Erdem Helvacioglu wrote:
LIMITER ıs your friend :)that brings us the question of how people use comporessors and limiters in impro based experimental music. any tricks, ideas?
ok, just my personal take never used 'em for safety and, partly for that reason, I never need 'em. One trick is to put a compressor into a feedback loop, (which I reckon I've heard Erdem do ;-). Whatever other processing is in the feedback loop the sound stays under control without running away to full blast distortion ever. It's a bit counter-intuitive tho', it would seem that a limiter would be the ideal choice for this job, but a very gentle compression slope works even better. For generating interesting acoustic feedback tones here's a trick... replace the mouthpiece of a wind instrument with a microphone that points into the instrument. Point the instrument at a speaker connected to the microphone and off you go. ...but don't forget the (low ratio) compressor! I call this a 'resophone'. andy