Dynamic range compression: Difference between revisions

Revision as of 08:09, 30 August 2021

Revision as of 21:17, 8 October 2021

Line 150:

{{listen | filename = Uplifting Trance Sidechain.ogg| title = Uplifting Trance Sidechain| description = The first 8 bars are without side-chaining applied, the second 8 are with side-chaining. | format = [[Ogg]]}}

A compressor with a side-chain input controls gain from main input to output based on the level of the signal at the side-chain input.<ref name="Colletti">{{Cite web |url=http://www.sonicscoop.com/2013/06/27/beyond-the-basics-sidechain-compression/ |title=Beyond The Basics: Sidechain Compression |last=Colletti |first=Justin |date=2013-06-27 |website=SonicScoop |access-date=2015-03-16}}</ref> An early innovator of side-chain compression in an effects unit was the [[Eventide, Inc|Eventide]] Omnipressor from 1974.<ref>{{cite web |title=50th Flashback #3: The Omnipressor |url=https://www.eventideaudio.com/blog/aagnello/50th-flashback-3-omnipressor |website=Eventide Audio |access-date=17 May 2021}}</ref> With side-chaining, the compressor behaves in the conventional manner when both main and side-chain inputs are supplied with the same signal. The side-chain input is used by [[disc jockey]]s for [[ducking]] – lowering the music volume automatically when speaking. The DJ's microphone signal is routed to the side-chain input so that whenever the DJ speaks the compressor reduces the volume of the music. A sidechain with [[equalization (audio)|equalization]] controls can be used to reduce the volume of signals that have a strong spectral content within a certain frequency range: it can act as a [[de-esser]], reducing the level of vocal [[sibilance]] in the range of 6–9&nbsp;kHz.<ref>{{Cite magazine |last=Senior |first=Mike |date=May 2009 |title=Techniques For Vocal De-essing |url=http://www.soundonsound.com/sos/may09/articles/deessing.htm |department=Sound Advice |magazine=Sound on Sound |access-date=2015-03-16}}</ref> Another use of the side-chain in music production serves to maintain a loud bass track without the [[bass drum]] causing undue peaks that result in loss of overall [[Headroom (audio signal processing)|headroom]].<ref name="Colletti" /><!--[[User:Kvng/RTH]]-->

==Parallel compression==

One technique is to insertInsert the compressor in a parallel signal path. This is known as [[parallel compression]],. It is a form of upward compression that facilitates dynamic control without significant audible side effects, ifso long as the ratio is relatively low and the compressor's sound is relatively neutral. On the other hand, a high compression ratio with significant audible artifacts can be chosen in one of the two parallel signal paths—thispaths. This is used by some concert mixers and recording engineers as an artistic effect called ''New York compression'' or ''Motown compression''. Combining a linear signal with a compressor and then reducing the output gain of the compression chain results in low-level detail enhancement without any peak reduction; (since theThe compressor significantly adds to the combined gain at low levels only). This is often beneficial when compressing transient content, since it maintains high<!-level dynamic liveliness, despite reducing the overall dynamic range.-[[User:Kvng/RTH]]-->

== {{visible anchor|Multiband compression}} == <!-- [[Multiband compression]] redirects here -->