Compress Your Mother

Treshold : drempelwaarde Attack : Snelheid van het in gang treden van compressie release : Snelheid van het teruggaan naar oorspronkelijk volume ratio : Verhouding tussen piekwaarde en drempelwaarde (waarde in welke mate de piek boven de drempelwaarde mag komen) output gain : totaalvolume ( hierdoor komen stillere stukken luider in de mix maar ze komen niet boven de treshold waarde)

Dan heb je meestal nog functies om de aard van het geluid aan te passen enzo maar deze 5 zijn de belangrijkste.

Voor duidelijke info : WWW.HOWSTUFFWORKS.COM

A compressor is basically a variable gain device that is used to either try to smooth out the dynamic range of a signal, or is also sometimes used as an effect. Different compressors have different types of characteristics and sounds that they impart to the source signal as well... the really expensive compressors are often expensive because of the character of their sound that is desirable for a lot of applications.

Basically, the way a compressor works is that there is a threshold control that determines at what signal level the compressor starts working it's magic. Any signal that exceeds this threshold level is attenuated (reduced in volume) in proportion to whatever the compression ratio is set at. For example, if the ratio is set at 2:1, that means that for every 2db change of signal level above the threshold from the source input, the compressor will only output a 1db change. If you set the compressor at very high ratios or 20:1 or more, then you are getting into what is more commonly termed limiting, because basically at that point the compressor/limiter is not allowing the signal to rise at all above the threshold level, thus "limiting" the output to a certain level. In digital recording, a limiter is sometimes handy to prevent clipping the signal in the digital domain by not allowing it to exceed a certain threshold.

Other controls you will see on some compressors are "attack", "release" and "knee" settings. The attack time determines how quickly the compressor reacts to a signal once it crosses the threshold level. The release time determines how much time it takes for the compressor to return to it's zero gain state once the signal passes back below the threshold. The knee setting determines whether the compressor works only on signals that are above the exact threshold level, or if it starts kicking in gradually as the signal level approaches the threshold. "Soft Knee" settings will allow the compressor to start kicking in gradually as the level approaches the threshold, and is desirable for certain types of material, while "hard knee" settings will not affect the audio at all until it reaches/passes the threshold level, and is also desirable for certain types of material. Some compressors also have input and output gain controls. Many compressor have automatic settings for attack and release times that are based on the incoming signal itself.

Learning how to use a compressor properly takes a lot of practice and experimentation. If you set the compressor wrong, you can get a "pumping" effect where you actually here the compressor reducing the gain and then bringing the gain back up, repeatedly. If you aren't going for a special effect, then the best compressors and settings are when it does its job but you can't hear it working. If you can hear it, then you've gone too far (usually). For special effects, sometime people will purposely overdrive a compressor to either make it distort (popular with many tube compressor where you get a certain type of tube distortion) or to simply impart a certain unnatural sound on a source. A common application of this is to set up some room microphones for a drum kit (in a good sounding room) and then run the room microphones through a compressor set to really extreme settings. This really over emphasizes the reflections and ambience from the room and can make a drum set sound really big when blended in properly with the rest of the drum tracks. Other people have used compressors set to extreme settings to purposely distort vocals or other instruments. Sometimes tracking or mixing engineers will use several compressors one after another to really flatten out a vocal or instrument performance, without trying to go for an extreme effect. The first compressor is usually set to mild settings with a lower ratio to do a little bit of smoothing out, and then the next compressor will be set to act as more of a limiter to catch the bigger peaks that make it through the first compressor. Some compressors have a second limiting stage built into them that emulates this type of set up.

There is no right or wrong way to use a compressor, but it takes a some practice and experience to get the sounds you are after .... the individual tracks are usually compressed during tracking, and then often again during mixing, then the overall mix is usually compressed, and then it is compressed again during the mastering stage, plus if it is broadcast over radio, the radio station has its own compressors that the signal runs through first. Classical and Jazz music, plus a lot of acoustic type of music, is usually not compressed, or at least not nearly as much. Again, there are no rules, and many people do things many different ways.

dont tell me you wrote that alone... i know you're lazy!

amen!

Wikipedia helps you out: wikipedia about compression

make your mother pump like madonna...

Originally posted by : rantferox dont tell me you wrote that alone... i know you're lazy!

someone delete this post pls :))

Originally posted by : ELFENKOMMANDO

Originally posted by : rantferox dont tell me you wrote that alone... i know you're lazy!

someone delete this post pls :))

dont fool yourself you know you love me

Originally posted by : rantferoxdont fool yourself you know you love me

pompompidom ... :p