3 Mar
2003
3 Mar
'03
5:43 a.m.
On Mon, Mar 03, 2003 at 05:22:06 +1100, Allan Klinbail wrote:
I was refering to gain reduction meters, which are simply a way of giving
the user a clue (warning) what is going on, hence the distinction between
that and an signal output.
The reason for using a sidechain (in the hardware
world) as opposed to
plugging everything inline.. is simplification of patching and
minimising the number of cables being used.
In software there would be no reason other than aestethics to include a
sidechain as it is possible to plug modules into each other in series
without getting ground noise from excessive amounts of cabling. So Steve
you are correct it isn't really useful.
Actually, this isn't quite correct. There are times when you want to
process the amplitude of one signal (eg a bassline) with the dynamics of
another (eg. a drum beat). Its pretty cheesy, but I dont think preventing
things on aritstic metrit is a good precident ;)
For example
the distinction between the control output of an envelope
follower and the gain reduction output of a compressor, the follower is
inteded to drive eg. a filters cutoff, wheres the gain reduction is just
inteded to be viewed by the user as a clue as to what is going on.
Correct about control output. However gain reduction on a compressor
actually controls the output level or gain from the unit, it is not
simply for "the user as a clue as to what is going on".. Often when compressing the resultant output may be larger than
desired... When
compressing a signal, input level is often boosted to get more of an
effect from the compressor (usually this is controlled with the input
gain on the desk) which is why the output level would often be very
high.. gain reduction is a way of counteracting this.
I think you mean makeup gain here. Its genreally used to boos t the signal
level given a particularly heavy compression, but hypothetically you could
use it to reduce too.
- Steve