With the rise in availability of musical technology (DAWs specifically), more and more producers are surfacing, and more DJs are incorporating production techniques into their workflow. Compression is by far the most used (and therefore, abused) of these techniques, simply due to lack of knowledge of what a compressor does, and how to work one properly. These processors can truly make or break a track or live recording by either giving the music the extra thump it needs, or making it painful to listen to — it all depends on the knowledge the user has. Let’s go through and break down different aspects of compressors, how they interact with each other, and how to integrate them correctly into a production or DJ workflow.
The Concept is Simple
A set amount of signal (threshold) passing through the compressor has its dynamic range (how loud or soft the signal is) lowered by a set amount (ratio), at a certain speed (attack, release, knee).
Okay, maybe that didn’t sound very simple, so in very simple terms: Variations in volume are eliminated. Usually, in live recording situations, compressors are used to make a vocalist sound more consistent, give a bassist or kick drum a fatter sound, or over a whole mix to “glue” it together. As you can see, compressors have various applications, and are an integral part to any recording. Unfortunately, it is also the most misused and abused.
There has always been a hot debate amongst recording engineers about how to go about using compression: heavy, light, staged, etc. — and there are valid arguments for each method. In the end, it comes down to what the end result *sounds* like, regardless of what the compressor’s settings say. In this article I’m going to demonstrate how to use a compressor in-depth, in different situations, and then show you how to set up a way to make your DJ mixes sound a bit more professional.
First, let’s define some terms you will come across:
Threshold – As stated earlier, this is how much signal you are sending to the compressor, measured in decibels. With the threshold at its highest, only the peaks of the signal (if any) will be recognized by the compressor. At its lowest, all of the signal will be seen. Think about this as the bar for the high-jump competition: The higher the bar, the fewer people (bits of signal) make it over, and vice versa.
Ratio – After the signal passes the threshold, it starts to be compressed. The ratio determines by how much. A typical 2:1 ratio means that for every 2dB that crosses above the threshold, the volume is lowered by 1dB. For example, if a signal is holding at a constant 0dB, and the threshold is set to -2dB with a 2:1 ratio, the post-compression signal will hold at -1dB.
Still with me? Good.
Attack/Release – These settings (measured in milliseconds) control how fast the signal is attenuated (lowered) by the ratio (attack), and then how fast it, well, releases the compression on the signal. For instruments with transients (impact sounds: kick drums, snares, hi-hats, etc), a fast attack is usually necessary to capture that initial hit and hold it down. Over a whole mix, however, the attack may be slower since there are other instruments in the mix.
Knee – Probably the most complex aspect of compression is the Knee, which basically controls how fast the signal reaches the threshold, and how it acts after the threshold is crossed. A “soft” knee is what is sounds like: a gradual curve that applies the ratio at a slower rate, and therefore is more transparent, which comes in handy when you have a very high ratio. A “hard” knee is the opposite, a sharp curve that applies the ratio very quickly (according to the attack/release times). Not all compressors have Knee settings.
(Makeup) Gain – Since the level is being attenuated by the compressor (remember our 0dB signal ending up at -1dB after compression), it is necessary to add level to the signal to boost the compressed signal back up to it’s original level (or higher).
With this knowledge, you now know everything you need to operate a compressor successfully. It may seem a bit overwhelming at first, but like I said, it’s really a simple concept! Reading is not sufficient enough to know how a compressor really works, you need to train your ears too! The best way to learn is to start twisting knobs in every which way, or by loading up presets to get the general idea. Now let’s go into some examples of how to use compressors in different situations:
Side-Chaining
Probably the most used compressor setup in dance music is called Side-Chain Compression. You may have heard this on an exaggerated scale if you listen to French electro-house, it is typically put on a bass, with the kick drum being the input. The bass seems to disappear very briefly when the kick drum hits, giving a “pumping” sound to the bass. Here’s how to set it up:
1. Put a compressor on the bass
2. Route the kick drum to its own bus
3. Set the compressor on the bass to read from the bus the kick is routed to (different compressors vary in how this is set up, look for either a Sidechain option, or possibly Input)
Pre-Compression: [audio:http://djtechtools.com/wp-content/uploads/2010/05/uncompressed_example.mp3]
Post-Compression: [audio:http://djtechtools.com/wp-content/uploads/2010/05/compressed_example.mp3]
Hear the difference?
