Using compression

The compressors can be analog or digital and you probably already have a software compressor station built in digital audio workstations such as Logic, Cubase, Fruity Loops, Reason, Ableton Live, Reaper, Adobe Audition or Pro Tools. If desired, you can buy an analog compressor for practice as well. A reasonable analog compressor can be purchased for $ 130.00 and this will be perfect for the practice of the techniques explained in the body of this article. I suggest a compressor of a few can prove it's no way to log, but only a few ideas for low-cost devices that will be suitable to practice. A Behringer Composer Pro XL MDX2600, Samson S-Com Plus, Alesis 3630 controls have to be discussed.

Audio compression can be a confusing process audio theory and practice. The reason is that learning to use a compressor on the results of applying compression to change sound in real time. It takes a certain level of experience of listening to hear the changes as they are often very subtle. As such, it is best to use fairly extreme settings in learning how to use a compressor. The processing results will be more obvious and easier to listen. We start with the basic controls of a compressor.


Threshold - control that determines what level of compression will start.
Ratio - How much compression will occur when the threshold is exceeded.
Attack - How fast compression starts when threshold exceeded.
Guidelines - How fast compression stops once the audio has been reduced below the threshold. (Depending on the detection circuit)
Make profit - cut output level. Increases the overall output level of the message of the audio signal (after) compression.
gain reduction - this is not a button control, but many compressors have a meter showing the amount of gain reduction (compression) is being implemented in dB (decibels). When learning is a useful gauge to see.

The use of a compressor and learning all the different that there is an art in itself. However this does not necessarily mean it is complicated to use a single device. The compression of the reasons seems complex, mainly because there is no interaction between the controls in the units themselves and the goal required. First we ask why we want to compress the sound? An objective should be determined as this makes for a solid reason to use a compressor. (Instead of using one because it is the "thing done" or because everyone in the audio forums are using compressors)

The compressors can be used for a variety of reasons, the compressors can bridge the gap between the levels of access trap, for example. This could make it easier to mix. If you want your drum to be more even at the level that can be compressed, is a practical reason. I could not sit there pulling the fader down on each drum beaten. Even if automated take long.

The compressors can impose its envelope (constant attack and release time) in a sound and adjust the attack and the release of a sound. For example, a drum. You can increase the attack and set the "body" of the box depending on where the release time is set. So the compressor can be used to shape sounds.Compressors tonally sounds can smooth by reducing the details in a transitional instrument attack. On a mix of full-range compressor can produce a feeling of "glue" or "gelling" of the sounds above may seem a bit disparate and disconnected.

While compression is not very difficult to take time to practice and perseverance to gain control. Keep this in mind when you are practicing with dynamic range control compressors.Compressors ultimately become stronger peaks in a quiet sound source, which is the easy explanation. (As an attenuator or volume control is reduced when a loud sound is detected). How do loud sounds quieter depends on some of the controls. The threshold determines when the compressor starts to reduce the level of a "spike" or a loud noise, usually expressed in milliseconds, the lower the compression starts attack faster. Relationship is the "amount" of compression, the increase in rates means a higher compression is applied once the threshold is exceeded. Value is an entry-level expression level of output lines, ie a ratio of 4:1 means that for every 4 dB the threshold is exceeded the output level will increase by only 1 dB. Liberation is the quick way to reduce the gain of the compressor of the action is released once the level has fallen below the threshold again. Remember that compression reduces the peaks of a sound for a makeup gain is there to increase the overall output level. The result of "gain offset" is that softer sounds below the threshold is raised in level and the peaks are reduced by the action of compression up to where they were before compression started. The dynamic range of material is thus reduced. This is an important concept to understand to reread if necessary.

The skill involved in the use of a compressor is to learn the basic controls, by practicing a sound source known as a vocal or snare drum.We will focus on a snare drum sample, this is an easy source sound to hear the changes. The key to success is to listen very carefully and thoroughly. It takes a long time to learn what the compressor is doing. So tighten controls gradually with an ear on the sound and do not expect to learn this in one day. If you practice a little every day for a week you can begin to hear the subtle changes to sound sources when compression is applied. I suggest practicing first with a single sound source and stick to using the same compressor then expand to other sounds.