Here’s some basic tips if you’re not used to thinking about your sounds this way: How should the gain reduction behave once the compressor starts acting on the signal? Should it kick in immediately or come on more slowly? Should it stop all at once or gradually let go?
These are the key controls for making your compression sound musical and pleasing. If you can`t compare the compressed signal to the uncompressed signal, the ratio is actually ∞:1! Attack and releaseĪttack and release determine the timing of the compressor’s action. Here’s a visual comparison of how the level changes with different audio compression ratios.Ī compressor with an extremely aggressive ratio is called a limiter, since it doesn`t let any signal pass the threshold. If that sounds confusing, it might be easier to see with an infographic. The higher the first number in the ratio, the more intense the compression. Ratio is written as a comparison with the unaffected signal. The ratio control determines how much the compressor reduces the gain once the signal passes the threshold. Set the threshold lower and it compresses more of the signal. Set the threshold high and the compressor will only reduce the gain of the most aggressive transients The level where the compressor begins working is called the threshold-you set it with a dB control to determine the parts of the signal the compressor acts on.
The basic effect of a compressor is to reduce the volume of a signal once it passes a certain level.Ī compressor includes several controls to help you control exactly how it behaves: Threshold
To go back to the drum example, compression lowers the level of the loud stick hits, and raises the level of each drum’s sustaining tone along with the decay of the sound in the room.
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