The bass will now be compressed each time the kick drum hits, lowering the volume of the bass and letting the kick drum stand in the forefront of the mix (you may need to play with the release time to find something that works for you). Using it heavily can achieve the “pumping” sound described earlier, but more subtle uses can help a very resonant kick drum and bass get along better with each other, and help to avoid clashing frequencies.
Side-Chaining also has an important use in live DJ work. Usually used for radio broadcasts, a mic may be set to be the input of a compressor that is inserted over the entire mix, so that when the DJ/MC begins to talk, the music is dipped or “ducked”. When the shout outs are finished, the music comes back to its original volume, without any manual fader/volume knob moves. Very helpful! Some mixers even have a ducking feature built-in these days to achieve this effect all-in-one.
Parallel Compression
It sounds like an oxymoron, those two words next to each other, and is an effect used in music production that seems to defy logic for beginning audio engineers. Parallel Compression is used to blend the round sound of an uncompressed kick drum (usually), with the hard impact of one that is heavily compressed. However, there is one problem: Compressors, along with all Dynamic Range Processors, are usually routed in a Serial connection (or Insert). This means the *entire* signal is sent through the processor, and then back out (“in series”). A Parallel connection can be told how much signal it will receive (usually with an Aux Send), and is mainly used for time-based effects (delay, reverb, etc). Knowing this, we can see the confusion these beginning engineers face. How does one send a partial signal to a processor that operates in series? It’s actually very simple (really this time):
1. Set up a bus with a compressor on it
2. Send your kick drum (uncompressed, or just very slightly compressed) to the bus using a Send
3. Slam the compressor that is on the bus (ex: 4:1 ratio, hard knee, fast attack, medium release)
4. Blend your compressed signal with the original until you have a good mix between clicky-impact and round bass. Congratulations! You now have the best of both worlds. And it sounds fat, too.
Pre-Parallel Compression: [audio:http://djtechtools.com/wp-content/uploads/2010/05/parcompoff_example.mp3] Post-Parallel Compression: [audio:http://djtechtools.com/wp-content/uploads/2010/05/parcompon_example.mp3]
Makes a bit of a difference, no?
Styles of Compression (in the studio)
I would like to now briefly touch on the different styles of utilizing compressors, as I don’t want to overwhelm you with how in depth this discussion could go.
Method 1 – The 1 Step Brick
A heavy compressor/limiter/maximizer over the entire mix, sometimes combined with running each track through heavy compression beforehand as well.
Method 2 – Staged Compression
Several compressors are run in various stages (ex: one on kick drum, one over entire drum bus, and one over entire mix), but very lightly (2-3dB gain reduction tops). The end result is a very fat sounding track, and transparent compression.
Compression in the Mix
Other than using side-chained compressors for live radio broadcasts like I described earlier, compressors can give your set a little extra thump, and correct any accidental volume jumps between tracks. To set this up (in external mix mode), route an output of your mixer to an input of your soundcard, open up your DAW and set a channel to read that input. Now put your favorite compressor on the channel, and start running part of a song that you consider to be pretty loud. Dial in the compressor so you’re averaging 2-3dB of gain reduction, with a medium attack and medium release, and a maximum ratio of 3:1. Now record your mix through this channel, and you will have a fat sounding mix!
There are a few other ways of using compression, including Multiband Compression which is commonly used in mastering, but I believe them to be beyond the scope of this article.
Side Note on Limiting
Limiting and Compression are one and the same as far as processing is concerned. The only crucial difference is the ratio setting. A typical compressor ratio is 2:1 all the way up to (technically) 10:1, although in my experience I have never encountered using a ratio higher than 5:1. Limiters are basically just compressors with a 10:1 ratio or higher. It’s that simple! (told you so)
Happy ‘Pressing!
-CT
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A great and detailed article – thank you!
another really good, short article on what/how/why
http://www.soundstosample.com/blog/how-to/how-to-use-compression?utm_source=s2s_newrelease&utm_medium=s2s_newrelease_120211&utm_content=s2s_blog&utm_campaign=s2s_email
Great article!!!
http://soundcloud.com/djinstinkt/instinkts-f-ck-2010-tech-house-mixtape
THANKS FOR THE GREAT TIPS, AND I WILL LIKE TO SAY MOST OF THE INFO ON YOUR SITE (WHICH I JUST DISCOVER TODAY) HAS BEEN VERY MUCH USEFULL!! THANKS KEEP UP THE GOOD WORK
Well Cris you tried and gave it a hellava shot. I’d say for Djs who are not into production to think of a compressor as a way to even out all your songs recorded at differnet levels on a mixed tape. To get a more level and even sound no matter the og recording of each track.The compressor with fatten up weaker tracks with more volume to make up room that fatter tracks take.Its also good to learn to use limiters with compressors as the usually work well together. Takes time to learn how to use but pays big dividends in the end if you spend the time learning by experimenting.
Nice and simple way to describe what compressors do. Only thing you missed to explain is, how a compressor, if not properly used, can really damage any musical work or sound, so be extra careful cause loud isn’t always good!
got to save the dynamics (If you know how. TEACH ME PLEASE xD )
Cheers.
One of the most (out of the many) helpful articles ever posted here! I was just talking to my colleague about compression the other day and found myself not finding the words to explain it further. This pretty much summed it up! I’m not sure if I’ve posted here before, but again, this post was awesome! Yeah DJTT!!!
thanks a lot Djtt for another great article and discussion…
have learned alot from this …
cheers…
@Inquell – that’s a very logical way to look at it, i just picture it differently.
[quote comment=”30520″]One question is “Do I, as a Serato Live user, need to have a small compressor, in order to continue doing club sets?”
Second question “Do I need a compressor in order to play the occasional “real-low-bit-rate song?” i.e. 128kbps (We’ve been given a rule not to use anything under 192kbps (CD quality).[/quote]
it’s not absolutely essential to have a compressor in your gig bag. most medium-sized venues that are geared toward music should have a compressor, but again, if you’re without one, it’s not the end of the world – the only real difference would most likely only be noticeable on a larger sound system. recommend one to your local club owner 😉
One question is “Do I, as a Serato Live user, need to have a small compressor, in order to continue doing club sets?”
Second question “Do I need a compressor in order to play the occasional “real-low-bit-rate song?” i.e. 128kbps (We’ve been given a rule not to use anything under 192kbps (CD quality).
Hi,
love your site and check it regularly.
I feel like your description of the threshold was a bit different than most people think of it. In my words, a threshold is the point at which the ratio kicks in. So a threshold at -10dB will engage the ratio when your signal gets to -10dB. Remember 0dB is the loudest a digital source can get. For example a “pain threshold”, with a low pain threshold you will feel every pin prick and will react appropriately with your ratio of violent response. If you have a very high pain threshold you won’t feel a thing and won’t be responding at all. So, turn up the threshold for no compression, turn down the threshold for lots of compression.
thanks,
inquell
[quote comment=”30435″]
Production and Dj edits are essential to success. In order to make them good- you must understand compression![/quote]
it’d be sick to see an article about doing edits on djtt!
@ BentoSan: re: Sidechaining for Live sets… you ain’t kidding man! Your Smartmixer is insane! It’s my permanent mixer and I can’t believe more people aren’t mixing this way. One quick question for you Bento: Are you using any compression/limiting on your master, post smart mixer? I want to try this out right now, but i’m stuck at work.
In my brain it sounds logical to use Chris’s way of master compression, in conjunction with the smart mixer setup, for a more polished “glued” live sound, but it would be nice to hear how you’re going about this BentoSan
Really great discussion DJTT community and again, great article Chris!
NZ: There should be some delay compensation controls in your DAW’s preferences. Try playing with those a bit. If you use Ableton, there’s also a really nice tutorial in the help section on setting it properly, via a recording test. Very helpful.
I play a liveset using ableton, a couple monomes and molar vst, where i use a combo of bentosan’s smart compressor on my 2 pre-master channels (which is where i direct the output of my instruments or playing sample loops) to balance things in a live setting, and another on the master with a light touch to bring it all together, with a final limiter at the very end just to cover any accidental volume spikes. It works nicely, certainly doesn’t add noticeable amounts of latency to the kit.
@Zac Kyoti, @DJ Eddie K
Ill explain.
I use Traktor to play on my Macbook(2Ghz, 3GB) and i work with SINGERS. Traktor plays riddim, MC chats.
Routing signal from Traktor and Mic Input to the DAW and out of it to the master definitely adds latency. Its not about playing Traktor – you have Sync feature. Its about live humans, who cant sing with such latency.
Using DSP with ~0 latency and built-in mixer makes good results: you hear yourself with no delay.
I dont know, may be faster computer can do this.
nice post!
Compression is something every DJ who may or may not be into the production side of things should understand.
Just keep in mind that over compressing a track or mix can kill the dynamic variations in the music. Use it wisely, my friends!
