thread: daking compressor View Single Post
25th July 2005
#20
Lives for gear

Syra, it may not be an elegant description, but it is not 'wrong'.

I'm reading that back, and I'm not sure I'm making total sense. Perhaps the best way to explain is by describing what the ratios mean. 1:1 means the amount of reduction in db is equally to the amount the signal goes above the threshold. 2:1 mean that the amount of reduction is twice as much. And the same incrementally. At 4:1, if you go over the threshold by 4db, you will get 16 db of reduction. In order to achieve the same amount of reduction at 2:1 as you would achieve at 16:1 without cranking the threshold, the etnire signal must be increased. What this means, is that in order to achieve that same level of reduction, you've had to bring everything up. This effectively means that the quietest dynamics have been raised.

Something tells me I'm still not explaining this properly. I just didn't want to make it sound like its the function of the compressor to do the level raising on its own. Compression (as I said at ratio 16:1 or lower) mandates that the gain is increased for the same reduction effect. As a result, for limiting to occur, you have raised the lower dynamics when you raised all the dynamics. This narrows the range, as opposed to a high ratio, where you can achieve the effect without bringing up the overall gain.

It's just hard for me to translate verbally what I understand on a visual level, through compression response graphs. Sorry if I'm really confusing the crap out of any of you.

As far as how this relates to the original post, if he's getting -12db of reduction at 2:1, that means he's 6db over the threshold, which means his lowest dynamic has gotten 6 db louder in relation to his highest dynamic. Now if you don't think tha's a big jump, take any instrument in your mix and raise it 6db and see how much of a difference that makes. Like I said, try 3:1 or 4:1 with maybe -3db of reduction. With the appropriate release and attack times, that is more than enough to effect the way the kick and snare poke through the mix, or to make the vocal stand out more from the mix, if it's a vox centric mix.