The only thing I would add is a little more description on the ratio

The ratio means how many Decibals (db) are increased after compression compared to the db change coming into the compressor.

For example: If you set your ratio to 4:1, this means that for every 4 decibals louder than your threshold setting, a 1 db increase occurs after compression..

Thanks. Good point.

Also, a lot of compressor plugins use a graph to show the threshold, ratio and gain. The x-axis shows the input and y-axis shows the output in decibels (in most cases I've seen anyway). Basically, you just mold the line on the graph (not neccesarily a straight line) to fit your desired decibel levels. Otherwise it's hard to explain without visual references (which I don't have).

heh, could open up a paint program and draw some examples

RhoneRanger wrote:

heh, could open up a paint program and draw some examples

here is a graphical example...



and a waveform example...



Last edited by Blaak on Mon Nov 28, 2005 8:46 am, edited 1 time in total

what i realised, its that it is VERY important to be able to hear the difference in the different stages of compression, because that's how you recognize how it really works.

i find that a good way to do that is to bypass the compression and listen for the changes in dynamics

i myself am still getting used to it and have found to not yet fully be able to distinguish the very little compressions, but its only a matter of time

also, trying out different kinds of compressors (wether it be outboard or vst) is very helpful to getting to understand it better

and then, there's also multiband compressors...

Good post Blaak, it is one of the hardest processes to hear initially. Then once you've used compression for years you always wonder how you managed without.
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Recording Studio Suntans

Kinda noob question, but here goes.

You said determine the amplitude, but exactly how I'm going to do that?

EDIT: Now that I see those teenyweeny numbers on the program my question seems a bit studid.

you are talking about putting sound on top of another sound? Compression in the recording phaze would compress all other sound gaining. paralell to the the mic threshold (uncompressed) sounding more and more grainy as more waves are introduced, but compressing the output would make the "noise" not recognizable underneath a higher db?

Groovy wrote:

you are talking about putting sound on top of another sound? Compression in the recording phaze would compress all other sound gaining. paralell to the the mic threshold (uncompressed) sounding more and more grainy as more waves are introduced, but compressing the output would make the "noise" not recognizable underneath a higher db?

Anyone got a clue regarding what Groovy is on about?
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Recording Studio Suntans

AC wrote:

Groovy wrote: you are talking about putting sound on top of another sound? Compression in the recording phaze would compress all other sound gaining. paralell to the the mic threshold (uncompressed) sounding more and more grainy as more waves are introduced, but compressing the output would make the "noise" not recognizable underneath a higher db? Anyone got a clue regarding what Groovy is on about?

Nope... I don't think he does either!
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Bruce Valeriani - Mix Engineer

But how about limiters? What's the difference between limiter and compressor? And how to use limiter correctly?

A limiter is the same concept as a compressor. Basically a compressor with an infinite ratio. It's purpose is generally simply to avoid clipping.

uncle_jerr wrote:

A limiter is the same concept as a compressor. Basically a compressor with an infinite ratio. It's purpose is generally simply to avoid clipping.

Yes lots to talk about regarding limiters, so I've closed this thread and re-started one specifically for limiters.

Anyone interested nip over there and have your say.

http://www.studiorecordingengineer.com/ftopicp-5846.html
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Recording Studio Suntans