In today's music world, the name Jason Miles is more than just well known. A multi-faceted artist, he's equally known for arranging, producing, and amazing keyboard chops. His discography reads like a directory of top- flight musicians, such as Sting, Grover Washington Jr., Marcus Miller, Luther Vandross… the list goes on and on.

One such artist, saxophonist Gato Barbieri received critical acclaim with his “Shadows of the Cat” CD. “Shadows” went on to win Billboard Magazines Latin Jazz Album of the year, AND was nominated for a Latin Grammy!

We were pleased to find out that of all the microphones available in his “arsenal”, Jason picked the Studio Projects T3 to capture Gato's signature sound. He ran the T3 into a DW Fearn VTR-2 mic pre, then a Millenia Media Twin Topology Opto Compressor (using the “tube” setting w/ a Telefunken tube). He told us that he's also fond of using our C1 for vocals, and insists on having a Joemeek VC1Qcs Studio Channel on hand when he mixes.

In stores and on the jazz charts at the time of this writing Jason has a CD entitled “Maximum Grooves, Coast to Coast”. What began as a 5-hour jam session with Will Lee, Dean Brown, and Gene Lake, evolved into two of the included tracks. Other visiting dignitaries include guitarists Derek Trucks, Buzz Feiten, and Hiram Bullock, Bassists Will Lee and Wayman Tisdale, Saxophonists Jay Beckinstein, and Gerald Albright, drummer Steve Ferrone,  Cassandra Reed, Herb Alpert, and Russ Freeman. If you haven't heard this project, and consider yourself a jazz fan you owe it to yourself to check it out. To say that it “grooves” is an understatement!

These days you'll find Jason working on what he says is his “most important work - to date” entitled “Future Explorations in the Spirit of Miles Davis”.  According to Jason, “Future Explorations” reflects musical stories of the time he was blessed to spend with the late, great (Miles). Continuing his run of working with the highest echelon of musicians, the lineup for the project includes: Michael Brecker, Randy Brecker, Bob Berg, Nicholas Payton, Me'shell Ndgeocello, Carter Beauford, David Sanchez, Tom Harrell, Karsh Kalle, Sussan Deyhim, Dean Brown, Romero Lubambo, Cyro Baptista, DJ Logic, DJs Ming and FS, Gene Lake, James Genus, Maria de Barros, and others.

Be sure to check out Jason's new website, which went "live" just last week. It's packed with info, photos, an online store, and you can even check out several of his cuts!

You GO Jason!

T he Compressor is one of the most vital pieces of equipment in any studio or PA rig, yet it is one of t he hardest to understand. In the second part of this series, Joemeek designer Allan Bradford looks at what the controls do on a typical compressor. (To read "Part 1, use link at end of article)

1. “COMPRESS” (or “Threshold”) sets the level above which the signal starts to be compressed. Turning the Compress control up effectively lowers the compression threshold, and drives the compressor harder.

2. “RATIO” determines how much the compressor reduces the gain of the signal, once the threshold has been exceeded. It's simpler than it sounds. If the input gets 10dB louder but the output only increases by 5dB then the compression ratio is said to be "2 to 1". If the input goes up 10dB but the output only goes up 1dB, then the compression ratio is "10 to 1". Some compressors can vary the ratio anywhere between 1:1 (ie: no compression), and 20:1 (effectively "brick wall limiting"). If this control is not present, the compressor probably either has a fixed ratio (usually somewhere between 2:1 and 5:1), or has a ratio that varies depending on how much the signal exceeds the Threshold.

3. “ATTACK” sets how quickly the compressor reacts to peaks above Threshold. Faster attack times are used where the compression needs to be less obvious (such as with vocals). Slower Attack times allow the fast leading edge of percussive sounds to pass uncompressed for a moment, before the compressor reacts to control the gain. This exaggerate s the percussive nature of drums and other instruments and is an example of "changing the envelope" of a sound.