Compression is something every DJ who may or may not be into the production side of things should understand.
Just keep in mind that over compressing a track or mix can kill the dynamic variations in the music. Use it wisely, my friends!
Analogue compressors also don’t have the ability to look forward in time, which is a very very very useful tool for compression. It ads latency but is worth it.
My fav all round compressor would have to be Image Lines Maximus which has an epic sound to it, i use it in all of my productions.
Vintage Warmer is also a very good plugin, useful for he master bus – but you can also use it for insert fx on channels. It has a fairly significant latency though which makes playing ur synth through it in realtime a fail.
Side chaining for live sets is all powerful, not nearly enough people are utilizing the power of side-chaining in a live set, even in its most simple form.
More production related articles ftw !
[quote comment=”30461″]This article is a pretty nice introduction to compression. However, you forgot to mention something cruical:
A/B the sound with and without compression! Match the level of the track with compression with the level of the track without compression by using the gain knob in the compressor. That is the only way you can tell if you are doing the right thing or not.
This is because louder sounds will always sound better to our ears, and most software compressors nowadays have switches for automatic makeup gain that are switched on by default, so no matter if you actually screw up the sound, it will sound better because it’s louder.
You will need a pair of studio monitors/headphones to judge a uncompressed (dynamic) signal to it’s full extent.[/quote]
this is definitely crucial! bypassing the compressor now and again to see what kind of impact it’s having on the sound is very important.
i want to mention also: remember that not all compressors have to be software! there are many many good outboard compressors that will sound unique even to their plug-in counterpart. i highly recommend any up and coming producer, even DJs thinking about traveling a lot, maybe think about investing in a solid rack mount compressor. this puts no strain on your CPU, but then again may have less features (ex: adjustable knee).
I think live compression is what brought deadmau5 to the forefront. He pretty much found a way to do it with like zero latency.
Excellent article! Im new in here but now Im checking the rest of the site, and have to say that you guys are doing an awesome job.
This article is a pretty nice introduction to compression. However, you forgot to mention something cruical:
A/B the sound with and without compression! Match the level of the track with compression with the level of the track without compression by using the gain knob in the compressor. That is the only way you can tell if you are doing the right thing or not.
This is because louder sounds will always sound better to our ears, and most software compressors nowadays have switches for automatic makeup gain that are switched on by default, so no matter if you actually screw up the sound, it will sound better because it’s louder.
You will need a pair of studio monitors/headphones to judge a uncompressed (dynamic) signal to it’s full extent.
[quote comment=”30424″]Great article!
But.
Live compressor usage via DAW is impossible – you gonna have a huge latency.[/quote]
This is untrue.
Modern technology has advanced to the point where current software can run on hardware that was state of the art 4-5 years ago with very low (sub 5ms) latency added to line audio signal.
Case in point – i run my laptops Traktor signal through a session in Ableton on my old desktop to compress, eq, and limit the mix to give it a phatter sound. The added delay in audio output is hardly noticable even when doing very quick cuts from track to track.
not all DJ’s are producers… its sad.. they should be .. go pirate REASON and you’ll know what hes talking bout..
This is def out of my scope of interest, but still very cool to learn about (and a little confusing too)
[quote comment=”30433″]great article Chris!
One question, do you use Ableton Live at all? I’ve been trying to keep my Live set 100% Ableton devices and I was wondering if you have a favorite compressor setting or compressor/limiter combo that you use in Ableton for Live performance or DJ work? I currently do not use any compression or limiting on the master, but I was thinking of adding something to glue it all together.
Thanks![/quote]
i personally have not used ableton live in some time. however, i know that there is a group of people on the forum who use ableton in conjunction with other applications (including traktor) that may be able to help with this. definitely a good article idea..! 😉
[quote comment=”30446″]
For this particular case, what would you suggest compression-wise on the master? my logic says keep it clean of any compression but i’d love to hear what are you guys doing with your live/DJ setups with adding a little gusto to the master.[/quote]
my usual compressor settings on the master channel are approximately: 2-3db of compression at a 2:1 ratio with a medium attack and medium release. with that said, please only use those setting as a rough guideline of what to use on *your* mix. most of the disdain for compressors that some here in the comments have shown comes from improper settings, IMO.
it is true that compressing an already sonically maxed out track is bad, but only when done heavily. it is also true that by compressing an already-compressed track will alter the dynamics of the track and make it sound a bit different (read: louder). however, when using master-bus compression, it is important to look at the overall effect: the mix sounding consistent. while normalizing tracks (making all tracks the same volume using gain processing) can achieve the same effect, for some it easier to simply compress the master output rather than go through their entire collection one-by-one and make these adjustments.
this leads me to what i was stating in the 3rd paragraph: uses of compression are highly debated, as they are really a matter of personal preference.
