The basics on Compression.

Compression:

Compression is an audio processing tool used to reduce the peaks in audio tracks to create a more consistent volume throughout the song. It is often used on vocal tracks to eliminate clipping. It does this by reducing the dynamic range between the loudest and quietest parts of the song. This is done by boosting the quiet signals and attenuating the louder signals. The controls often used on compressors are:

1. Threshold - The level the signal must get too before the compressor is triggered.

2. Knee - Sets how the compressor reacts once it has been triggered.

3. Ratio - The ratio settings tells the compressor how much to attenuate the signal by. For example: if the ratio was set to 6:1 then for every 6 dB over the threshold the compressor would attenuate the signal by 1dB.

4. Release - This tells the compressor how quickly to release the compressor after it has been triggered.

5. Attack - How quickly the compressor starts to work.

6. Make-Up Gain - Allows you to boost the compressed signal as very often the compressed signal has been attenuated significantly

7. Output - Allows you to boost or attenuate the signal out of the compressor.

Types of compression:

• VCA Compression

• Opto Compression

• FET Compression

• Valve Compression

Parallel Compression:

Parallel compression, also known as New York compression, is a dynamic range compression technique used in sound recording and mixing. Parallel compression, a form of upward compression, is achieved by mixing an unprocessed 'dry', or lightly compressed signal with a heavily compressed version of the same signal. Rather than bringing down the highest peaks for the purpose of dynamic range reduction, it reduces the dynamic range by bringing up the softest sounds, adding audible detail.[1] It is most often used on stereo percussion buses in recording and mixdown, on electric bass, and on vocals in recording mixes and live concert mixes.

(En.wikipedia.org, 2020)