Dynamic range compression attenuates the volume of loud sounds that cross a given threshold. /*# sourceMappingURL=https://www.redditstatic.com/desktop2x/chunkCSS/TopicLinksContainer.361933014be843c79476.css.map*/._2ppRhKEnnVueVHY_G-Ursy{-ms-flex-align:center;align-items:center;display:-ms-flexbox;display:flex;margin:22px 0 0;min-height:200px;overflow:hidden;position:relative}._2KLA5wMaJBHg0K2z1q0ci_{margin:0 -7px -8px}._1zdLtEEpuWI_Pnujn1lMF2{bottom:0;position:absolute;right:52px}._3s18OZ_KPHs2Ei416c7Q1l{margin:0 0 22px;position:relative}.LJjFa8EhquYX8xsTnb9n-{filter:grayscale(40%);position:absolute;top:11px}._2Zjw1QfT_iMHH7rfaGsfBs{-ms-flex-align:center;align-items:center;background:linear-gradient(180deg,rgba(0,121,211,.24),rgba(0,121,211,.12));border-radius:50%;display:-ms-flexbox;display:flex;height:25px;-ms-flex-pack:center;justify-content:center;margin:0 auto;width:25px}._2gaJVJ6_j7vwKV945EABN9{background-color:var(--newCommunityTheme-button);border-radius:50%;height:15px;width:15px;z-index:1} To add to this, the attack time is the time it takes for the gain reduction to conform to the graph posted above. The controls switch the ratio (1.5, 2, 3, 4 and 6:1 ratios), adjust the threshold (2dB steps from ‑20 to+10dBu), introduce make‑up gain (up to 20dB in 2dB steps), and set the recovery time (100, 200, and 800ms, plus an automatic mode). Attack & Release. A soft knee setting applies compression differently to a hard knee setting. The Knee on a compressor represents how fast the compression is applied to the signal once it surpasses the threshold. Instead of engaging at a very specific point, the ratio creeps up from 1:1 (no compression) to the actually defined ratio over a set amount of dB. As long as the input level is +9dB, the output level is +6dB (one way to think of a “compressor” is an automatic volume regulator). The softer the knee, the more gradual the effect. http://www.uaudio.com/media/assetlib...6ln_manual.pdf. Use a fast attack time for thick, heavy vocals and a slow attack time for punchy, aggressive vocals. ._2a172ppKObqWfRHr8eWBKV{-ms-flex-negative:0;flex-shrink:0;margin-right:8px}._39-woRduNuowN7G4JTW4I8{border-top:1px solid var(--newCommunityTheme-widgetColors-lineColor);margin-top:12px;padding-top:12px}._3AOoBdXa2QKVKqIEmG7Vkb{font-size:12px;font-weight:400;line-height:16px;-ms-flex-align:center;align-items:center;background-color:var(--newCommunityTheme-body);border-radius:4px;display:-ms-flexbox;display:flex;-ms-flex-direction:row;flex-direction:row;margin-top:12px}.vzEDg-tM8ZDpEfJnbaJuU{color:var(--newCommunityTheme-button);fill:var(--newCommunityTheme-button);height:14px;width:14px}.r51dfG6q3N-4exmkjHQg_{font-size:10px;font-weight:700;letter-spacing:.5px;line-height:12px;text-transform:uppercase;display:-ms-flexbox;display:flex;-ms-flex-pack:justify;justify-content:space-between}._2ygXHcy_x6RG74BMk0UKkN{margin-left:8px}._2BnLYNBALzjH6p_ollJ-RF{display:-ms-flexbox;display:flex;margin-left:auto}._1-25VxiIsZFVU88qFh-T8p{padding:0}._3BmRwhm18nr4GmDhkoSgtb{color:var(--newCommunityTheme-bodyText);-ms-flex:0 0 auto;flex:0 0 auto;line-height:16px} this would be a 'soft knee'. Once you do that and follow the steps provided here, bass compression is as easy as one, two, three. This is a time-based number, usually in ms. You set the FET compressor (which is usually the fastest "real world" attack and release) or a brick wall limiter (which is the fastest digital attack and release) first and adjust it so it is compressing a few dB only on the really sharp transients. thus knee is how strict the detector is about the threshold level, with soft knee having early but lower ratios near the threshold and hard knee having specified ratio at the threshold level. However, I do tend to not use it on my mixbus because of its colouring. Now elsewhere on this blog we’ve covered compressor controls (attack, release, threshold, ratio, knee, etc. New comments cannot be posted and votes cannot be cast, More posts from the audioengineering community. So you may now be asking yourself what these circuit types are. G. guitarman3001 Member. Say your threshold is -18dB and your ratio is 4:1. You will be surprised how many people think this. I've heard a couple different explanations for both the knee and the attack of a compressor. The threshold goes down to -60dB in 0.1dB increments, and the attack and release knobs can be set to lightning fast or invisibly slow. The makeup gain can be used to attenuate the signal, returning the louder parts to their previous level. In normal compression, the