Interesting read. So would this be the (somewhat) guitar equivalent of an attenuator?
http://www.guitarcenter.com/THD-Hot-Plate-Attenuator-101243475-i1145573.gc
thanks!
Great Article!
@ meh: good idea in theory, but I’m pretty sure that would take up my entire summer if I were to begin going through collection, track by track! I’m already warping, keying, mp3 gaining and catalog each track. add in custom compression on each track and I’d just about cry at that point.
@ Ean and Chris: Keeping in the spirit of DJTT articles, I treat each of my tracks with MP3 gain to even out the levels between each track and minimize gain staging tasks in the booth.
For this particular case, what would you suggest compression-wise on the master? my logic says keep it clean of any compression but i’d love to hear what are you guys doing with your live/DJ setups with adding a little gusto to the master.
EQ 8 + compression = DJ’s pre work friend
I will always disagree with the suggestion to compress a master channel for mixxing… something will sound over/under compressed in your set and ie sound like shit… you want your mix to sound fat… take your tunes into ableton and compress individually as needed.. (humble opinion)
NZ: you can definitely use compressors in your DAW live. Granted, they’re all different, but I find using native compressors in Ableton adds close to zero additional latency.
One thing I’m surprised is not mentioned in the article or comments is the concern about compressing already professionally mastered (and compressed) music. With the average track today already reaching the dj in a hypercompressed, overloud format, you’ve got to be very careful in applying more blind compression to that track, or a mix of tracks. You run the risk of sucking the last life out of a sound that’s already been very reduced dynamically.
It should be noted that compression can be used to make music punchier or louder, but it does this by reducing the difference between the loud and quiet elements of the track, after which the gain is increased. This is a reduction of the dynamic range of the track. If you take something that has already been compressed to the max, and do it again, what you end up with is flat, lifeless, and fatiguing to listen to.
Why is this important for djs?
Production and Dj edits are essential to success. In order to make them good- you must understand compression!
Hey man, nice article man
great article Chris!
One question, do you use Ableton Live at all? I’ve been trying to keep my Live set 100% Ableton devices and I was wondering if you have a favorite compressor setting or compressor/limiter combo that you use in Ableton for Live performance or DJ work? I currently do not use any compression or limiting on the master, but I was thinking of adding something to glue it all together.
Thanks!
I have been looking for a good compressor article and this one found me. Thanks.
Brillant!! Cleared up a lot of questions I had! Thanks a million!
was really interested in that Gyratec X unit…$4.000 grand for that..nah
Great article,
great article. There is indeed a lot of misuse of a compressor. A lot of radiostations for example compress way to much. They do this to avoid static noise coming in the reception, and by that have a further distance they van be listened to.
Some music tracks also use heavy compression, you can hear the pumping constantly. Works for some songs.
Great article. Vital information.
If I may, I feel you skipped an important compressor use that could be beneficial to DJs, that of boosting a certain sound. If you have a loop or sample with a sound you like but it is buried under say a kick or synth, by compressing the part you lower the volume of the loud part and now if you boost the gain, the part you wanted to emphasize is louder. A useful tool.
Hopefully this is the first of a series of articles where we can expect more examples. Keep ’em coming!
..
Phil.
Great article!
But.
Live compressor usage via DAW is impossible – you gonna have a huge latency.
The only way i see here, which i practiced, is to use soundcard’s built in DSP. And here the choice is so limited. I did this with TC Konnekt Live. Sounds great. But ive sold it coz of limitations – DSP is able to process 2 channels only. And i work with singers and some musicians, so i need about 5 separate input fxs and master stereo fx. Im gonna try Motu Ultralite Hybrid. Does some1 use this baby?
And reg DSP-audio-interfaces i know: TC Konnekt Live, Motu, RME Fireface and upcoming Babyface, which even has Delay(my dream)
nice article, just what I needed and very usefull!
This article is great! It is bridging the gap from what we djs do (play the music) to what we need to know to really get good sound out to an audience.
I want more articles like this so I can achieve the best possible sound for my crowd. Let’s be honest the best dj in the world needs to not only play great music, but it absolutely has to sound sweet when it hits the crowd’s ears.
