TL Audio 5021 - Manual (Page 11)

mixing desk), the Tip and Ring should be wired together, to preserve the
signal path through the insertion point. When used in this manner, the send
will be post-compressor. Please note that the sidechain insert is normally used
for frequency conscious compression only (see section 4.14) and doesn’t
break into the signal path in the same manner as a standard console insert
point. It doesn’t for instance allow you to insert an EQ “in-line” between the
5021 line input and compressor sections.
3.9 Mounting.
The 5021 may be free standing, or mounted in a standard 19” rack. Always
ensure that the cooling vents on the front and sides are clear of obstruction,
and do not subject the unit to an external source of heat (by mounting
immediately above a power amplifier, for example). If used free standing,
ensure that the equipment is protected against rain and spillage of liquid.
3.10 Rear
Panel.
The rear panel connectors are identified in Fig.3. Make sure that all settings,
mains and audio connections have been made as described above before
attempting to operate the equipment.
4 OPERATION
4.1 What is Compression?
Compression is an essential but often misunderstood process in modern
recording. Put simply, compression reduces the difference between the
loudest and the quietest levels of an audio signal. This is known as reducing
the “dynamic range” of that signal and is a powerful tool for an engineer
helping to avoid overloading & distortion problems, as well as raising the level
of the quieter parts of the audio signal. Before the introduction of compressors
the only way this could be achieved was by “gain riding”, whereby an engineer
would control the fader manually in order to try and anticipate very large levels
(which might distort the signal) or very low levels (which may get lost in noise).
The introduction of compression devices meant that this process could be
controlled automatically, allowing the engineer to get on with more productive
jobs!
Many instruments and voices have a very wide dynamic range that need to be
controlled. A singer, for instance, may be projecting quietly one moment and
very loudly the next, and unless compression is applied the vocal won’t “sit”
correctly in the mix, in addition to the problems of distortion on loud passages