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This notice was placed on July 8, 2015.  In the field of professional sound, a compressor It is an electronic sound processor aimed at reducing the dynamic margin of the signal without its presence being noticed. This task is performed by reducing system gain, when the signal exceeds a certain threshold. Traditionally compressors have been electronic equipment of one or two rack units, but for some years software versions have appeared. A compressor acts in such a way that attenuates the electrical signal in a certain amount (normally measured in decibels) and from a certain level of entry. The objective is to ensure that the resulting dynamic excursion is lower than the original, protect certain equipment against possible peak of signal or, if it is a sound crowded, Try to hide the error. Reasons to compress a signal [ To edit ] Control signal energy : The human ear is very sensitive, so compression must be soft and subtle so as not to capture it. This type of compression is used when you have a signal in which the intensity varies, so it is compressed to achieve a more constant signal within the values \u200b\u200bassigned. Control the signal peak level : The equipment is often limited, so amplifiers can saturate and therefore damage. In this case, compression is used to control the signal and thus protect the equipment. Reduce the dynamic margin of the signal : By mitigating the peaks of a signal, we reduce its dynamic range. Many teams are limited by the peaks, and this allows the signal RMS level to be raised. Compressor uses [ To edit ] In the field of music, its use goes from applications for musical recordings to live sound. For example, its use is frequent to add more footprint To the sound, an effect that is achieved by compressing the signal to subsequently apply a gain at the exit of the device, which usually hides the possible interpretation failures by the artist, at least as far as dynamic control is concerned. A compressor is highly recommended (with certain musical styles, indispensable) for when an electric bass is used. The effect of \u00abslapping\u00bb (hit the strings with the finger) produces extremely high output peaks (20 dB or 10 times more than normal), which at low levels of exit generate distortion, and in high volumes (as in recitals) they can cause serious damage to the amplifier , and even to speaker (an excess of “excursion” can cause the speaker to tear from its suspension). Even in the (theoretical) case of a musical system with an infinite dynamic range, the difference, auditory speaking, using or not the compressor is imperceptible. Its use in voices is also very frequent, since not all singers use the appropriate technique so the signal level varies constantly. It is widely used in broadcasting, to improve the diction of the announcer. Compressing during masterization improves the definition of the sound of the final mixture. To protect the equipment (speakers). Compression parameters [ To edit ] Mainly we have the following compression parameters: Threshold (threshold) : The compressor works based on a threshold. When the signal exceeds that threshold, compression will be carried out, reducing the level to the amount determined by the ratio Of compression. The lower the threshold, a majority of the signal will be processed. We must take into account that a threshold above the system level is useless. It is equivalent to putting the compressor in bypass. The effective range of this control is \u201340 dbu to +20 dbu. Proportion (ratio) : It represents the reduction of the gain under the conditions indicated. A proportion of 2: 1, for example, means that once the signal level exceeds the threshold, the signal level is allowed or decreased by 1 dB for every 2 dB of increase in the input. A ratio of 8: 1 or more is considered a “limiter.”  Attack time (attack time) : It is the time it takes for a signal to compress since it exceeds the level of the threshold. In a good compressor with adjustable attack time, we will have an adjustment range of 500 microseconds (\u00b5s) to 100 milliseconds (MS). If the attack is very fast, the signal gain will be reduced, it will give the feeling that a signal drop would have occurred. If the attack is very slow, the signal will be distorted because the compressor does not have time to reduce gain.  Decay time (release time) : It is the time it takes for the compressor to cancel the control once the overload passed. If the release time is short, the gain will return to its original state quickly creating an imbalance of levels. If it is long, the compressor will continue to act when the following signal appears. A short release time of 100 to 500 ms is a good start for spoken voice, while longer times are better for instrumental music. The adjustment range varies between 100 ms and 3 s. Ball joint (knee) : In some compressors there is the option between a soft transition (soft knee) or something more abrupt (hard knee) . To solve the abrupt signal change, the soft knee is used. What produces is a more stable level control, because the compression ratio gradually increases to the adjusted value, instead of applying it abruptly. He hard knee It is used to have greater control over percussive sounds or instruments with rapid attack. Profit control (gain control) : It is used to adjust or compensate for the output level of the audio signal after being compressed. This control usually ranges from \u201315 to +20 dB. A very important aspect to take into account is that emphasizing the audio signal with the “Gain Control” parameter carries with it the background noise, for this reason in most cases the audio signal emphasizes excess . Compression parallel the \u00abNew York\u00bb [ To edit ] Parallel compression or New York aims to soften the dynamics of the signal or audio track on which it is applied, but without losing stuck. The percussion instruments will be the main uses for this technique. The principle is simple, it is about mixing an unprocessed track along with another to which we will apply a fairly intense compression treatment. The following parameters will be used: Values \u200b\u200bof threshold (\u2018Threshold\u2019) quite low, between \u201340, \u201345, \u201350, depending on the signal. Small ratio values \u200b\u200b(2: 1, 2.5: 1, 3: 1). Very fast attack values \u200b\u200bthat immediately stop any peak. Long relaxation or release values, for example, 800 to 1000 ms. When we raise the input signal level, the uncompressed signal acquires more strength or stuck within the context of the mixture. Transient peaks will continue to appear and the softest parts are benefited because they increase in volume and acquire more body. Remember that this type of compression can lead to disastrous results with extreme configurations; To start with this type of compression, use the values \u200b\u200bthat I have put as an example previously. Those who experience delay compensation problems in their plugins (which obviously introduce phase problems) can apply a trick that is infallible. It would be about inserting the same compression plugin into the channel that we are not going to process, adjusting the ratio parameter in 1: 1. With this we managed to balance delays on the tracks and avoid the such hated phase problems. Relevant brands [ To edit ] Among the most relevant brands are: Audio API Trivial Behringer Crane Song DBX Drawmer Elysia Empirical Labs FMR Audio Focusrite Heritage Audio Dynamics property Jouwek Joyo Audio Clear technology Manley Rupert Neve Designs Samson SPL SSL TC Electronic Tube-tech Universal Audio Fairchild Related elements [ To edit ]      "},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki14\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki14\/compressor-sound-wikipedia-the-free-encyclopedia\/#breadcrumbitem","name":"compressor (sound) – Wikipedia, the free encyclopedia"}}]}]