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Parallel compression, also known as New York compression, is a dynamic range compression technique used in sound recording and mixing. Parallel compression, a form of upward compression , is achieved by mixing an unprocessed 'dry', or lightly compressed signal with a heavily compressed version of the same signal.
Upward compression increases the volume of quiet sounds below a certain threshold. The louder sounds above the threshold remain unaffected. Some compressors also have the ability to do the opposite of compression, namely expansion. Expansion increases the dynamic range of the audio signal. [3] Like compression, expansion comes in two types ...
The Weissman score is a performance metric for lossless compression applications. It was developed by Tsachy Weissman, a professor at Stanford University, and Vinith Misra, a graduate student, at the request of producers for HBO's television series Silicon Valley, a television show about a fictional tech start-up working on a data compression algorithm.
Mastering, a form of audio post production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device (the master), the source from which all copies will be produced (via methods such as pressing, duplication or replication).
The 1176 Peak Limiter is a dynamic range compressor designed by the American engineer Bill Putnam and introduced by UREI in 1967. Derived from the 175 and 176 tube compressors, it marked the transition from vacuum tubes to solid-state technology.
Match summaries and player statistics, updated in real-time during the World Cup 03/14 March Madness Predict-o-Tron Probabilistic bracket generator for the 2014 Men's NCAA basketball tournament
In essence, it ties the use of compression to artistic and aesthetic decisions, rather than the necessity of obtaining a louder mix. [5] With the adoption of normalisation by broadcasters since the introduction of EBU R 128 , reducing dynamic range in production does not render the program louder in broadcast. [ 14 ]
It’s 2011 and I’m on a plane to Miami. I’m ready to soak up some sun and kick back at my sister’s apartment in South Beach. As an afterthought, I’ve agreed to go to one of the largest electronic music festivals in the world, Ultra, for the first time.