Understanding Dynamic Processors (Compression)

[ZayTheBeast]

Thanks for the info. I been searching for something like this for a while.

[DavidStarz]

Really learned a lot from this. However, can someone further elaborate on what exactly the ratio of a compression does? Besides just saying "it's how much compression is put to the sound", but sorta go a little bit more in depth without being too...confusing?

[seveneleven247]

Really learned a lot from this. However, can someone further elaborate on what exactly the ratio of a compression does? Besides just saying "it's how much compression is put to the sound", but sorta go a little bit more in depth without being too...confusing?

Sure, no problem!

Let's say we have a ratio of 2:1. The input signal needs to cross the threshold by 2db in order for the output level to increase by 1db
Let's say we have a ratio of 3:1. The input signal needs to cross the threshold by 3db in order for the output level to increase by 1db

etc.

I tried to simplify it as much as possible, here's an excellent source: The Beginner?s Guide to Compression

[natethagreat]

This thread was major for me and my progress

[kneefi]

great explanation mate!

[vpio]

I'm still a little confused about attack and release. Can you give me an example of how I could use varying attack/release combinations to affect the form of string recordings?

[sleepy]

I wouldn't use compression on most sustained strings. But there are other type of ways to play strings, like pizzicato, marcato, etc... Pizzicato is plucking, so a pizzicato violin would have a very sudden pluck with a short duration.

The exception would be where there are sustained strings that spike at the beginning. Then I'd set my attack at the lower value possible to get rid of that initial spike as much as I can. If you wanted to leave a little bit of the spike, then I'd set the attack at a very slight higher amount to keep some of the peak. The release matters but it might not make a huge difference in this case. Think of compression as a cycle. It begins in the attack, and ends at the release. When that release value is over, you start the compression cycle again. Of course, it depends on your sounds and not just on the compressor itself. If you have a part that is silent, the compressor is just sitting idle. The process only begins when sound is reached the threshold. If only the spike of the strings is being affected, then it won't be compressing much else.

If you had pizzicato strings, then the release will make more of a difference. Let's say you want to keep every pluck of the pizzicato and you even want more of it. You set the attack to a value that it lets that pluck go through, and it compressed only the tail of that pizzicato string. You'd have to use a sufficient treshold and a high or moderate ratio for this. If you set the release too high, it will keep the compression going on until the release time is over. If you set it too low, it might stop compressing too soon and let the end tail of the pizzicato go through (which we don't want in this case). The same would apply to a snare with a long tail. I'd use ASDR when possible, but a compressor whenever envelope settings are not available.

[WeissSound]

I'm still a little confused about attack and release. Can you give me an example of how I could use varying attack/release combinations to affect the form of string recordings?

Going to have to be more specific than that. How are the strings being played and what are you trying to do with the strings?

None of this stuff is worth a lick if there isn't an intended purpose.

[Rusak]

Ok... on compression. You can look at compression as an automatic volume control... It's essential for even and deep sounds. Comprised of 5 basic parts...

Threshold. Is what level the compression kicks in. ie before the volume starts to get regulated.
Ratio. Is the actual reduction amount. ie 4:1 means that all signal over the threshold is reduced to 1/4 of it's initial value.
Attack. The amount of time the reduction takes to kick in to its full value. can be used in loads of ways, from making punchy sounds to evening warps.
Release. Controls how long it takes to release a signal from the compressor once it dips below your threshold. (also very useful with practice)
Output. Controls the overall output signal from the effect, also known as post gain. (mix the right level in your mastering)

There can be other variables for compression, and this is really just the basics. The most important thing to remember is that compression effects the signal past the threshold. When you make music it is a complex wave, and much of the sound does not hit that threshold. This is how it creates depth, by bringing the rest of the complex wave down to all those sounds inside the sounds. Then you turn it up!

[SLMproductions]

Great info!