Bill Mueller wrote:
> Outdoor recording of natural and unpredictable sounds creates a
> challenge for limiter setting since we cannot always adjust input
> gain and limiter settings before we are faced with a surprising
> sound. I find it nice to have it available so that I don't ruin an
> otherwise interesting clip. However, one must always be aware that
> limiting/compressing does add a degree of distortion and
> unnaturalness to the recording during the compression and must be
> used sparingly in order not to produce unwanted sound modification.
>
> I am just getting familiar with my new HHB Portadisc. It has a
> switchable limiter, but with preset settings only. I can only
> switch input mics pads to essentially raise the limiter threshold
> value (while lowering the overall input gain, unfortunately). I
> have yet to find the specs on the Portadisc internal limiter, but it
> appears to work well with what I am recording.
>
> I am most sure that those on this forum that have experience with
> limiter/compressors can amplify or clarify these comments.
This brings out the big gulf between studio equipment and what you can
do there and field equipment. We have to do with what's available. I
find that studio folks will talk being out in the field when they just
mean in another building. I mean no building, no designed acoustic
space, and no plugins. Get carried away and collapse under your load.
I prefer to act like studio gear does not exist. That narrows it down to
my realistic choices.
I agree, the use of limiters should be a last resort in nature
recording. There are occasions when we really need them. Some of the
newer equipment has fairly reasonable limiters when this happens. The
rest of the time it's a matter of developing that fine art of knowing
just how loud the sounds will be, and setting the gain accordingly.
Nothing teaches that like lots of hours in the field with your
particular choice of equipment.
Walt
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