Steenamaroo
...
I don't think that's right, Alan.
A 3:1 ratio limits a 3db over the threshold to 1db over, and limits a 6db over the threshold to 2db over.
The levels still go past the threshold...Just not as much as they would have.
Understanding a compressor
- Thread starter anthonyg123
- Start date
I don't think that's right, Alan.
A 3:1 ratio limits a 3db over the threshold to 1db over, and limits a 6db over the threshold to 2db over.
The levels still go past the threshold...Just not as much as they would have.
witzendoz
Senior Member
I don't think you understood what I was saying, what I was meaning was that if you have a 2:1 ratio and the signal goes over the threshold by 2dB incoming, the output will be 1dB higher than the input. If the incoming signal goes over the threshold by 4 dB the output will be 2 dB higher than the input.
Steenamaroo
...
Ah yeah, that's it. I didn't realise you were listing final output values.
Farview
Well-known member
The thing I always like to see is the signal coming out of the gain reduction every once in a while. Thats how you know you dont have the threshold set too low.
Other than that, just listen. I almost never use a compressor to control dynamics, I use it to get the sound of compression on the instrument. Controling the dynamics is just a byproduct of the sound Im going for.
Other than that, just listen. I almost never use a compressor to control dynamics, I use it to get the sound of compression on the instrument. Controling the dynamics is just a byproduct of the sound Im going for.
Johnny Don't!
New member
As always, TONS of great info here. Freakin' LOVE this forum.
My only addition to all the excellent & accurate responses here would be to make SURE yer using yer EARS and NOT your eyes. Compressors have typically always had VU/LED meters on them for obvious reasons, but with modern DAWs & plug-ins using WAY more visual representations on all effects, I find that folks of ALL levels of experience from beginners to experts tend to start using their eyes to set & adjust their settings. I'm not saying the visual aspect isn't a great tool to have, but it should NOT be yer main focus when dialing in any effects, but especially compression. ALWAYS use yer ears, and like an early reply on this thread said, take the settings to an extreme if you are having trouble hearing the subtle changes when the compressor is subtly dialed in so you can focus yer ears on the effect, and then dial it back until it sounds how you want it to sound.
Basically I'm saying mix with yer ears, not yer eyes, which seems like a no-brainer, but like I said above, everyone can easily slip into the visual realm when mixing. But since music is an aural experience, it makes sense to mix using mainly the same sense.
"I was walking down the street with my friend and he said 'I hear music,' as if there is any other way you can take it in. You're not special, that's how I receive it too. I tried to taste it but it did not work." - Mitch Hedburg
My only addition to all the excellent & accurate responses here would be to make SURE yer using yer EARS and NOT your eyes. Compressors have typically always had VU/LED meters on them for obvious reasons, but with modern DAWs & plug-ins using WAY more visual representations on all effects, I find that folks of ALL levels of experience from beginners to experts tend to start using their eyes to set & adjust their settings. I'm not saying the visual aspect isn't a great tool to have, but it should NOT be yer main focus when dialing in any effects, but especially compression. ALWAYS use yer ears, and like an early reply on this thread said, take the settings to an extreme if you are having trouble hearing the subtle changes when the compressor is subtly dialed in so you can focus yer ears on the effect, and then dial it back until it sounds how you want it to sound.
Basically I'm saying mix with yer ears, not yer eyes, which seems like a no-brainer, but like I said above, everyone can easily slip into the visual realm when mixing. But since music is an aural experience, it makes sense to mix using mainly the same sense.
"I was walking down the street with my friend and he said 'I hear music,' as if there is any other way you can take it in. You're not special, that's how I receive it too. I tried to taste it but it did not work." - Mitch Hedburg
BroKen_H
Re-member
Okay, then we need to move into attack and release...I'm probably not the best at tutoring, but here's the basic:
Using your bass as an example. You've got your threshold set to a nice level and you're getting the right sound, but you're getting some initial slap on the notes in spots. If you move the attack to a smaller number, it will make the compression start earlier effectively dampening the slap. If you want the slap, moving the attack to a larger number will allow that initial slap to come through and then start compression. Release is the other end of the compressor: when it shuts off. Setting it to short will make those gushy, pulsing sound as the compressor kicks out and the real level hits...repeat ad nauseum. Setting it too long will keep it on and defeat your attack on the next note...
Really simple explain, but I'm still pretty new at this and maybe I'm a bit simple
Using your bass as an example. You've got your threshold set to a nice level and you're getting the right sound, but you're getting some initial slap on the notes in spots. If you move the attack to a smaller number, it will make the compression start earlier effectively dampening the slap. If you want the slap, moving the attack to a larger number will allow that initial slap to come through and then start compression. Release is the other end of the compressor: when it shuts off. Setting it to short will make those gushy, pulsing sound as the compressor kicks out and the real level hits...repeat ad nauseum. Setting it too long will keep it on and defeat your attack on the next note...
Really simple explain, but I'm still pretty new at this and maybe I'm a bit simple
I'll say it ain't simpleOkay, then we need to move into attack and release...I'm probably not the best at tutoring, but here's the basic:
Using your bass as an example. You've got your threshold set to a nice level and you're getting the right sound, but you're getting some initial slap on the notes in spots.
If you move the attack to a smaller number, it will make the compression start earlier effectively dampening the slap. ..
Really simple explain, but I'm still pretty new at this and maybe I'm a bit simple
In your example as you move the attack faster to get those 'slaps, now the comp is digging in much deeper overall, and what ever pleasant shape the old attack was doing you had dialed in for what was that sound, has also changed.
An alt normal answer might be two diff setups in series for different tasks.
Sometimes I really like the idea of dual compressors (and/or limiters) in one, but in definable points in level for their thresholds.
For instance bass is a really good example. At moderate levels a slow attack. Above that, say a very fast, but low ratio.