Dynamic Processors
Compression (inc. side-chain compression)
De-essing
Limiting
Expansion
Noise gates
Sidechains and expansion/gating
Compression
Reduces dynamic range of a track
Most basic way of compressing is to ‘ride the fader’ - Manual compression which was how engineers originally controlled dynamic range in music
No ideal as takes time for hand to respond to what ear hears.
After peaks in dynamic range have been reduced, the make-up gain boosts the whole signal
Overall process ‘squashes’ the dynamic range of the music
Extreme compression is audible, but when subtle, only really identifiable when comparing two signals
Riding the fader is still used but usually by automation
Engineer can graphically draw in changes that control the level of the track.
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Dynamic Processors
Compression (inc. side-chain compression)
De-essing
Limiting
Expansion
Noise gates
Sidechains and expansion/gating
Compression
Reduces dynamic range of a track
Most basic way of compressing is to ‘ride the fader’ - Manual compression which was how engineers originally controlled dynamic range in music
No ideal as takes time for hand to respond to what ear hears.
After peaks in dynamic range have been reduced, the make-up gain boosts the whole signal
Overall process ‘squashes’ the dynamic range of the music
Extreme compression is audible, but when subtle, only really identifiable when comparing two signals
Riding the fader is still used but usually by automation
Engineer can graphically draw in changes that control the level of the track.
Compressor controls / Parameters
Threshold
Ratio Make-up gain
Knee
Attack
Release
Compressor controls / Parameters - Threshold
The volume above which a compressor begins to compress.
Compressor controls / Parameters - Ratio
Ratio = input volume : Output volume.
How much the compressor will reduce the signal by, once the signal is above the threshold
The amount of compression
Compressor controls / Parameters - Make-up Gain
Compensates for the reduction in volume that occurs as part of the compression process.
Increases the overall volume after compression
Compressor controls / Parameters - Knee
Characteristic bend in the response curve when the signal crosses the threshold.
A soft knee compressor gradually applies the ratio, whereas a hard knee compressor will apply the ratio instantly once signal is above the threshold.
Compressor controls / Parameters - Attack
How quickly compression is applied once the signal is above the threshold
Compressor controls / Parameters - Release
How long it takes for the compressor to stop compressing once the signal has fallen below the threshold value.
When set to fast, Release times can introduce ‘pumping’ or ‘ducking’ effects.
Sidechain Compession
Where a compressor is triggered by the volume of one track, but the compression is applied to another
De-essing
Sibilant sounds such as ‘sss’ or ‘shh’ or ‘t’ or ‘oh’ can be distracting in a recording
These sounds generally exist at frequencies between 5kHz-10kHz
De-essers can control these specific frequencies within the mix and thus reduce the sibilance.
Limiting
Compressors with extreme settings. They will have a ratio set as close to infinite:1 as possible (usually 20:1). Term ‘brick wall limiting’ is used to describe this'
Used to prevent signals from increasing beyond a certain level to avoid damaging equipment or increasing beyond an acceptable limit (e.g. 0dB), controlling the peaks a compressor might have missed.
Expansion
Expanders work in opposite way to a compressor - They reduce the level of signals that fall below a set threshold, expanding the dynamic range instead of reducing it.
Most commonly used as noise reducers, by setting the threshold for the quiet sections of the music so that the background noise is reduced in level, but when vocalist begins singing, the level rises above the threshold and is unaffected.
Noise Gates
Extreme expanders - they have a ratio set as close to infinte:1 as possible, reducing any signal to silence when it passes below the threshold.
Noise gates can be used to remove background noise as long as nothing else is playing
Sidechains and Expansion/Gating
A noise gate or expander can be controlled by a side chain. This is also known as ‘keyed gate’, and the gate will only open when the level of the side chain trigger exceeds the threshold
Can be used in EDM to create short and choppy synth notes that play in time with rhythm parts.