Compression question?

F

fiveironguy

New member
I just got my RNC and i am realizing i have no idea what compression really does.. ive read the manual a couple times.. but i dont understand what the knobs do.. so cna someone explain in idiot terms what they do...any help would be greatly appreciated.
 
Compression decreases the dynamic range of your recording by "turning down" louder portions that exceed a set threshhold. The ratio determines how much effect the compressor has on signals that exceed the threshhold. Compressors are used to even out the dynamics and can be used to send a "hotter" signal through the use of make-up gain.

Good articles on lots of general recording topics here.
 
I get the general idea of what the compressor does.. but justmaking it do what i want to is the harder part.. its mostly just the ratio, release and attack nobs that i am not sure i totally understand.. anyone have any speicific RNC settings that they use.. maybe i could learn from that and gofrom there?
 
The threshold knob determines the level (volume) at which the compressor starts working. If you set the threshold very high so that it's above the level of any incoming signal then the compressor will probably do nothing. If you set the threshold very low then it will always be acting on the signal.

The ratio control determines the degree of compression. 10:1 will push the level of signal down further than 2:1.

The attack knob determines how long the signal can be above the threshold before the compressor starts working. For example, if you wanted to include more of the attack of a stick hitting a snare drum then you may want to use a longer attack time. Otherwise the stick attack will sound compressed.

The release knob determines how long the compressor works after the threshold has been exceeded. A short release time will mean that the compressor stops working right away and a long release time means that it keeps working for a longer time. An example of a badly set release time is when it keeps working longer than you want it to on a vocal. Let's say you speak or sing two words in a row and the first word is too loud so you want to compress it down to the level of the second word. If you set the release too long, then the second word will be compressed and will be more quiet than you want.

You will notice on professional recordings that you don't hear levels jumping all over the place and one of the reasons is the use of compression. I recommend playing with extreme settings on all of the knobs until you can hear what they do. Start by adjusting the threshold so that you can see the gain being reduced most of the time. Then adjust the ratio all the way up and down so you can hear the effect. The attack and release are going to be a little more subtle.
 
thanks.. i appreciate those idiot terms.. So much to learn in recording.. its such a different world.. going from being a musician.. to being a recording musician.. i can hear the difference in compression.. now getting it to do what i want will be the hard part... do you generally compress overheads? thats what i am trying to use the RNC on right now..
 
PhiloBeddoe said:
The threshold knob determines the level (volume) at which the compressor starts working. If you set the threshold very high so that it's above the level of any incoming signal then the compressor will probably do nothing. If you set the threshold very low then it will always be acting on the signal.

The ratio control determines the degree of compression. 10:1 will push the level of signal down further than 2:1.

The attack knob determines how long the signal can be above the threshold before the compressor starts working. For example, if you wanted to include more of the attack of a stick hitting a snare drum then you may want to use a longer attack time. Otherwise the stick attack will sound compressed.

The release knob determines how long the compressor works after the threshold has been exceeded. A short release time will mean that the compressor stops working right away and a long release time means that it keeps working for a longer time. An example of a badly set release time is when it keeps working longer than you want it to on a vocal. Let's say you speak or sing two words in a row and the first word is too loud so you want to compress it down to the level of the second word. If you set the release too long, then the second word will be compressed and will be more quiet than you want.

You will notice on professional recordings that you don't hear levels jumping all over the place and one of the reasons is the use of compression. I recommend playing with extreme settings on all of the knobs until you can hear what they do. Start by adjusting the threshold so that you can see the gain being reduced most of the time. Then adjust the ratio all the way up and down so you can hear the effect. The attack and release are going to be a little more subtle.
Click to expand...


Wow, thanks man. I too was clueless about compression. Very easy to understand. :)
 
You also have to remember that there are 2 reasons for using compression.
1. To tame dynamics.
2. To change the sound of the instrument.

The settings will be different depending on what you are trying to do.
 
PhiloBeddoe said:
The ratio control determines the degree of compression. 10:1 will push the level of signal down further than 2:1.
Click to expand...
Yeah, think of it like this... If your ratio is set to 3:1, then for every 3db over your set threshold level, the overall level will only increase 1db. And so on and so forth. Hope that helps some. :o
 
simplist ways I can discribe 4 uses for compression:


1) To control dynamic (thats a given)

2) Artistically: To modify, manipulate or emphasize an instrument's attack and release characteristics.

3) Artistically: To change it's EQ, timbre or other wise modify it's "color" (in heavy amounts). It's actually a little more work to do this with a top of the line compressor since it usually takes alot of compression before you can tell it's obviously being altered. (Easier on cheap compressors).

4) To help keep your source out of the noisefloor


So by correctly using compression, you actually help things stay clean and audiable, provided they where recorded clean with minimal or zero outside noise.
 
wow. thanks for all the awesome tips.. i feel i understand it pretty well now.. now its just playing around with it.. anyone have any recommendations on another good compressor.. it would be nice to have some other options.. ive heard this RNC is really good for vocals.. and im sure other things.. is there any other compressors(under 500$ used) that have a really good reputation for drums.. or guitars or anything like that....?
 
fiveironguy said:
wow. thanks for all the awesome tips.. i feel i understand it pretty well now.. now its just playing around with it.. anyone have any recommendations on another good compressor.. it would be nice to have some other options.. ive heard this RNC is really good for vocals.. and im sure other things.. is there any other compressors(under 500$ used) that have a really good reputation for drums.. or guitars or anything like that....?
Click to expand...


Beleive it or not, the DBX 160XT is somewhat capable on drums. For example, the private producer I worked for last year had 6 stacked specifically for use on drums and percussion. (The black boxes just above the top right edge of the keyboard).Studio Picture Picture 2 (far left)

It's such a shame, those are the only two pictures on his site that somewhat show them in action. Whatever, anyway...

It handles alright, so I don't really have too much bad stuff to say about it. Actually, those were recommended by grammy engineer Juan "Pericles" Covas, and if I remember correctly, one runs you about 400 bucks used.
 
Last edited:
You must log in or register to reply here.
Back
Top