high frequencies more than the low frequencies produced by passing traffic or overhead jets. Low frequencies can also be prominently produced when someone bumps a mic stand or taps their feet. TAMPA has a
To engage TAMPA’s
NOTE: Some microphones have their own low cut switches. Be certain to use this feature on either the mic or the preamp, not both.
Setting the Compressor
While the philosophy behind compressors is pretty straightforward, the process of finding the actual settings that work best varies from situation to situation and from ear to ear. A little compression can make the ideal difference in the dynamics of a track, where too much compression can suck the life out of a performance.
In general, the ideal is to record the hottest level possible without distorting or clipping, as this results in the greatest signal level in relation to the noise floor on your recording media. Many sound sources, such as the human voice, can vary significantly in level during the course of a performance. Even when the situation is not that severe, it is often desirable to lessen or “compress” the difference between the extremes in dynamics.That’s where compressors come
The threshold setting determines the point in the compressor’s output level above which the compressor will engage. The compression ratio is expressed as the relationship of the signal level passing the threshold to that of the output level. For example, at a 2:1 ratio, for every 2dB of signal level over the threshold, the output is 1dB of signal level over the threshold. At a 4:1 ratio, for every 4dB of signal level over the threshold, the output is 1dB of signal level over the threshold. The higher the compression ratio, the more uniform the signal level is once the threshold is reached. In general, a lower compression ratio (4:1 and under) is fairly transparent. At 6:1 and over, compression may tend to become an audible effect.This may not be the desired result for a vocal performance, but may work well for a lead guitar track.
The attack time determines how long it takes for compression to engage
after the signal passes the threshold setting. In general, ideal attack time settings are a function of the type of instrument and inherent transients. For instruments like string and bass that exhibit slower attack, a slower attack time setting is usually best. Similarly, instruments such as snare drums exhibiting fast transients typically benefit from faster attack times.
The release time controls how long it takes the signal to return from a state of gain reduction to a normal state of zero gain reduction. Longer release times tend to produce a smoother, more transparent compressor action, especially with
To set TAMPA’s compressor:
1.Start with the COMPRESSOR IN/OUT switch set to the OUT position.
2.Use the steps outlined under “Setting Levels” to achieve a good sound and output level.
3.Set the COMPRESSOR IN/OUT switch to the IN position, wih all compressor controls set fully counterclockwise. The COMPRESSOR IN INDICATOR will light to show that the compressor is engaged.
4.Start by determining the approximate compression ratio for the desired result. Adjust the RATIO and the THRESHOLD to achieve the desired amount of gain reduction.TAMPA’s GAIN REDUCTIONVU meter is useful in confirming what your ears are hearing by dynamically displaying the amount of gain reduction. For transparent compression, try to have loud passages incur a maximum gain reduction of about
5.Set the ATTACK and DECAY times to taste. 5ms and 1 second are good respective starting points.
6.Continue to adjust all controls until you achieve the desired result. This may include the adjustment of the preamp gain controls, including the GAIN knob, +20dB gain boost, and the 20dB PAD.
As with many things in the audio realm, experimentation is required due to the differences between instruments, performance styles, microphones, recording environments and production styles. Remember to test dynamic extremes in the source material when setting the compressor. Keep in mind that the compressor is also responding to the signal level it gets from TAMPA’s input gain stage.
The next page lists some typical settings for compressor use and is a good place to start in your experimentation.
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