Taking into mind the below image; Let me begin by Illustrating the effects of a limiter: (Continued below)
So In figure C: We see that in the beginning, the uncompressed sound wave is nominal. And then inflated by electronic medium in stage 2.
So that there is the ability to limit I'm guessing is why this is limiters have always worked in the same manner. Howver, after they are compressed has it been discussed, the question of competing waves.
You see, waves of sound - Even if virtual have some kind of momentum. Because that is the nature of sound, even if it is reproduced artifically. For it is the only way in which it can be conceived.
That is to say like in the figure in the image above, Figure D:
There is a wave - Pretend that this wave is sound. What if this wave has to be pushed through that wave.
Have you ever stood in front of a wave ? And for all of that force to be squashed through that tube.
A lot of power.
And what if there were many competing currents, many competing waves.
It is very common to see limiters in master channels.
See figure F
And moreover, unlike a limiter - A compressor does not take away from this momentum.
So why does the responsible sound technician rely on compressors and limiters?
But this realization dawned on me. Is not subtracting, taking away with equalizers compressing. And should not the amount which you take away be balanced so that there is less compression involved.
This methodology prevents what I call "terminal feedback" meaning that there is multiple waves with huge amounts of power which cause a speaker to blow.
It seems to me that this is the result of the speakers cone. I wonder if all speakers of old had an inverted cone (see iluustration: figure A).
For in figure B, there is a "protruding cone" - was this not designed to compensate for these extra waves from a limiter and a compressor?
There are many products which have an inverted cone. And through some experience I have noticed that they seem to sound blown if you run sound from a compressor or a limiter that is out of phase:
For instance check this site:
http://www.thesource.ca/estore/product. ... ct=8000649
This speaker with its inverted type will go awry if you put sound from a limiter through it.
Anyways, I hope you enjoyed this technique and idea.
For the summation and solution form me is to bring the gain on my master channel to say about 15% - And then on the very last vst spot - I exppand with a good equalizer releasing all of that power and velocity (ergo momentum) to the speaker.
EDIT: I'll add some images illustrating the effect of high energy waves being formed in the speaker. And the resulting oscillation causing the cone to become tremulous.
It is while in flux of course; That a speaker's cone bounces and shakes. And like all frequencies, a competing frequency (or wave) can cause a momentary exponential amount of feedback. During that feedback when the raw signal comes through - The speaker is blown.
I'll really have to think about its design - But I will do my best.
P.S.: I was thinking; Perhaps having high-amplitude negative energy in every channel as a form of gain might ensure an upper end boost. Because if you think about it, even gain is something like a compressor. Where does the bleed go? I suppose mod-x and mod-y are a sound source of volume normalization (Cheese... sigh
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