![]() Almost no compressor is going to be the best choice in all cases, just like no microphone is going to be ideal for all instruments or voices.Įven though, in the era of digital recordings, there are some unique options out there, most of the software compressors we rely on today are either inspired by or overt recreations of venerated studio staples from past decades. Many excel in particular circumstances but fall flat in others. On a macro-level, compression can be used to shape the overall dynamic arc of an individual track or an entire mix, fluidly attenuating the loudest moments and creating a sense of “glue” in a mix.Īs you’ve likely observed, not all compressors are created equal. This action is performed in a fraction of a second. On a micro-level, we can use compressors to sculpt individual transients, accentuating or flattening the attack of the sounds we feed into them. Attenuating the volume of incoming signal has some pretty varied potential applications. ![]() In practice, of course, things get more complicated. At the surface, their function is pretty easy to understand: they lower the level of incoming signal when it crosses a given threshold. ![]() ![]() ![]() Like any other hardware or software we use to capture and process audio, compressors are tools. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |