DYNAMICS PROCESSING

ART 383 – SOUND DESIGN – SPRING 2021

DYNAMIC RANGE
High dynamic range:
large di erence between loudest
and quietest parts of a track

Low dynamic range:

high dynamic range
low di erence between loudest and
quietest parts

Note that a track can be overall

VERY LOUD and have LOW dynamic
range, or overall very soft and have
HIGH dynamic range

low dynamic range

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DYNAMIC RANGE PROCESSORS

Normalization a ects amplitude but *not* dynamic range! (“Dynamic” means

change!)

Compressor/Limiter – reduces the dynamic range

Expander/Noise gate – expands the dynamic range

Audition e ects rack:

Amplitude and Compression → Dynamics or Dynamics Processing

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COMPRESSOR
Reduces dynamic range of a signal

“Automatic volume fader” – turns

down signals that get too loud,
following the signal level

Often will “kick in” at transients

Often, then increase the overall

amplitude afterwards

TRANSIENTS
Transients are short, high-amplitude bursts of energy at the start of a sound.

They actually give a lot of information about the timbre/source of a sound

COMPRESSION FLOW
This is the “logic” a compressor follows when monitoring a signal.
The compressor gain is like the automatic volume slider, acting on the compressor input.
COMPRESSOR SETTINGS
Input gain

RATIO
“Slope” of input-to-output gain ratio

increase in dB of input signal needed to

cause 1 dB increase in output signal (before
extra output gain)

Ratio 4:1 = 1 dB increase in output for every

4 dB increase in input

2:1 = 1 dB increase in output for every 2 dB

increase in input

Or you can think of it as:

4:1 = attenuate 3 dB for every 4 dB the signal

exceeds the threshold

TIME DOMAIN

Attack: how long the compressor takes to apply the full reduction

Release: how long the compressor takes to return to original gain

These are the most important tools in getting NATURAL compression sound.

Attack too fast? “pumping”

Release too slow? Unwanted reduction

 OTHER PARAMETERS YOU MAY ENCOUNTER

Knee: A ects the shape of how the

compressor gain moves to its target level –
 how “hard” it kicks. Very directly (hard
knee) or with some easing (soft knee). Use
a higher value/hard knee for sharp
transients, lower value/soft-knee for
vocals.

Pre-comp: “Reads ahead” in the signal –

 like negative attack

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LIMITERS
Compressor with a very high ratio
(> 10:1)

Any signal that exceeds the

threshold engages the compressor.

Used to keep signal peaks from

going above a certain level

“Brick wall” to signals

Often used on the master (whole

mix)

 SIDECHAIN
External source (or a track) triggers
compression on another track.

Compressor follows a signal and applies

compression to a di erent signal.

Example: kick in EDM music drops out

other audio so it becomes clearer

Example: background music

automatically fades when voiceover is
happening.

Don’t use too much: ducking can be

disorienting.

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EXPANDER

Opposite of compressor: a ects

signals below the threshold

Creates GREATER dynamic range

Same settings: attack, threshold,

ratio, release
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NOISE GATE

High ratio expander

Eliminate signals below a certain

threshold

Signal below threshold closes

“gate” and mutes the signal.

Might be the most useful tool for

recording your podcast at home!

IN REVIEW…

Compressors reduce the dynamic range of a signal.

Expanders increase the dynamic range of a signal.

Limiters are compressors with a high ratio (any signal above threshold is
reduced to the same output level)

Noise Gates (a special kind of expander) mute any audio below a certain level.