any detailed illustrations of how comp's work?

[jugalo180]

I have a very basic understanding of compressors and the way I look at is that a compressor acts similarly to ADSR but controlled by volume. I was wondering if there was a site with graphs showing the waveform of a few different instruments as it's being manipulated by the compressor with different settings. I was thinking of something along the lines of the same waveform from one instrument shown with a few different settings.

also when they speak of adding punch is that compressing the back of a sound allowing the front of the sound to be untouched (attack) in volume with the tail compressed creating a steep downward ramp(decay) allowing it to punch with the (release) set to kick in at the end of the instrument?

I've been doing music for a few years but i've never fully understood compression, instead making my instruments fit in the mix i would find one that already suits my needs, but now I want to begin using the full benifits of these tools.

Thanks in advance

[ecktronic]

I dont know of any sites that have what you are looking for, but it would be easy enough to make your own uncompressed and compressed waves to analyse.

You could start with a simple sine wave and try different compression settings on it to analyse.

Eck

[flatfinger]

One of the best compressor tuitorials on the planet is available in SouthSIDE glens -(THE KING)- sig!!!!!!

Also Is'nt it ASDR?...attack sustain decay release

[dementedchord]

no it's ADSR and the reason the s is later is that's for instance where your loop points are in samples... make sense??? as for illustrations for compressors cant say i've ever seen any.. and not sure if this helps you but get yourself some graph paper.. the verticle is the output level the horizontal the input level... so an unchanged signal would just go up diagonally at a 1 box-1 box increment... so when you hit the threshold if we are at a ratio of 2-1an increase of 2 boxes to the right yeilds a 1 box verticle change.... 3-1 of course would show a 3 box to the right /1 verticle... so by extension a limiter haveing a ratio of 10-1 or greater would move 10 to the right /1 verticle...

[Robert D]

Actually, it was ADSR way before there was such a thing as loop points in samples. One of my early jobs was working as an engineering tech at Sequential Circuits on the development of the Prophet 5, but way before that I was a Robert/Wendy Carlos fan (Switched on Bach).
The Decay before the Sustain was essential for trying to synthesize horns, because of the initial blip.

[jugalo180]

thanks everyone! even without a graph this is still the feedback that I needed, I love this site. ektronik, I think i'm going to try your idea and I'm also going to check out the tutorial by Southside glenn as suggested by flatfinger.

[SouthSIDE Glen]

Originally Posted by Robert D

Actually, it was ADSR way before there was such a thing as loop points in samples. One of my early jobs was working as an engineering tech at Sequential Circuits on the development of the Prophet 5, but way before that I was a Robert/Wendy Carlos fan (Switched on Bach).
The Decay before the Sustain was essential for trying to synthesize horns, because of the initial blip.

Bobby D!!!! You are MY MAN!!! Were you there early enough for the Model 800 Sequencer?

I cut my teeth on an ARP 2600 (which was the best ADSR and general analog syntehsis learning tool in the world, BTW ) connected to a Sequential Circuits 800 sequencer. That sequencer ( of which there were only about 500 made, if I understand correctly) was one of the most beautifully designed pieces of electronics I have ever laid my hands on. Simple, but elegant in everything from circuit design to functionality. And it worked like a charm, man. A big thing back in 1980.

And then of course the Prophet 5 was practically an overnight legend. To have that to your credit is major credit indeed.

And to jugalo: yeah, feel free to download the tutorial. There are a couple of illustrations in there that may interest you. One showing compression vs. gain on a waveform, another schematically illustrating "knee". Plus a few other pictures and illustrations to go with the text.

G.

[apl]

http://www.prorec.com/prorec/article...25661000745390

[Robert D]

Yeah, I was there pretty early on. When production started, but just a few pcs a day before they really caught on, I was the final test guy. What a job, sit around and play synths all day......."yup, this one sounds good, ship it!" I especially liked the model 700 programmer hooked up to a mini-moog.
It was a weird place to work. After hours it was loose, but strictly business during the day. Barb Fairhurst was the whip cracker, and ran a tight ship. Dave Smith was nice though, and a pretty sharp engineer. I enjoyed working with him on the Prophet 5 and the big Prophet 10. I still have a Prophet 600.
Yeah, the ARP 2600 was pure magic. Back in the day, it was all voodoo to most people, and the sounds were so new and weird, it was very sci-fi. Now it doesn't mean much, but back then it was a new frontier. That's very cool that you were into that stuff.

[SouthSIDE Glen]

Originally Posted by Robert D

Yeah, the ARP 2600 was pure magic. Back in the day, it was all voodoo to most people, and the sounds were so new and weird, it was very sci-fi. Now it doesn't mean much, but back then it was a new frontier. That's very cool that you were into that stuff.

The 2600 I played with was pretty on in years; the oscillators had some pretty noticable drift to them by the end; but not so bad whereas one couldn't get some useful sound down for a few takes before having to re-tune.

But the very best thing about it IMHO was that it was one big electronics and analog voltage waveform learning panel. So much abstract theory and real world practice came together as one integrated experience with that simple patch panel; two weeks of playing with it (along with the old Echo 2MHz oscilliscope) was the equivalent of two years of raw schooling, in my book. Just a fantastic learning tool, if nothing else.

But what never ceased to amaze me was how clean the A/D interface was between the 2600 and the Model 800. One little 1/8" mini jack, and the trigger worked every time perfectly. Seems like child's play Tinkertoy stuff these days, I'm sure. But in the days when tempermental and cranky cassette recorder/computer interfaces were the norm, the relaibility of the A/D interconnection with the 800 was just plain sweet. And the now-very-old-fashioned layout of the sequence register banks and toggle switches was actually a very logical, flexible and powerful design, even if by today's standards it seems like one level above flintlocks on the technology scale .

I wish that Model 800 didn't disappear (it was sold about 20 years ago ) I'd like to have it today just as a museum piece next to my old Trash 80s. I also gotta wonder wth only a few hundred of them made if they're actually worth anything today or not.

Sorry for the thread hijack. You guys can have it back any timeyou want .

G.

[dementedchord]

Originally Posted by Robert D

Actually, it was ADSR way before there was such a thing as loop points in samples. One of my early jobs was working as an engineering tech at Sequential Circuits on the development of the Prophet 5, but way before that I was a Robert/Wendy Carlos fan (Switched on Bach).
The Decay before the Sustain was essential for trying to synthesize horns, because of the initial blip.

understood about the adsr...just figured might make snse to some not into vintage synths...
hey your not the guy responsible for the warm-up/ retuning issues are you???
i loved my prophet.. also used mini's micro's never had the chance to screw with a model5.. also had a 2600 at one point... knew a guy at arp service... bill .. damn gonna blank out on the name... he ran rolands service for a while as well... oh well...