Compressor/limiter for live recording?

[anthonyb]

I've used my Sony R37 for years to record live performances. We all know automatic level control sucks, but the dynamics of live recording either mean low levels to preserve transients or something that I am stunned I haven't seen in reading posts on here back into 2003:

Use a compressor/limiter.

Are there any consumer MiniDisk recorders (not pro models) that offer a built in limiter? I mean, I manually set the level but the recorder realizes when a sound would clip into digital distortion and stops the incoming signal from getting any louder. So it never distorts. But the noise floor never gets raised either. So piano and voice could be recorded without worrying about the surprise "big operatic finish" that the levels weren't set for?

Is there any consumer recorder that has a compressor/limiter?

I was surprised to see the Reactive Sounds Boost Box (which seems like a good product) recommended for recent noise problems. It would let the user increase the volume, but it only offers a little LED to let you know you're clipping. It doesn't have a limiter. So if you're not watching it all the time and manually riding the levels, it could either be too low, or clipped. For the most part, couldn't you do that with a recorder with manual level control?

Instead of paying $200 for that, why not spend $100 for a set of tube preamps that include dynamic limiting?

http://www.behringer.com/MIC100/index.cfm?lang=ENG Yes, the Boost Box has got the power supply built in. But it seems people are having the most trouble with distortion, clipping and maintaining a good level. All we need is a compressor/limiter in one of these consumer units.

Anthony

[dex Otaku]

The sensitivity switch on most MDs basically is a high/low compression switch.

AGC = a form of dynamic compression.

My experience would put it this way:

High sensitivity = hard knee, high compression with limiting.

Low sensitivity = soft knee, mid-compression with limiting.

Unfortunately you're stuck with these settings with no control over the ratio or threshold of compression. This means you get the artifact of apparently 'raised levels' during quiet passages.

What in fact is going on is that the gain is set fairly high in either case [more notably with high sensitivity] which makes the compression/limiting very obvious.

Outboard compressors that do a decent job aren't that expensive, but you have to remember that even these don't have infinitely short response times and can drive your recorder in clipping during sharp transients as they catch up with input levels.

The best solution would be manual compression in conjunction with manual record levels. Onboard DSP is already capable of this, should they choose to implement it, which is doubtful.

My solution is usually to leaves lots of headroom while recording. If you can count on a S:N ratio and dynamic range in excess of 80dB with even the worst portable preamps, it's easier IMO to just have your levels manually set so that the loudest average/normal peaks are around -20dB to start. 20dB is quite a bit of headroom, and with a noise floor that's still 60dB below average level, there's enough room to play with that you can make good recordings without the horrible artifacts of AGC -or- the inconvenience of lugging around extra equipment that needs AC power.

I then add compression digitally during post-processing if I feel it's necessary.

Cheers.