It’s called the ratio because it’s expressed in comparison to the unaffected signal. There are other settings for controlling compression that I won’t get into here. Any setting nearing the 20:1 ratio is becoming a limiter on the signal and not so much of a fine-tuned dynamics control. That's all the main settings covered. Some of the resources on this page are from select partners that are passionate about helping you deliver great church sound. amzn_assoc_linkid = "b6ca0618eca175dd487665a2b74de668"; It doesn't have to be super complicated. Is it a corrective or aesthetic change? For example: imagine a whisper and a scream on the same audio track. What’s happening to my transients and dynamic range? Here is a basic overview of the controls on a compressor: Threshold: this setting allows you to set the minimum level (a.k.a. When you use a compressor to change those dynamics, the mix engineer becomes part of the musical performance. I’ve used a compression of 4:1 or even 6:1 on some pastor’s mics due to the wide dynamic range of their speaking style and volume. A slower release time can help even out the output effect of the compressor. Audio Geek, Drummer, Pilot, Author, and someday I'll learn to play the hurdy-gurdy! Occasional course announcements and special offers If you decide to purchase something through these links, I would like to say Thank You! Dynamic range is the difference between the loudest and quietest parts of an audio signal. Read the Sponsor & Affiliate Disclosure here. With the threshold set to affect the range you need, listen to how increasing the ratio changes the source material to find the best ratio. BUT, as soon as the sound hits -24dB, the compressor … Good compression starts with a good plan of what sounds need what type of processing. But you really can have too much of a good thing. Attack & Release: these two parameters are used to adjust how quickly or slowly the compressor function is applied. This can be more of a factor with hardware compressors, but plugins — especially those that faithfully model analog gear — are susceptible as well. Controlling the dynamic range can help you create a more stable sounding mix (especially when it comes to the pastor’s mic), and you’ll be able to dial in the sweet spot for certain instruments (like the kick drum). // . Download this chart with starting points for compressing various audio sources. That initial peak energy is your transient. [CDATA[ But with a strong understanding of these four settings, you’ll have a solid base to achieve healthy compression. When you set your threshold, you’re deciding which part of your signal you want to reduce. Subscribe now to start learning on the ’Fly. For example: We can say that an uncompressed signal would have a ratio of 1:1 and a brick wall limiter (which allows no signal whatsoever to go above the threshold) would have a ratio of ∞:1. Before we get to some general tips to help you dial in the right sound, it will be helpful to describe what bad compression sounds like so you can avoid it. Ratio: this controls the fundamental dynamics of the audio signal coming in above the threshold level setting.

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