MUS 221: Compression, Reverb (Week 11)

Fundamental Categories of Effects Processing

Equalization (timbre), Compression (dynamics), and Reverb (space and ambience)

Reverb

simulates the prolongation of sound as it reflects around a physical space

Before digital processing, reverb was created using physical devices in the studio

echo chamber

spring reverb

plate reverb

The reverb type or algorithm is often modeled on a physical counterpart

hall, room, plate, spring

Typical reverb controls include

Type

Predelay time before the first reflections

Size of the simulated space

Decay length of hte reverb tail

Damping of high frequencies in the reflections

Dry/Wet mix between the original signal and reverb

Convolution reverb

a unique implementation that applies the acoustic reverberation of a real space using an impulse response

Impulse response

a recording of a short, oud sound in teh desired space

compressor

reduces dynamic range by attenuating the loudest parts of a signal

(paradoxically) allows an engineer to increase the level of a track using makeup gain without clipping

robot at the mixer (robot listens to the signal and can respond very quickly. the loudness adjusting the fader accordingly)

Threshold (typical compressor control)

…at which the compressor starts processing

Ratio (typical compressor control)

…how much the signal above the threshold is reduced

Attack time (typical compressor control)

…before the compressor reduces the signal

Release time (typical compressor control)

…for the compressor to recover (returns to normal)