Tom Scholz worked extremely hard to work around broadcast “optimization” (compression) by using his choice of compression.
Old skewl tv compression used up to 12 layers of compression, ending at 12:1 or even 21:1. I use 3 layers for talking-head speeches so it sounds like TV but I stop at 7:1 in live situation. The art of using layers works on release times. The more you go up that ladder the slower the release time into the next layer, smooth transition from one layer to the next. My talking-head speech mics produce same level 1’ from a mic and 3’ from a mic. Same level output.
Toms concept of two release points has similar effect same concept. He was also toying with a tweaked Echoplex tape echo and Eventide Harmonizer. All very old skewl gear. Thats what we had at the time.
What I’m trying to do is maintain depth of field. Sounds made from a distance IMO should sound distant. FMOD seems to deal with distance/dynamics very well, why destroy it for 10% audience? <shrug>
Back in the early days a live band on tv sounded like crap. Because TV compression crushed the mix. TV is compressed for bandwidth and human voice. IE, a whisper and scream same level.
I only used 1 comp on main output at 3:1 and light threshold to just hit major peaks.
On tv this vid, human voice comes more out front and music more in the back ground. You should notice the difference.
Tom compressed his guitar so much tv comps could not destroy it, my guess. While we talk tv comps I think he was beating album compression which is close to 12:1. These comps hrlp it sound just as good on cheap car speakers as great home speakers.
If I clamo down on my vids they won’t sound dynamic as the game.
