beau wrote on Fri, 16 May 2008 10:05 |
not really the case from what i understand.
A compressor reduces the gain (level) of an audio signal if its amplitude exceeds a threshold. The amount of gain reduction is determined by a ratio. For example, with a ratio of 4:1, when the (time averaged) input level is 4 dB over the threshold, the output signal level will be 1 dB over the threshold. The gain (level) has been reduced by 3 dB. When the input level is 8 dB above the threshold, the output level will be 2 dB; a 6 dB gain reduction. A more specific example for a 4:1 ratio: using a digital dbfs meter.
Threshold = ?10 dB Input = ?6 dB (4 dB above the threshold) Output = ?9 dB (1 dB above the threshold)
paece
beau
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I'm sorry, I was just jumping to a conclusion with the simple math.
Perhaps I am generalizing and all devices actually behave differently, but the way I understand it -
when only concerned with above threshold signals at 4:1 ratio - when a 4 dB increase goes in, only a 1 dB increase comes out (not very noticable) - the GR meter reads 3 dB down. So you gotta put in a whopping 12 dB increase to get a 3 dB increase out (a noticable increase) -- you're right though, that's only 9 dB of GR - and its NOT what J is doing, either. But the implications are astounding to me.
Time constants and the actual program material can yield different results ( as can different compressors, even at the "same" settings). That may sound really cool on some room mics or something, but it seems excessive for the whole mix, IMO.
The 4 dB input increase is sure to be noticed by the listener if left uncompressed (not a bad thing in my mind) - the resulting 1 dB increase in compressed output slips by relatively unnoticed. To get a 3 dB increase at the output (again something noticable by the listener) the program has to increase by 12 dB! I guess I'm just hoping that the majority of the mix is below threshold, and therefore behaving linearly.
Lately I have been going for "dynamically open" mixes (no bus comp) and truly enjoying the 6-10 dB of dynamic range from peaks versus average levels (the clients dig it too).
I understand why a lot of modern rock recordings strive for a dynamic range of 2 or 3 dB between peaks and average - but it bothers me sometimes when I know there is so much more there that is being "contained" by bus compression.
Don't get me wrong, I loves me some juicy comp - just not on the whole mix.
Different strokes, right?
Fig