PRESONUS
10:1 are considered
hard limiting.
Limiting refers to the point at
which the signal is restrained from going any louder at the output.
The level of input signal at which the output is reduced is
determined by the compression
threshold.
As the compression
threshold is lowered, more and more of the input signal is
compressed (assuming a nominal input signal level). Care must
be taken not to ‘over compress’ a signal. Too much compression
destroys the acoustical dynamic response of a performance.
(‘Over compression’, however, is used by some engineers as an
effect, and with killer results!)
Compressor/limiters are commonly used for many audio
applications. A kick drum can get lost in a wall of electric guitars.
No matter how much level is increased, the kick drum stays ‘lost in
the mud’. Add a touch of compression and tighten up that kick
drum sound allowing it to ‘punch’ through without having to crank
the level way up.
A vocal performance usually has a wide dynamic range.
Transients (the very loudest portion of the signal) can be far
outside the average level of the vocal signal. It is extremely difficult
to ride the level with a console fader. A compressor/limiter
automatically controls gain without altering the subtleties of the
performance.
A solo guitar can seem to be masked by the rhythm guitars.
Compression can make your ‘lead’ soar above the track without
shoving the fader through the roof .
Bass guitar can be difficult to record . A consistent level with good
attack can be achieved with proper compression . Your bass
doesn’t have to be washed out in the low end of the mix . Let the
compressor/limiter give your bass the punch it needs to drive the
bottom of the track .
Summary of Contents for COMP16
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