Najlpeszy soundar
The ladder at the top left shows the situation in bypass - the input signal appears at the output at exactly the same level, so all the 'rungs' are horizontal. The 'ladder diagram' (Figure 1) is a convenient way of describing the relationship between signal levels at the input of a compressor, and those at the output. More specifically, signals below the threshold level are left alone, while those above are 'squashed' by an amount determined by the ratio setting. The vast majority of compressors apply 'downward compression' which means, in essence, that loud stuff is made quieter. The term 'dynamic range' can be interpreted in a variety of ways, too, but for the purposes of this article I'm using it to refer to the range of average signal levels between the quietest musical element and the loudest - the difference between the ppp and fff sections of a performance, if you like. Whether it's configured to make the loud bits quieter, or the quiet bits louder, fundamentally it exists to reduce the overall dynamic range from something large and unmanageable to something smaller and more appropriate for the intended application.
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The first thing to establish is what a compressor of any form actually does, and the answer is that it reduces the dynamic range of the input signal. Of course, when discussing an inherently complicated topic such as compression it's vital that we establish a common framework of terminology, so that we all understand what we're talking about - so that's where I'll begin. Let's leave such complexities aside for the moment, though, because in this article I really want to try to clear up some common misunderstandings about the increasingly fashionable technique of parallel compression. Compressors are available in myriad different forms, using feed-forward or feedback control paths, with RMS- or peak-weighted side-chains, and even more variations of audio-attenuation device, such as opto attenuators, diode rings, vari-mu valves, solid-state VCAs… and the list goes on! Perhaps that's not surprising, since the concepts are fairly challenging on their own - before even contemplating the subtleties of different kinds of physical implementation (or modelling).
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When talking with sound-engineering students of all ages and experience, I often find that one area where most struggle is compression. Read on to find out what it really does - and how it can help you make better mixes. Parallel compression is a powerful mixing technique, but it's often misunderstood.