knee (which is the point where compression begins) is an abrupt angle whereas in the soft knee it is more of a curve. So would the knee be a function of the compressor ratio possibly? That’s the technically correct definition, at least. As I rotate it clockwise, it opens it up more and lets more of the picking attack come through before the compression kicks in. A knee that is 6 dB wide won’t fully compress the signal until it hits 3 or … Attack is how fast the compressor reacts to signal. Most audio compressors operate using either VCA (Voltage Controlled Amplitude), FET (Field-effect Transistor), OPTO (Optical), or VARI-MU (Variable-MU). The compressor’s attack setting controls how quickly the compressor turns the signal down once it has crossed the threshold. to understand this, think about the number of cycles that are occurring during attack time. This tutorial will teach you all about audio compression, but if you're still not sure what it all means and how to proceed, you may want to take advantage of some of the professional audio editing services on Envato Studio. So it works on a whole different parameter. But as soon as that signal crosses the threshold the compressors starts acting accordingly. I also recommend using a soft knee compressor for this approach if possible (just turn up the knee parameter if your compressor has one). Messages 10,970. Attack time is how fast the compressor kicks in once it hears a loud sound, i.e. so slower attack times can work with lower frequencies, while you'll need faster attack times to handle higher frequencies. The higher the setting, the more the Kotelnikov reacts to RMS level, the lower the setting, the more it reacts to the peak level. ), and compressor types, (FET, opto, etc.) Because “softer” knee settings are less aggressive, they are used far more often in mastering situations. /*# sourceMappingURL=https://www.redditstatic.com/desktop2x/chunkCSS/IdCard.de628c13230c59091a5d.css.map*/._2JU2WQDzn5pAlpxqChbxr7{height:16px;margin-right:8px;width:16px}._3E45je-29yDjfFqFcLCXyH{margin-top:16px}._13YtS_rCnVZG1ns2xaCalg{font-family:Noto Sans,Arial,sans-serif;font-size:14px;font-weight:400;line-height:18px;display:-ms-flexbox;display:flex}._1m5fPZN4q3vKVg9SgU43u2{margin-top:12px}._17A-IdW3j1_fI_pN-8tMV-{display:inline-block;margin-bottom:8px;margin-right:5px}._5MIPBF8A9vXwwXFumpGqY{border-radius:20px;font-size:12px;font-weight:500;letter-spacing:0;line-height:16px;padding:3px 10px;text-transform:none}._5MIPBF8A9vXwwXFumpGqY:focus{outline:unset} Jul 1, 2013 #11 Holy Schnikes said: I have the EQD Warden optical compressor… In other situations I think that it's an amount of time to reach an xdB reduction....so like a rate of dB/time. The higher the ratio, the more aggressive and pronounced the compression characteristics will be. Soft knee compression. A “hard” knee means that the compressor clamps down on the signal almost immediately, while a “soft” knee means the compression kicks in more gradually as the signal goes further past the threshold. The attack property of the DynamicsCompressorNode interface is a k-rate AudioParam representing the amount of time, in seconds, required to reduce the gain by 10 dB. Once the input goes above ~ -25 dB, the output is reduced. Description. For example, say your threshold was at -10dB with a hard knee...at -11dB nothing happens. In order to pull this off, it has to begin slowly applying the compression before the threshold is hit. ._1zyZUfB30L-DDI98CCLJlQ{border:1px solid transparent;display:block;padding:0 16px;width:100%;border:1px solid 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size'...this basically delays when the attack actually starts. Un compresseur est un appareil de traitement du son destiné à réduire la dynamique du signal. Not every compressor has a knee parameter, but it's always a nice option when the do. “hard knee” vs “soft knee” Si le réglage s'exprime en dB, sharp knee est une valeur proche de 0 dB. So, the knee has to do with the level at which the compression occurs. This means that nothing at all happens until the attack time has occurred. You will see the “linear” transition from +9dB until it reaches the +6dB output level. with a hard knee, you get the activity starting right at the threshold level. On others, such as from the 1176 manual, it says, "Attack time sets the amount of time it takes the 1176LN to respond to an incoming signal and begin gain reduction." Bass compression is as easy as one, two, three at least not really general... The frequency you are compressing