Week 4 homework compressors
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Week 4 homework compressors

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    Week 4 homework compressors Week 4 homework compressors Presentation Transcript

    • Hi again, my name is Guillermo Delgado from Mexico City and i am excited because is week 4 of this great course and all things are going really well with my learning to improve my production works. Again please excuse me about my bad english but i am trying to do the best in my assignments to get everybody understand what i am trying to teach. Until next week, THANKS TO READ!
    • Before anything we have to remember a compressor is classified under Dynamics processors which means it moves diferences of amplitud beetween musical moments referring to instruments in mixing or a stereo track for mastering. In my case i prefer to use real gear but if not available then i have a few plugins that works well in my DAW.
    • Dynamics processors are a fundamental tool in achieving a good mix. There are a number of types of dynamics processors (noise gates, compressors, expanders upward, downward expander, duckers, limiters, de-essers ...). But all have a common goal, which is to change the amplitude of the signal over time, and performance based on the same principle, although each type of processor has its peculiarities.
    • Whatever we give the use of these processors to improve our sound these should be based on the correct application of the parameters that I will describe next.
    • This is the level (in decibels, dB) at which the processor begins to act. To understand how it works, we have a moment of signal levels. Stay with the idea that a fader placed in either the 0 dB is leaving the entire signal "as is" without subtracting or adding gain.
    • Saying that 0 dB is identified with the "real" image of the input sound. Positive values ​​(+1 dB, +2 dB ...) indicate that we are adding to the original signal gain, and negative (-1 dB ...) we are removing it. If we adjust the processor threshold to -5 dB for example, we are saying that when the input signal reaches that level, begin to be processed. Therefore, the more we lower the threshold, the signal will have more process.
    • Once set the threshold at which it is necessary to operate the processor, we must define how much reduction should be applied over the signal. This situation is controlled by the Radio (Ratio), which establishes the relationship between the process input signal (unprocessed original signal) and the output (wet). So if a signal exceeds the threshold by 6 dB, and we do it only by 3 dB, we set the radius in 2:1.
    • The recommended technique is to adjust the ratio first, then go moving the threshold until you notice that the signal starts to process (this is easily to see in your console or DAW meter, when you see that the signal distortions begin to disappear, falling level to a more uniform range). Be clear about one thing: if your signal is too weak, and the threshold is too high, the process will fail. If a signal, say, only peaks at -5 dB and the threshold is 2 dB, it is evident that the process will not work.
    • To control "how fast" processing should occur once the signal exceeds the threshold, the processors has another control called Attack. Its range of values ​​may vary from about 5 ms (almost instant) to the order of a few hundred ms. Your choice depends on the type of signal to process: the attack transient, dynamic envelope, etc..
    • For example in a compressor: Some instruments have a very fast attack (ie sound immediately, as soon as they are played). Thus, for this type of sounds (such as bass or bass drum), the compressor will need to act quickly, to avoid a peak to pass (you'd have to adjust the attack to a low or zero value).
    • Once the signal is below the threshold to establish "how fast" the processor must stop processing. This is controlled by the Release. At first glance this time should be as instantaneous as possible, but there are other situations that require a slightly more detailed analysis of this parameter.
    • If the sound has an attack and decay very sharp (like a tom) when the sound goes below the threshold it is necessary that the release to slow enough so that the dynamic envelope is not distorted (giving the feeling of a "second attack ") but fast enough to not continue processing on the next sound (very obvious with situation in subjects with fast tempos), at which the processor should be in the initial conditions (not acting). Range values ​​varies from a few ms. to about 5 sec.
    • Again thanks for read my presentation and hope to be useful and clear with my terms. Until next week have a good recording.