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Light compressor for podcasting4/17/2023 ![]() Insert a compressor on the track, and open the adjustment section. ![]() You’ve recorded a nice, clean voiceover for your latest video project, but it just doesn’t cut through the speakers like you hoped. Let’s look at a couple of standard compressor applications: voice and music. However, in the virtual world, it’s easy to place them before or after any other processor, offering unique audio treatment options. This provides an untarnished signal to work on. You usually insert compressors into the signal path before any tone controls or other processing. Regardless of how much you spend, whether you use hardware or software, your compressor of choice has one job: keep audio levels under control. How’s that for simple? At the other end of the scale, we have something like an Avalon VT-747 with tube circuitry, tunable filters and graphic equalizer – lots of knobs and buttons to deal with. My first audio compressor was the venerable dbx 163 – a box with one slider labeled Compression and an arrow pointing toward More. The makeup gain adjustment is last in the signal chain and allows you to compensate for reduced audio volume. When you compress audio, the actual signal level goes down this is gain reduction. Longer times offer a smoother result, averaging the effect of the device. Shorter times allow the compressor to work very quickly and aggressively. The release setting, also measured in milliseconds, determines how long the compressor stays engaged. A longer attack setting lets some transients through, allowing the compressor to do its work on the average level. A short attack setting will catch most of the big audio spikes and keep them under control. Measured in milliseconds, the attack setting determines how fast the compressor will react to the incoming audio. The next two settings are related: Attack and Release. When volume increases by two decibels, the compressor will increase only one decibel upon output. A simple example is the standard 2:1 ratio. The next setting is Ratio – the actual compression applied to the audio that reduces its dynamic range. The lower the threshold, the more compression you’ll hear. Measured in decibels or dB, a normal setting might be -10 to -20dB. Threshold refers to the volume level at which you want the compression to start working. The first adjustable option is Threshold. The rules for these features are the same whether you’re using a hardware compressor or a virtual model plugged into your audio software. Most audio compressors have a few standard adjustments. With this simple story, you’ll have everything you need to put the squeeze on your audio tracks, giving them the professional sound everyone wants. If you’ve ever messed with a compressor, you know they have lots of knobs and buttons. Every time you watch TV or listen to music, you’re hearing audio compression at work. Compression makes vocals easier to hear and volumes more consistent and brings out sounds that might get lost in a complicated mix.Īudio compressors are a staple in the production world.
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