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==Serial compression==
Serial compression is a technique used in [[Sound recording and reproduction|sound recording]] and [[Audio mixing (recorded music)|mixing]]. Serial compression is achieved by using two fairly different compressors in a signal chain. One compressor generally stabilizes the [[dynamic range]] while the other aggressively compresses stronger peaks. This is the normal internal signal routing in common combination devices marketed as ''compressor-limiters'', where an RMS compressor (for general gain control) is followed by a fast peak-sensing limiter (for overload protection). Done properly, even heavy serial compression can sound natural in a way not possible with a single compressor. It is most often used to even out erratic [[vocal]]s and [[guitar]]s.
== Software audio players ==
Some [[audio player (software)|software audio players]] support [[Plug-in (computing)|plugins]] that implement compression. These can increase loudness of audio tracks, or level out the volume of highly-variable music (such as [[classical music]], or a playlist that spans multiple music types). This improves the listenability of audio played through poor-quality speakers, or when played in noisy environments (such as in a car or during a party).<!--[[User:Kvng/RTH]]-->
== Objective influence on the signal ==
In an article releasedpublished in January 2014 by the ''Journal of the Audio Engineering Society'', Emmanuel Deruty and Damien Tardieu performed a systematic study describing the influence of compressors and brickwall limiters on the musical audio signal. The experiment involved four software limiters: Waves L2, Sonnox Oxford Limiter, Thomas Mundt’s Loudmax, Blue Cat’s Protector, as well as four software compressors: Waves H-Comp, Sonnox Oxford Dynamics, Sonalksis SV-3157, and URS 1970. The study provides objective data on what limiters and compressors do to the audio signal.<ref name="DerutyTardieuAES">{{Cite journal |last1=Deruty |first1=Emmanuel |last2=Tardieu |first2=Damien |date=2014-02-03 |title=About Dynamic Processing in Mainstream Music |journal=Journal of the Audio Engineering Society |language=en |volume=62 |issue=1/2 |pages=42–55 |doi=10.17743/jaes.2014.0001 }}</ref>
Five signal descriptors were considered: [[RMS power]], EBU3341/R128[[EBU R 128]] integrated loudness,<ref name="EBU3341" /> [[crest factor]], EBU3342R 128 LRA,<ref name="EBU3342" /> and density of clipped samples. RMS power accounts for the signal's physical level, EBU3341R 128 loudness for the perceived level.<ref name="EBU3341" /> The crest factor, which is the difference between the signal's peak and its average power,<ref name="DerutyTardieuAES" /> is on occasions considered as a basis for the measure of micro-dynamics, for instance in the ''TT Dynamic Range Meter'' plug-in.<ref>{{Cite conference |last=Vickers |first=Earl |date=4–7 November 2010 |title=The Loudness War: Background, Speculation and Recommendations |url=http://www.sfxmachine.com/docs/loudnesswar/loudness_war.pdf |conference=129th AES Convention |___location=San Francisco |publisher=[[Audio Engineering Society]] |access-date=July 14, 2011}}</ref> Finally, EBU3342R 128 LRA has been repeatedly considered as a measure of macro-dynamics or dynamics in the musical sense.<ref name="DerutyTardieuAES" /><ref name="SOS_Dynamic_Range">{{Cite magazine |last=Deruty |first=Emmanuel |date=September 2011 |title='Dynamic Range' & The Loudness War |url=https://www.soundonsound.com/sound-advice/dynamic-range-loudness-war |magazine=Sound on Sound |access-date=2013-10-24}}</ref><ref>{{Cite journal |last1=Serrà |first1=J |last2=Corral |first2=A |last3=Boguñá |first3=M |last4=Haro |first4=M |last5=Arcos |first5=JL |date=26 July 2012 |title=Measuring the Evolution of Contemporary Western Popular Music |journal=Scientific Reports |volume=2 |page=521 |arxiv=1205.5651 |bibcode=2012NatSR...2E.521S |doi=10.1038/srep00521 |pmc=3405292 |pmid=22837813 }}</ref><ref>{{Cite journal |last1=Hjortkjær |first1=Jens |last2=Walther-Hansen |first2=Mads |date=2014-02-03 |title=Perceptual Effects of Dynamic Range Compression in Popular Music Recordings |journal=Journal of the Audio Engineering Society |volume=62 |issue=1/2 |pages=37–41 |doi=10.17743/jaes.2014.0003 }}</ref><ref>{{Cite journal |last=Skovenborg |first=Esben |date=2012-04-26 |title=Loudness Range (LRA) - Design and Evaluation |url=http://www.aes.org/e-lib/browse.cfm?elib=16254 |language=en |publisher=Audio Engineering Society |url-access=subscription |access-date=2019-11-04 |via=AES E-Library}}</ref><!--[[User:Kvng/RTH]]-->
=== Limiters ===
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