Rerurn to Romy the Cat's Site


In the Forum: Playback Listening
In the Thread: Attention Sound Engineers (compression and loudness)
Post Subject: Gain VS distortionPosted by Andy Simpson on: 4/14/2009
fiogf49gjkf0d
 Paul S wrote:
The fact is, all orchestral processing/recording/broadcasting involves some sort of "compression", so it's really just a matter of how it's done.


This is true in a more complete sense than I think was intended.

Aside from the compression in the microphone capsule itself we also have compression in the loudspeaker to contend with.

In other words, for a given playback SPL there is an inevitable level of compression (nonlinear distortion) in the loudspeaker, which can be 'traded' for compression processor distortion (nonlinear distortion).

This is where the monitors in the recording studio become important as the process of weighing the trade is largely un/subconscious (subjective).

In any case, the terms & conditions of the 'trade' are totally specific to the loudspeaker & listening level and while the average studio loudspeakers have extremely high distortion we will be faced with the 'gain vs distortion' compromise shown in most recordings.

Andy

Rerurn to Romy the Cat's Site