Roll Your Own ProductionsPlease remember that you can ask any questions by contacting Queries@RYOP and add to this knowledge by e-mailing Feedback@RYOP or do either by visiting the Forum.
A good first tip for 'newbies' is to be disciplined about your approach to learning new things. Try to master one thing at a time, whether it be how compressors work, or the parameters of your latest soft synth or whatever. It might seem like the long way round, but once you've really learned how to do something you don't need to learn it again. Plus you'll often find that the knowledge gained with one piece of equipment or instrument will help your understanding (and, therefore, your faster learning) of the next.
ADAT is an acronym that originally stood for Alesis Digital Audio Tape. The original ADAT machines were record/playback devices that recorded audio to a digital medium (the tapes looked like VHS video tapes) and therefore required analogue to digital and digital to analogue audio conversion. The protocol and associated connections that went along with the conversion has since become popularly known as ADAT.
These original machines were 8-track multi-track recorders and, therefore, ADAT carried up to eight single tracks of audio at one time. If one required 9 or more tracks of simultaneous recording/playback, one would have to use/purchase two or more machines. IOW, each ADAT (and consequently each ADAT connection) could only carry a maximum of eight digital signals at no more than 24-bit/48KHz wordlength and sample rate respectively.
Developments since then allow ADAT connectors (a.k.a. TOS link or light pipe) to carry half the number of signals at twice the sample rate, i.e. 4 signals at 96KHz but, AFAIK, this cannot be done with the original ADAT machines, not even in their most up to date incarnations.
Compressors are used at some stage in just about every modern production. However, beginners are often guilty of using compressors because they think they have to instead of where and when they feel the need to use them. For example, using a compressor to control a very dynamic vocal take might be better cured by either re-recording the take or, if there aren't too many level changes/spikes one can use the DAW's automation to bring the levels under control. I'm not suggesting that compression shouldn't be used on vocals (or anything else), but, in my experience, subtle use of compression on a pre-automated track sounds better than the same track with only the compressor to keep things in line.