Compression
Compression is the process of reducing the dynamic range
between the loudest and quietest parts of an audio signal. This is
done by boosting the quieter signals and attenuating the louder
signals.
Compression is mainly used on vocals, however can and should
be used across the board of mixes, to ensure full control of the
final mix.
Compression should be enough to control the mix, and whenever
using the effect it should not be obtrusive – this is all how your
own ears perceive the sounds however.
Parameters of Compression:
Threshold – How loud the signal is before compression is applied.
Ratio – How much compression is applied. For example, if the
compression ratio is set for 6:1, the input signal will have to cross the
threshold by 6 dB for the output level to increase by 1dB.
Attack – how quickly the compressor starts to work.
Release – how quickly after the signal drops below the threshold the
compressor stops.
Knee – sets how the compressor reacts to signals once the threshold
is passed. Hard Knee settings mean it clamps the signal straight
away, and Soft Knee means the compression kicks in more gently as
the signal goes further past the threshold.
Make-Up Gain – allows you to boost the compressed signal, as
compression often reduces the signal significantly.
Output – allows you to boost or decrease the level of the signal output
from the compressor.
Release
Attack
Output
Threshold
Ratio Make-Up Gain
Knee
Timeline of Compression
• 1930s-40s – Compression created to control volume of
TV/Radio presenters whispering/talking quietly as-well as an
entire audience clapping.
• The first compressors just had In/Out functions and no other
controls.
• 1937 – ‘The Western Electric 110 limiting amplifier created,
being considered to be the first commercially available
compressor.
• 1980s – DAWs included Compression as standard in their
software, rather than needing Compression Racks.
• 2007 – Tracks started using less heavy compression,
experimenting with different compression levels
Other Types of Compression
Side-Chain Compression – Compressor uses the input signal to
determine how strongly the compressor will reduce the gain on it’s
output. Can be used by DJs for Ducking (E.G. Lowering the volume
quickly for when they talk!)
Multi-band Compression – Compressor that allows you to change the
frequency bands, ensuring you can change the compression levels of
certain frequency bands rather than the full bandwidth. Multi-band
compression is good for mastering.
Why are mixes compressed?
Cnet (cnet.com) came up with 10 reasons as to why music is compressed, they are
listed below:
No. 10: Compression is part of the sound of contemporary music. Completely
uncompressed music would sound lifeless and boring to most listeners. They crave more
energy than unprocessed sound offers.
No. 9: Louder music, even if it’s just slightly louder, almost always sounds better than
quieter music.
No. 8: Most music is listened to in the background to accompany some other activity like
working, reading exercising, driving, or cooking. When you’re doing something else,
uncompressed music’s constantly shifting volume level would be an annoyance.
No. 7: When listening in shuffle mode, there’s a good chance you’ll skip over the quieter
songs to get to the next tune. Record producers live in fear of a mix that’s too quiet.
No. 6: In the days before CD mastering, engineers needed to boost the quietest sounds
to keep them above the LP’s noise floor, and reduce the loudest sounds volume level to
keep the “needle” in the groove. Digital didn’t have those problems, but we still wound up
with CDs that have less soft-to-loud dynamic range than LPs.
No. 5: Engineers like using different types of compression to create
new sounds to catch the ear. There’s nothing wrong with that.
No. 4: People so rarely listen to music in quiet surroundings, they
need compression to keep music loud enough to be heard over the
noise.
No. 3: If people really didn’t like compression, they would stop
buying/listening to compressed music (see No. 1).
No. 2: People mistake compression for dynamics; when all the
sounds are loud and “punchy,” it’s called “dynamic.” Naturally dynamic
music lacks the kick of a compressed mix.
No. 1: Audiophiles like to complain about compressed music, but they
actually prefer it.