Any tips in that arena are welcome.
[quote comment=”30418″]
+1, big ups Chris Tanner!
I love those deep and technical articles, It was my first contact with any compression technique and I found it awesome.
How can I practice the compression with ableton?
What feature to use?
Thanks![/quote]
thanks! i’m glad you enjoyed it. the best way to practice is to simply twist the knobs, really. listen carefully as you adjust each parameter to see what’s really happening. in ableton there should be a few compressors at your disposal, just insert one onto any clip and start experimenting!
[quote comment=”30411″]i dont know what ya’all are talking about. this is probably one probably one of the better production tips on here! big ups[/quote]
+1, big ups Chris Tanner!
I love those deep and technical articles, It was my first contact with any compression technique and I found it awesome.
How can I practice the compression with ableton?
What feature to use?
Thanks!
[quote comment=”30415″]Yeah, he described compression, but a little weak on the “Whys” for DJs. Are people using them live for anything other than radio/voice work? If not, then are DJs really “incorporating production techniques into their workflow”? It’s just confusing as to why it’s here and tagged like this. Nah mean?[/quote]
if you play out in a venue with a proper sound setup, chances are you are running through (at least one) compressor before your signal is heard. by knowing a compressor and what it does, if the sound isn’t right (or the sound tech is below par), you may be able to make (or suggest) some adjustments that may make your sound THAT much better.
also, i remember an article a while back on DJTT about DJs not *just* being DJs, but producers as well.
http://www.djtechtools.com/2009/11/13/how-to-be-a-successful-dj-part-3-production/
this article describes the importance of production to DJs nowadays, even it’s just simple edits. and thus, the importance of compressors as well.
Yeah, he described compression, but a little weak on the “Whys” for DJs. Are people using them live for anything other than radio/voice work? If not, then are DJs really “incorporating production techniques into their workflow”? It’s just confusing as to why it’s here and tagged like this. Nah mean?
[quote comment=”30402″]I don’t get it…
“For example, if a signal is holding at a constant 0dB, and the threshold is set to -2dB with a 2:1 ratio, the post-compression signal will hold at -4dB.”
Input signal = 0dB
threshold = -2dB
ratio = 2:1
how many dB over the threshold = 0 – -2= 2dB
So the input signal is 2dB over the threshold, as the ratio is 2:1 the compresor should let it go ONLY 1dB over the threshold giving an output of -2+1=-1dB, not -4dB
what am I getting wrong?[/quote]
sorry to confuse you, you are exactly right. i got my numbers backwards, my apologies. i just corrected the article, thanks for pointing that out.
@ToS – i really wanted to try and scratch the surface (and maybe a bit further) of compressors, and not overwhelm anyone who may be new the whole concept, scaring them off with how complex it can get. the reason i used kicks as a compression example is because they are common to those different types of dance music you mention. if i were to cover a few genres, i’d be leaving someone out, surely, but everyone needs a good compressor setup on the kick! 😛
thanks to everyone who gave feedback/criticism!
i dont know what ya’all are talking about. this is probably one probably one of the better production tips on here! big ups
Hey, nice idea but a little scarce description.
If I may suggest, you could have added an example on how to set up compressor for different mucis genres (so newbs can start from someting): house, techno, trance, d&b, etc.
That would add some value to the article, IMHO.
thx for this! great info for djs and producers!
Compression is probably one of the most misused production tools out there, but at the same time so valuable – ten times more important when you are recording something that when playing back samples or what have you – still an essential tool that anyone who makes music should learn and master
Side not – not all compressors are made equal! If you have ever run drums through a tube compressor you will realize its like turning on the sound good switch!!
Interesting. Not sure its bang on the money for a DJTT front page topic.
Not saying its bad, but a little technical and niche.
Nice! Thenks!
Thanks for the info! Love the post.
cokeramirez woo. basically move the knob a lil
I don’t get it…
“For example, if a signal is holding at a constant 0dB, and the threshold is set to -2dB with a 2:1 ratio, the post-compression signal will hold at -4dB.”
Input signal = 0dB
threshold = -2dB
ratio = 2:1
how many dB over the threshold = 0 – -2= 2dB
So the input signal is 2dB over the threshold, as the ratio is 2:1 the compresor should let it go ONLY 1dB over the threshold giving an output of -2+1=-1dB, not -4dB
what am I getting wrong?
Dj LUCKY