COMPOSER PRO MDX2200
P/dB |
Clipping |
+20 |
Headroom |
0 |
Operating level |
Effective SNR |
Noise floor |
t |
Fig. 3.2: The interactive relationship between the operating level and the headroom
The need therefore arises for a fast acting automatic gain control system which will constantly monitor the signals and which will always adjust the gain to maximize the
3.3 Compressors/limiters
By measuring the dynamic range of musical instruments in live recording situations, you will find that extreme amplitudes occur which often lead to overload in subsequent signal processing equipment. Especially in broadcasting and record cutting techniques, these signal peaks can lead to heavy distortion. To avoid this kind of distortion or, for example, to avoid loudspeakers being damaged by overload, compressors or limiters are used.
The principal function used in these devices is dependent on an automatic gain control as mentioned in the previous section, which reduces the amplitude of loud passages and therefore restricts the original dynamics to a desired range. This application is particularly useful in microphone recording techniques, to compensate for level changes which are caused by varying microphone distances. Although compressors and limiters perform similar tasks, one essential point makes them different: Limiters abruptly limit the signal above a certain level, while compressors control the signal “gently” over a wider range. A limiter continuously monitors the signal and intervenes as soon as the level exceeds a
A compressor also monitors the program material continuously and has a certain threshold level. With com- pression, in contrast to the action of a limiter, signals are not reduced in level abruptly once the threshold has been exceeded, but are returned to the threshold gradually. The signal is reduced in gain, relative to the amount the signal exceeds this point.
Generally, threshold levels for compressors are set below the normal operating level to allow for the upper dynamics to be musically compressed. For limiters, the threshold point is set above the normal operating level in order to provide reliable signal limiting, to protect subsequent equipment from signal overload.
3.4 Expanders/noise-gates
Audio, in general, is only as good as the source from which it was derived. The dynamic range of signals will often be restricted by noise. Synthesizers, effects devices, guitar pickups, amplifiers etc. generally produce a high level of noise, hum or other ambient background hiss, which can disturb the quality of the program material.
Normally these noises are inaudible if the level of the desired signal lies significantly above the level of the noise. This perception by the ear is based on the “masking” effect: noise will be masked and thus becomes
14 | 3. TECHNICAL BACKGROUND |
