 |  | TF Pro TF Pro P8 Edward the Compressor Studio Outboard Dynamic Processors TF Pro Studio Outboard
TF Pro TF Pro Dynamic Processors TF Pro P Series
Features
Features classic Joemeek Compression aswell as other sought after Classics
VCA is the softest and least obtrusive effect; it is a ‘pure’ compressor.
‘1176’ simulates a historic FET limiter/compressor.
‘LA2A’ recreates the original American optical compressor.
‘SC2’ is the popular compressor of the 1990s.
As a culmination of Ted Fletcher's experience with all manner of compressors, the P8, named 'Edward the Compressor' is a demonstration of the master at work. With the most versatile optical compression circuit ever developed at its heart, the 'Edward' mimics the sound of some industry classics, as well as producing the distictive Ted Fletcher compression sound.
The Edward the Compressor is loaded with secrets of performance of a complete range of volume compressors from the clinical purity of the 21st century VCA/digital compressors, to quirky optical classics. The P8 can be switched to behave like four complete families of compressors.
Further to this unique 'mode' of compression, the Edward is augmented by facilities such as 'Transient release' and a 'Stereo width' control.
1 THE VCA SETTING
This setting is for purists who want accurate, controlled compression to reduce the dynamic range of single or multiple music signals. The onset of compression is gradual and closely controlled, the compression ratio remains constant over a wide dynamic range and the release follows a musical curve that does not distract the ear. The compression is transparent and very unobtrusive, similar to the very best software compressors used for dynamic control and final mixdowns.
2 THE ‘1176’ SETTING.
The ‘1176’ is a classic design in a family of compressor/limiters originally manufactured by Universal Audio in the USA. The original was all ‘solid state’ with the compression element being an FET. Clever innovations in the control circuitry made it a classic with a much sought after sound. The P8 is able to reproduce the peculiarities of the 1176 with great accuracy including the fast attack, the multi-stage release and a ‘tailored’ response in the compression sidechain to make the compression smooth over a wide range of material.
3 THE ‘LA2A’ SETTING.
One of the most famous compressors of all time was the Teletronix LA2A. This was one of the very first optical compressors developed in the late 1940s. It worked by an electro-luminescent panel (originally designed to show up instruments in a dark environment) shining onto a simple cadmium sulphide opto-resistor, and relied on the odd attack and release characteristics of these components to get the sound. In its original form, all these characteristics were wildly non-linear; the compression ratio varied with programme material (and was to some extent selectable by a toggle switch), the release characteristic was a strange curve, with a fast initial release, then slowing in speed as the gain returned to normal. The attack was very slow by modern standards, and tended to increase in speed as the equipment warmed up! Nevertheless, in the hands of innovative record producers, the compressor sounded wonderful, enhanced by the original tube amplifiers.
The P8 uses light emitting diodes and a modern version of the cadmium sulphide opto-resistor as control elements, but uses servo control of the sidechains to imitate the ‘unusual’ characteristics of the LA2A, this includes shaping of both the attack and release ranges.
The result is an accurate reproduction of the warmth and attack of the LA2A.
4 THE ‘Green Box’ SETTING.
Introduced by Ted Fletcher in 1993, the original ‘Joemeek’
 SC2 compressor was an instant outstanding success. It combined the ‘heat’ and ‘thickness’ of the LA2A, but with an additional flexibility in attack and release characteristics, and a new attribute for heavy compressors; it seemed to retain the ‘sparkle’ that was often lost with ‘Fairchild’ or ‘Teletronix’ compressors. It caused such a stir in the audio business that opto compressors started appearing from all the other manufacturers, but without the subtleties of the SC2 sound.
'JOEMEEK' is a registered trade mark of PMI Audio inc in the UK
Later versions of the SC2 incorporated ‘sum and difference’ matrixing in order to maintain a perfect stereo image, even under heavy compression, something that had been impossible with other opto compressors. The P8 can (of course) reproduce the sound of the SC2 precisely, not only the dynamics, but also the stereo image.
THE ELECTRONICS
THE PATH
‘Current mode’ amplifiers, which eliminate cable effects on the inputs, buffer the balanced line level inputs. Once past the input gain the audio goes through a ‘sum and difference’ matrix circuit so that all subsequent processing is carried out in this mode. Compression is done by illuminating light dependent resistors (LDRs) that are connected across the sum and difference signal paths. A part of the ‘sum’ signal is filtered, forms a sidechain signal, and is processed to create the necessary attack and release characteristics. This signal then drives a precision LED via a servo amplifier. An analogue meter can be switched to read signal level or depth of compression.
The compression is applied to both sum and difference signals. Immediately following the compression stages, the signal is dematrixed and returns to its original L/R form, any small inaccuracies that occurred in the compression process now show up as minor errors in the stereo width information; the stereo centring remains perfect. A ‘width’ control gives additional engineering control of the stereo image, allowing artificial ‘widening’ up to 150%.
After a stereo output gain control, auto-balancing amplifiers condition the signal and take it to the output XLR connectors.
THE COMPRESSION CONTROLS.
THRESHOLD alters the amount of ‘sum’ signal going to the compression sidechain. This sets the volume level at which the compression starts. The threshold is not a precise level as compression starts over a wide range, particularly when ‘VCA’ is selected.
TYPE is the most powerful control of all; it sets the range of parameters that simulate the main compressor types.
VCA is the softest and least obtrusive effect; it is a ‘pure’ compressor.
‘1176’ simulates a historic FET limiter/compressor.
‘LA2A’ recreates the original American optical compressor.
‘SC2’ is the popular compressor of the 1990s.
SLOPE/RATIO selects the compression ratio: If an additional input of 12dB gives an output increase of 4dB, then the ratio is 3:1. Ratios are in the range 1.5:1 up to 8:1.
This control is sometimes called ‘slope’ because with some opto compressors the ratio tends to vary with signal level and content.
ATTACK sets the time it takes for the compressor to operate. A loud signal comes along and it takes a small fraction of a second for the compressor to ‘catch’ it, ‘attack’ sets how small the fraction is, and this will vary with the ‘type’ selected, from as low as 200 microseconds up to several milliseconds.
The character of the sound of a compressor is affected significantly by the attack control; different types have different amounts of ‘overshoot’ (overcompression for a fraction of a second), the balancing out of this effect produces the ‘character’ of the sound.
TRANSIENT RELEASE is an unusual but useful control that sets the recovery time of the compression sidechain after a transient (short duration) overload. These transient signals are normal and occur all the time, but have a profound effect on the behaviour of the compressor. This control can alter the ‘colour’ of a compressed sound. NOTE, this control is only operational on the ‘SC2’ type setting.
RELEASE sets the time that the compressor takes to recover after it has compressed something. This again varies with ‘type’ and can be short (on the LA2A) or as long as several seconds on ‘VCA’. Short release times generally add ‘urgency’ to the sound, but the creation of good compression effect is always a careful combination of attack and release settings.
The front panel controls of the P8 give variable control of threshold, attack and release, and switched control of slope/ratio. These controls are active for all ‘types’, but the ranges vary so that the types can be authentic; on the VCA setting, the release range is wide and the compression ‘knee’ is very gradual. On LA2A and SC2 the compression characteristic is very much more aggressive and allowance is made for other differences; for example, the original LA2A had no variable attack or release control, only a toggle switch to select ‘compress’ or ‘limit’, so the handbook for the P8 sets out ‘authentic’ settings that match the original closely
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