![]() The next image shows something similar where the compressed signal is brought up to the same amplitude as the input signal via makeup gain after the compression takes place. We'll get into threshold and ratio in the next section titled List Of Compressor Controls. ![]() In fact, there's a specific control on compressors known simply as the “ ratio,” which controls just that. The amount of attenuation is proportional to the amount the signal surpasses the threshold. Rather, the compressor acts to reduce the amount of amplitude that is outputted above the set threshold. Notice, in the image above, how the signal is not merely clipped flat at the threshold point. ![]() This factor is known as the compressor threshold: the set amplitude at which the compressor begins to attenuate the signal. This specific amplitude is the point at which the compression will happen and is a critical factor in how compressors work. The red dotted line here is of particular importance. To demystify decibels and their usage in audio, check out my article What Are Decibels? The Ultimate dB Guide For Audio & Sound. That is a reduction in the amplitude difference between the lowest amplitude of the signal (typically the noise floor of the signal) and the highest amplitude of the signal.ĭynamic range is often measured in decibels (of some variety) in both analog and digital audio. So dynamic range compression is, at its simplest, the compression of an audio signal's dynamic range. ![]() I'll do my best to explain compression clearly with the help of visual aids and do so in as many ways as I can think of. Let's elaborate on this definition and deepen our understanding of compression.Ĭompression was one of the more challenging concepts to conceptualize when I began learning about audio engineering. In the opening, I gave a quick answer about how dynamic range compression reduces the dynamic range of an audio signal by attenuating the signal level above a certain amplitude threshold.
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