09/04/15 11:01 AM,
      Some of the most common questions I receive about audio: What is a compressor?  How do I use it? What do the controls do? Compression is like a finger on a volume control (fader). If a sound gets too loud, it’ll turn the volume down. If the sound is softer, it can bring up the volume. You can also tell it to wait a few moments before it makes an adjustment, and you can tell it to wait for… View this story
    Filed in: Live SoundChurch SoundFeatureBlogStudy HallAnalogDigitalProcessorSignalSound Reinforcement

  • Wednesday, August 12, 2015
    Bruce A. Miller 08/12/15 05:54 AM,
    This article is provided by   In the world of recording there are numerous kinds of effects. However, often there are more terms and details specific to each device than the average engineer would care to learn before jumping in and using the new equipment. Details are very important, though, and are critical to understanding the basic opperation of all equipment. So let’s take a look at threshold based effects and make sure we all have a good understand… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsEducationMixerMonitoringProcessorSignalStudio

  • Wednesday, July 08, 2015
    David S. Eley 07/08/15 07:03 AM,
    This article is provided by The Audio Mastering Blueprint This chapter will teach you about a powerful way of using a single-band compressor – parallel compression. Outlined are some of the downsides to using standard single-band compression and how parallel compression can overcome these. The chapter begins with what parallel compression is and how to set it up, then provides tips on how to get the best out of this incredible technique. The compression technique demonstrated in part 1 (The… View this story
    Filed in: RecordingFeatureNewsStudy HallEducationEngineerMeasurementProcessorSignalSoftwareStudio

  • Thursday, June 04, 2015
    PSW Staff 06/04/15 07:34 AM,
    Engineer Geoff Hidden’s DiGiCo SD9 digital console, including a D2 Rack and integrated Waves plug-ins, is providing the specialized tools he needs to make sure that every word is heard. “People think, ‘It’s one microphone—how hard can it be?’” says Hidden, front of house mixer for “Fluffy,” aka Gabriel Iglesias, the hefty comedian, actor, writer, producer and voice actor out on the road with his “Unity Through Laughter” world tour since February and known for his online shows I’m Not… View this story
    Filed in: Live SoundNewsConcertConsolesDigitalEngineerMixerProcessorSoftwareSound ReinforcementStage

  • Wednesday, April 15, 2015
    PSW Staff 04/15/15 12:22 PM,
    Harman’s dbx today announced the introduction of the goRack Performance Processor, loudspeaker management processor that enables a portable PA system to be optimized for sound quality. The goRack incorporates dbx’s DriveRack series processing in a compact unit that fits into the palm of the hand. “The dbx goRack boils all the essentials of our industry-leading DriveRack processors into an affordable product that is incredibly simple to use,” said Jason Kunz, market manager, portable PA and recording & broadcast. “With the… View this story
    Filed in: AVLive SoundAVDigitalProcessorSoftwareSound Reinforcement

  • Wednesday, January 14, 2015
    Bruce A. Miller 01/14/15 04:25 PM,
    This article is provided by   The compressor is a wonderful tool when used properly, however, often the basics of compression are misunderstood, leaving audio that would have been better left untouched. A compressor is a threshold effect that will squeeze dynamic range. If a sound has dynamics (increases and decreases in volume), a compressor will push them together.  This type of effect is called compression and is not to be confused with computer files compression (making files smaller)… View this story
    Filed in: RecordingFeatureBlogStudy HallEducationMeasurementProcessorSignalStudio

  • Tuesday, July 22, 2014
    Bobby Owsinski 07/22/14 07:59 AM,
    This article is provided by Bobby Owsinski.   Ever wonder why there are so many different compressors and why they all sound different? That’s because back in the analog days there were a number of different ways to achieve compression depending upon the type of electronic building block that you used. Here’s a brief excerpt from The Mixing Engineer’s Handbook that covers the four families of compressors that we generally use today. In the days of analog hardware compressors, there… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsProcessorSoftwareStudio

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