Professional Documents
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Basic Compression
You may have noticed that in printed books there is often a lot of
information, but somehow you can’t seem to find the exact information
you need; important things somehow seem to have been ‘glossed over’.
The reason for this is that few people who have actually worked in
professional sound engineering and music have the time or patience to
write an entire book. Therefore, nearly all are written by professional
writers or academics. Yes, they generally do know what they are writing
about, but they don’t necessarily have the practical experience to put the
information across in a way that the reader can readily understand.
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You have just experienced the quietest sound it is possible to hear. If the
sound had been any quieter, you would not have heard it at all, even in
those perfectly silent surroundings.
There is a special phrase for this – the threshold of hearing. It is the level
where sound is just audible.
Of course, whether or not you hear the falling leaf also depends on how
far you are away from it. So we must measure sound from the listener’s
perspective. In almost all circumstances we take into account not only
how much sound is produced, but the effect of distance and surroundings
leading to a measurement of how much sound is heard.
Also, we can say that the sound pressure that corresponds to the threshold
of hearing is 20 micronewtons per square meter. That is the same as 20
micropascals. One newton per square meter is the same as one pascal.
If you don’t feel comfortable with sound pressure and sound power,
micropascals and picowatts, then concentrate on decibels. They are more
relevant and easier to understand.
It is quite common to come across decibel scales that show the SPL for a
range of sound sources. Often a jet engine is quoted as producing a level
of 120 dB SPL. Of course this depends totally on distance. A plane in the
sky produces a much lower level as heard on the ground. Very close up to
a jet engine would be much more than 120 dB SPL.
There is a problem at the other end of the scale. If you played back a
recording in your living room at such a level that the peaks reached 120
dB SPL, your music would almost certainly be heard by your neighbors,
unless you live in a desert. Even if they share your taste in music, this
intrusion will certainly be unwelcome.
• Connect the channel insert send of that channel to the input of the
compressor.
Note that in some consoles the channel insert point comes before the
EQ. In other consoles it comes after the EQ. In some consoles, this is
switchable. Compressing before or after equalization are discussed in An
Introduction to Compression: Advanced Compression.
• Connect the mix insert point left channel send to the left input of the
compressor.
• Connect the mix insert point right channel send to the right input of
the compressor.
• Connect the left output of the compressor to the mix insert point left
channel return.
• Connect the right output of the compressor to the mix insert point
right channel return.
• · Connect the mix output left to the left input of the compressor.
• · Connect the mix output right to the right input of the compressor.
• · Connect the left output of the compressor to the left input of the
stereo recorder.
• · Connect the right output of the compressor to the right input of the
stereo recorder.
So the quiet sections of the signal are left unchanged. Only when the
signal rises above a certain threshold does compression start.
Let me explain that again. Sections of the signal that are lower in level
than the threshold level that is set are not changed. Sections of the signal
that are higher in level than the threshold have their level reduced.
In practice, it is not useful to leave the signal like this. It is better to raise
the level of the entire signal so that the peak levels are the same as they
were before compression.
After gain make up, loud sections are as loud as they were before
compression; quiet sections are louder than they were before compression.
When the signal is above the threshold level, its level is reduced. The
compression ratio sets the amount of reduction.
We would typically talk about a compression ratio of, say, 2:1. This means
that when the input signal rises by 2 dB, the output signal rises by only 1
dB. If the input signal rises by 10 dB, then the output signal rises by only
5 dB.
If the compression ratio is set to 20:1, then if the input signal rises by 20
dB, the output signal rises by only 1 dB.
The gain reduction meter will show from moment to moment how much
the level of the signal is being reduced.
When the signal is below the threshold level, the gain reduction meter will
show 0 dB.
When the signal rises above the threshold, the gain reduction meter will
show by how many decibels it is being reduced, from moment to moment.
[Please note that some compressors have a fixed threshold and therefore
do not have a threshold control. Instead they have a gain control. This will
be explained in the next section.]
Now apply a music signal that has both quiet sections and loud sections
to the compressor. Set the threshold so that at in the very quietest sections
the gain reduction meter shows 0 dB, which means no compression.
Adjust the threshold so that when the signal goes any louder than this,
compression starts to take place.
From this point, setting the threshold and ratio controls is entirely up to
your judgement. However, it is worth noting that there is rarely any merit
in setting the threshold to be lower than the point you have arrived at by
• Raising the threshold will cause less compression to take place and
the gain reduction meter will show less reduction in level.
When using such a compressor, you would turn up the gain until you
could hear the amount of compression you want. The effect is exactly the
same as a standard compressor, only the operational method is different.
