C2 Stereo Compressor- User's guide
C2 6
WHAT IS LIMITING AND COMPRESSION?
Why is the JOEMEEK different to a modern high tech. compressor limiter? It was
designed as a stereo effects compressor rather than a 'leveling amplifier' as the early
compressors were called. These are the basic definitions: A LIMITER is a device which
stops the output of a signal path going above a predetermined level. A COMPRESSOR is
a device which reduces the dynamic range of programme material.
A 'perfect' compressor is an amplifier where the input/output ratio is constant: So using a
2:1 compressor, increasing the input by 2dB gives a corresponding 1dB increase in the
output. Early compressors which used variable mu thermionic tubes or photoelectric
devices only approximated true compression over a limited range. They had a soft
'threshold' where compression started and held to a predictable ratio up to a certain level,
then they returned to a more linear amplification allowing transients through. This is in
stark contrast to modern VCA compressor/limiters where designers thought it 'sensible' to
combine the functions of compressor and limiter and to 'stonewall' any and all signals
above a certain level. The musical effect is that (I know I'm over simplifying) VCA
compressors sound 'muddy' and flat under heavy compression situations, while old
compressors sound lively and retain sparkle. ITS HORSES FOR COURSES, a good
VCA compressor limiter will do a good job making medium wave radio sound a bit louder
and protecting a radio transmitter from exploding, but it is a poor tool for making a voice
track stand out. The JOEMEEK C2 combines the 'softness' of the best tube compressors,
with a new type of optical circuit that gives a varying compression ratio depending on the
settings and the programme material.
THE C2 AS A LIMITER
Unlike other JOEMEEK Compressors, the C2 compression effect has been designed to
turn into a limiter at extremes of input level. This limiting is useful as an effect but should
not be relied upon to control the signal level to avoid distortion in the recording process.
Being transparent to transients, the peaks of any program material may evade the C2
limiting effect. Pay careful attention to the volume levels within any recording system that
comes after the C2. If overloads are occuring, turn down the output control of the C2 until
the overloads are contained.
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