Compression Threshold

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jaynm26

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Why is it some set the threshold "BELOW" the actual signal??? I have no idea Why some do this. I always saw the thresh as the ceiling the actually parameter of the comp that nothing should pass meaning wherever you set the Thresh it should be above the signal not below it...

Uggghhh!!! Just when I thought I knew everything about compression :cursing:
please explain your technique of doing this so I mean learn
 
The compressor will begin to work when the signal exceeds the threshold.
With the threshold above the signal, the compressor isn't doing anything.

Depending what you're compressing and why, I guess you'd want the threshold to be above the audio level for the most part, with occasional stray peaks exceeding it.
 
Steenamaroo said:
The compressor will begin to work when the signal exceeds the threshold.
With the threshold above the signal, the compressor isn't doing anything.

Depending what you're compressing and why, I guess you'd want the threshold to be above the audio level for the most part, with occasional stray peaks exceeding it.
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Really appreciate that steen just was at a studio and the eng was setting the thresh holds to -27 & -30 db CRUSHING the audio and couldnt tell me the reason behind it just wanted some feedback on it tho thank you.
 
No probs. :)

The digidesign compressor has a great visual display that really shows what's happening.
If you're anyway unsure, take a look.
 
Threshold on its own doesn't do anything but it's one of the parameters on certain types of compressors that allows you to shape the sound you're going for. Threshold and ratio control gain reduction. Using a high threshold and high ratio might not be doing a whole lot more than peak limiting. Using a low threshold with a low ratio changes the sound of the audio. It doesn't necessarily mean that there has to be a huge amount of gain reduction happening either way. There could be if that's what you want. It's all about what kind of sound you're after.
 
Sounds to me like he could have been doing some parallel compression (which I just did a video on). I dont think i ever crush a sound unless its for some ridiculous effect (that rarely happens) or for parallel compression.

I agree with a couple posts up. I use the threshold in conjunction with the ratio to determine how I'm going to shape the sound. I most cases (especially vocals) I try to keep it as true to the original as post so I would opt for a mid ratio (maybe 4:1 or 5:1) and a higher threshold maybe taking off 2-3dB. That's usually enough for me to shape it into something more cohesive or a bit sharper and easier to find in the mix. Again these principles always change from time to time. and sounds to sound. Like a tracks that synthesized and not natural I might be more liberal because the ear doesn't know what the sound is so having it sound "natural" is not a big deal.
 
jaynm26 said:
Why is it some set the threshold "BELOW" the actual signal??? I have no idea Why some do this. I always saw the thresh as the ceiling the actually parameter of the comp that nothing should pass meaning wherever you set the Thresh it should be above the signal not below it...

Uggghhh!!! Just when I thought I knew everything about compression :cursing:
please explain your technique of doing this so I mean learn
Click to expand...
Get one of those 'everything you know is wrong spells? (yep :)

Maybe you were just thinking 'it rides the peaks- But some times you can want to go well down in, Like, very low ratio, compacting the whole top half whatever
 
jaynm26 said:
just was at a studio and the eng was setting the thresh holds to -27 & -30 db CRUSHING the audio and couldnt tell me the reason behind it just wanted some feedback on it tho thank you.
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It's not at all uncommon to have a threshold 20-30dB below a signal's average with a light ratio (perhaps 1.1 or 1.2:1). That can be a very gentle way to level out dynamic sources.

But as mentioned, it isn't even doing anything unless the threshold is lower than the signal...
 
There are many situations that someone would set the threshold that low. I do find it alarming that the engineer couldn't tell you why he was doing something. That's a problem.

Generally, I don't pay any attention what the threshold is set at. I just decide on the ratio, set the attack and release to do what I want and then set the threshold so that I get the around of reduction I want. Where the threshold is set is completely dependent on the signal level and effect you are trying to get.
 
mixsit said:
Get one of those 'everything you know is wrong spells? (yep :)

Maybe you were just thinking 'it rides the peaks- But some times you can want to go well down in, Like, very low ratio, compacting the whole top half whatever
Click to expand...
Exactly what i was thinking
 
jaynm26 said:
was at a studio and the eng was setting the thresh holds to -27 & -30 db CRUSHING the audio.
Click to expand...
Like Snow Lizard hinted at, the threshold alone doesn't tell you anything. -27db is only CRUSHING the audio if the signal was recorded way hotter than that. If the signal is coming in at -25db, then setting the threshold at -27db isn't really crushing anything.
 
RAMI said:
Like Snow Lizard hinted at, the threshold alone doesn't tell you anything. -27db is only CRUSHING the audio if the signal was recorded way hotter than that. If the signal is coming in at -25db, then setting the threshold at -27db isn't really crushing anything.
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True...
 
Every compressor reacts differently so identical settings will not produce the same results on two different compressors. But we know that.

Keeping that in mind, though, it also depends on the knee of the compressor, which will affect the threshold setting. Some compressors start compressing several dB below the threshold.

As Massive already said, a low ratio and a low threshold is a nice way to gently compress and smooth out dynamics, and it's not necessarily a mastering thing. In fact, it's a good way to hear how a compressor reacts, i.e. by setting a very low threshold, starting at 1:1 and then turning up the ratio.

To me, higher ratios generally beget higher thresholds. It depends if you want to chop off the transient spikes or gently ride the gain and everything in between.

Compressors and their various models take a little while longer to get acquainted with because they are by design dynamic processors (no pun intended) in that as the audio changes, they react so there are an infinite amount of approaches and outcomes depending how you set them. They are also aesthetic, corrective and creative devices. It's a bit different from EQ in that when you turn an EQ knob you generally leave it there when it's working and the results are linear and clearly discernible. It's brighter now! I don't know what compressor the engineer was smashing the audio with in the OP but there are some compressors that sound great at those levels of GR and some that completely crap out. Knowing which to use for what is also key. Eventually you get to know the strengths and limitations of your compressors and that includes plugins, imo.

Cheers :)
 
On the Pro Tools stock compressor/limiter on the attack the have a unit called .us like 10.us what is the attack speed unit us. mean? is it fast or slow?
 
jaynm26 said:
On the Pro Tools stock compressor/limiter on the attack the have a unit called .us like 10.us what is the attack speed unit us. mean? is it fast or slow?
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Thats ultra fast, u is the symbol for nano, so your into nano seconds.
 
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