The gain reduction meter of such a compressor works in exactly the same
way as that of a standard compressor.
It is usual to set the gain make-up control so that the peak levels of the
compressed signal are the same as the peak levels of the uncompressed
signal.
It may be apparent that there is some noise present during quiet sections
of the signal. This is an inevitable result of the compression process. At
this point, you should ignore any noise other than assessing whether it
is excessive. If so, back off the ratio or threshold controls and apply less
compression. This topic is discussed later.
The release control is very much more important than it might appear. It
is in fact the heart and soul of the compressor.
The release control sets the length of time it takes the compressor to
respond when the signal changes from loud to quiet. That is important.
Please read again.
Imagine now a fader on a mixing console and you are listening to a signal
passing through that fader.
At first, set it to 0 dB, which will keep the level of the signal exactly the
same as it was when it entered the fader. Listen to the signal for a while.
Now reduce the level by 10 dB. In other words, set the fader to –10 dB.
Lowering the signal level using a fader is not compression because all the
various levels of the signal have been reduced by the same amount.
Compression only takes place when the loud sections of the signal are
reduced in level more than the quiet sections.
Now, listen to the signal carefully. When it is loud, reduce the level. When
it is quiet, bring the level back up again.
Now let’s turn to the compressor. Set all of the controls as previously
instructed, so that you see a maximum reduction in level of around 10 dB
on the gain reduction meter.
As the signal level changes, you will now notice that the gain reduction
meter is showing a pretty constant 10 dB reduction in level. It hardly
moves.
For actual compression to take place, the gain reduction meter has to
Now experiment with the release control. As you lower the value of the
release time, you will notice the gain reduction meter hopping about more
and more quickly.
You will also notice that the compression effect becomes more
pronounced.
This is why the release control is so important. Once all the other controls
have been set properly, the release control governs the effective ‘amount’
of compression.
The other controls have to be set properly of course. But once that is done
it is the release control that wields the power.
The attack control sets the length of time it takes the compressor to
respond when the signal level changes from low to high.
In general, the attack control can be set to close to its shortest duration
and left there. Often it is found that the very shortest settings produce a
rather harsh sound, but you should judge that for your own individual
compressor.
There will be no reason to change this setting other than for special
reasons and effects that are discussed in An Introduction to Compression:
Advanced Compression.
To put this simply, whenever you compress a stereo signal, you must press
the stereo link button.
Both channels are compressed with the same settings, but with the stereo
link function off.
So while the piano plays and the drum is silent, everything is normal and
the piano is heard as it should.
But at the instant the drum places, suddenly the threshold in the left
channel is breached. (Remember that the drum is only in the left channel).
Level reduction is applied to that channel during the instant the drum
places. But it is not only applied to the drum, it is applied to the piano as
well, in the left channel. The piano in the right channel is unaltered.
Now, since the level of the piano has suddenly gone quiet in the left
channel, the right channel dominates, and the piano suddenly swings to
the right of the stereo image. Then it swings back again as soon as the
drum stops resonating.
The effect of not switching in the stereo link when compressing a stereo
signal is instability of the stereo image.
There is never a useful purpose for this, so the stereo link function must
always be activated when compressing a stereo signal.
So if you can hear noise in a compressed signal, it is not the fault of the
compressor (as long as it is a professional model), it is entirely due to the
process of compression itself.
This is where the noise audibly rises and falls in level as the signal
changes in level.
When the gain reduction meter is low, the noise level will be high. When
the gain reduction meter is high, the noise level will be low.
If you reduce the release time so that the level reduction changes more
quickly, then the breathing effect will be more rapid and more noticeable.
Pumping is closely related to breathing and applies more when the entire
stereo mix is compressed than it does to individual tracks.
Imagine a song in a slow tempo with a very strong back beat. The entire
stereo mix is compressed.
During the few tens of millisecond when the beat is actually present, the
compressor brings down the level of the signal. In between, if the release
Find a music track that has a strong beat and compress it with a short
release time. This will show the pumping effect very clearly.
At this point you have all the information necessary for successful
compression to control dynamic range.
Many types of signal will benefit from this, purely to decrease the
difference between the quiet sections of playing and the loud.
So for instance you could have a singer with a well-controlled voice who
didn’t vary much in level, so there is no real need to use a compressor to
control the dynamic range. But put his or her voice through a compressor
and it will sound, almost magically, better.
One is that if you compress with a short release setting, the tiny details
of the vocal are brought up in level. Subjectively, this seems to make an
improvement in itself.
You have to put your understanding into practice. And you have to listen.
The more you work with compressors, and the more intensely you listen
to the results you are achieving, the faster you will progress to being a
master of basic compression.
Good luck!