EXTENSION CHORDS
In the recording studio, it is not all done with just instruments and voices. Much of what we hear coming through our home stereo speakers and car radios has been processed through any number of echo units, compressors, limiters, aural exciters, parametric equalizers, and so forth—signal processors.
THE COMPRESSION FACTOR
EXTENSION CHORDS
Allen Hester
In the recording studio, it is not all done with just instruments and voices. Much of what we hear coming through our home stereo speakers and car radios has been processed through any number of echo units, compressors, limiters, aural exciters, parametric equalizers, and so forth—signal processors. These are the electric outboard accessories which can transform a bland, weak-sounding vocalist or group into something better; maybe not much better, but better.
Signal processors are not intended as magic potions that can make hit sounds out of just anything; some would argue that if the feeling is not there in the performance of the musicians, then no amount of 'fixing in the mix' can save a lifeless recording. But signal processors do have their place in the studio, a very important place as part of the aural picture that musicians, engineers and producers try to weave around a melody. In general, most good producers would agree that the thing to do is not rely too heavily on any effect, but to use them sparingly, much as a good chef would use fragrant spices in preparing a meal. (Phil Spector being the exception.)