4. “RELEASE” sets how long the compressor goes on squashing the sound for, once the signal has dropped below threshold. If it stopped instantly there would be very noticeable modulation or "pumping" of the sound. So we want it to stop compressing less abruptly and that is what this control is for. Generally, the longer the Release time, the less obvious is the compression. Of course some "pumping" might actually be desirable as a special effect and that is another way in which the envelope of a sound can be modified.

5. “MAKE-UP GAIN” restores the peak level of the compressed material to that of the uncompressed original. Clearly with a lot of compression going on there will be an apparent drop in volume and this control is there to get it back. If it is not fitted, then you will have to rely on subsequent stages of the recording chain to make up the lost gain.

Most compressors behave differently with different program material, so experimentation with the controls is usually required, to discover the range and depth of effects that can be achieved. Usually a “Bypass” or “In/Out” switch allows comparison between the compressed and the original sound.

Next time we'll look at the various types of compressors.

(To read "Part One", click here)

PMI Audio Group is pleased to announce that we're now shipping two new Toft Audio Designs products, the EC-1 and DC-2.

A natural extension of the lineage begun with the highly acclaimed Toft ATC-2 dual channel mic pre/ EQ/ compressor, these new designs target more specific studio needs.

The Toft EC-1 is a single channel microphone preamplifier with EQ and compressor. Features include an ultra clean Burr Brown preamp with mic and instrument inputs, phantom power, and phase reverse. The “highly musical” EQ section sports 4 bands of sweep along with In/Out, and a switch that allows it to be inserted pre or post compressor. The FET compressor has Attack, Release, Ration, and Gain (Make-up), and the VU meter allows you to view Input or Gain Reduction. Retail price is set at $799.99.

The DC-2 features 2 channels of classic FET compression with variable attack, and ratio. Separate controls are available for setting Input and Make-up Gain, and as in the EC-1, the VU meters can be switched to monitor input or gain reduction. There are inputs and outputs for balanced and unbalanced line levels (XLR and ¼”), with a separate instrument input on the front. The DC-2 retails for $799.99.

Both units are housed in high quality steel chassis, and are of a 1u form factor. The sculpted aluminum (1/4” thick) faceplates add a pleasing high-end appearance.

Reviews so far have been impressive. Mitch Gallagher (EQ Magazine) writes “T he compressor is smooth sounding, and capable of everything from subtle to highly squashed effects.” Of the mic pre stage Hugh Robjohns (Sound On Sound) writes “In terms of sound quality, Toft Audio does a workmanlike job, with an emphasis on musicality. The mic input stage, is simple and without frills, but is also quiet and clean, with plenty of headroom and low distortion.”

In our last issue, we were discussing the curious idea that a mic with less than ideal properties as a transducer may be a “go to” mic because it “tells a good lie” about the sound source. (To read "Part 1", use link at end of article)

This concept was first voiced to me by L.A. based engineer Steve Barker of BBAT Productions. It makes sense when you consider that condenser microphones, for all of their inherent wonder and electromechanical complexity are to some degree, imperfect instruments for “truthfully” capturing sound.

The reason in short, is that microphones get in the way of themselves. Their very existence - the fact that they possess physical properties, means that the microphone itself interrupts the sound waves and alters as they are being captured. “Large capsule” condenser microphones in particular will effect changes on a given sound source, due in large part to the protective headgrill, capsule and circuit topology.

This is where the “lie” comes into play, since a well-designed mic can change the source sound in a distinctively favorable way – a certain audio “signature” which makes the microphone desirable. To stretch the fabric of analogy somewhat, a microphone is presented with the audible equivalent of “Do these pants make me look fat?” which is, “Does this sound good?” The “answer” from the microphone will ideally be: “Yes! It sounds great.”

Of course, this is all depends on how good the sound actually is in its own right. Nothing can fix bad performances, poor placement or hideous acoustics - especially a microphone, which can just as easily showcase bad sound in excruciating detail.

The bottom line being – the mic can only “lie” convincingly when there is an underlying truth which comes about through talented, well rehearsed and inspired performances.

(To read "Part 1", click here)