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24.4.2
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8 Tutorials
146
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orma
tion
Trouble
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Scenes
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and MIDI C
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8.2 A Brief Tutorial on Dynamics Processing
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 mix.
Compressors — Terminology
Threshold. The compressor threshold sets the level at which compression begins.
When the signal is above the threshold setting, it becomes eligible for compression.
Basically, as you turn the threshold knob counterclockwise, more of the input
signal becomes compressed (assuming you have a ratio setting greater than 1:1).
Ratio. The ratio is the relationship between the output level and the input level.
In other words, the ratio sets the compression slope. For example, if you have the
ratio set to 2:1, any signal levels above the threshold setting will be compressed
such that for every 1 dB of level increase into the compressor, the output will
only increase 0.5 dB. This produces a compression gain reduction of 0.5 dB/
dB. As you increase the ratio, the compressor gradually becomes a limiter.
Limiter. A limiter is a compressor that is set to prevent any increase in the level of a
signal above the threshold. For example, if you have the threshold knob set at 0 dB,
and the ratio turned fully clockwise, the compressor becomes a limiter at 0 dB, so
that the output signal cannot exceed 0 dB regardless of the level of the input signal.
Attack. Attack sets the speed at which the compressor acts on the
input signal. A slow attack time allows the beginning envelope of a
signal (commonly referred to as the initial transient) to pass through the
compressor unprocessed, whereas a fast attack time immediately subjects
the signal to the ratio and threshold settings of the compressor.
Release. Release sets the length of time the compressor takes to return the gain
reduction back to zero (no gain reduction) after the signal level drops below the
compression threshold. Very short release times can produce a very choppy or
“jittery” sound, especially in low-frequency instruments such as bass guitar. Very long
release times can result in an overcompressed sound; this is sometimes referred to as
“squashing” the sound. All ranges of release can be useful at different times, however,
and you should experiment to become familiar with the different sonic possibilities.
Hard/Soft Knee. With hard-knee compression, the gain reduction applied to the
signal occurs as soon as the signal exceeds the level set by the threshold. With
soft-knee compression, the onset of gain reduction occurs gradually after the signal
has exceeded the threshold, producing a more musical response (to some folks).
Auto. Places a compressor in automatic attack and release
mode. The attack and release knobs become inoperative and
a preprogrammed attack and release curve is used.
Makeup Gain. When compressing a signal, gain reduction usually results
in an overall reduction of level. The gain control allows you to restore
the loss in level due to compression (like readjusting the volume).