of dB/time modulating the ratio setting determines how the. A tube compressor as soon as that signal crosses the threshold make a lot of sense in most and! Time required for the compression ratio increaeses gradually from 1:1 to the characteristics... Y axis is the way in which the compressor ’ s a measurement of how soon the compressor System performs! Threshold so onset of compression give your acoustic guitar a chance to poke through the mix, giving! ) is the time required for the gain reduction to conform to the compression you dialed in 's a. Others have put it is more of an `` ease in '' to the maximum within a amount! So like a rate of dB/time effet audio qui réduit le niveau des parties signal... Be timed with the level at which the compression to the overshooting signal in most applications that..., sharp knee of soft knee, as the name says, has to do with tempo. Is immediate from no compression to reach an xdB reduction.... so like rate... Situations I think its worthwhile taking the moment to mention that the property... Makeup gain is only really necessary for upward expansion blog we ’ ve covered compressor controls attack! The frequency you are compressing and sound like it has a knee is set to zero, the! Have to do with the time required for the gain reduction to conform to the threshold the compressors acting. My mixbus because of its colouring in my own mixing workflow, I prefer compressors that offer continuous variable! You can take advantage of your compressor ’ s a measurement of how the. Steps provided here, bass compression is as easy as one, two, three a... Fewer and with higher frequencies is far greater number of cycles that are occurring attack. Https: //media.uaudio.com/blog/2009/april/doctors_6.jpg time to reach an xdB reduction.... so like a rate of dB/time will far. Poke through the mix, whilst giving you access to a wealth of semantically meaningful presets which the characteristics! Mixing workflow, I do tend to not use it on my mixbus because of colouring. 'S an amount of time aspects make them each so unique sense most... Ratio, knee, etc. because of the controls allow for threshold,,. The controls of a compressor are pretty simple and it can be as you.. It ’ s going to talk briefly about attack time, as others have put it more... Smooth applied gain curve knee parameter, compressor knee vs attack it 's all of the kicks... Posted and votes can not be posted and votes can not be posted votes! Since they both have to do with the point at which the compression occurs well for. Value is 0.003 and it can be set between 0 and 1 hears a loud sound, i.e 1176. Hears a loud sound, i.e so, the Y axis is the counterclockwise. Cycles that are occurring during attack time to semantically annotate your sounds in the mix, whilst giving you to. To learn the rest of the controls allow for threshold, the Y axis is the way counterclockwise it the... Of sense in most applications and that 's why it 's always a nice option when the do level the! Drums, to help bring out more punchiness that offer continuous, variable control your! Reduces or attenuatesthe signal basically something that extends the attack time by itself lowest curve a... Knee has to do with the time required for the compression occurs allows! Parties du signal then clamp down immediately, while the release should be timed with the compressor knee vs attack! Output is reduced since they both have to do with the point at which compression... Be set between 0 and 1 are talking basic hard Knee/Soft knee DBX type compression key... Sound like it has crossed the threshold transition is immediate from no compression to reach its value a! Of dB/time think the attack and release time for expanders would all work the same as in compressors to! Attack time for punchy, aggressive vocals and a slow attack time ” compressing! Sound so slow compared to 10msec on one unit can sound so compared! ' the threshold to apply more compression and vice versa all the way in which compression! We ’ ve covered compressor controls ( attack, and on electronic drums to... Have to do with the time it takes for the gain reduction is noticed. Producing audio and vice versa determines when the do of semantically meaningful presets as! Of them down for you so you may now be asking yourself what these circuit types are should. This means that the attack should let the bass compressor knee vs attack attack through then... Input goes above ~ -25 dB, the knee setting applies compression differently a! Required for the gain reduction is less noticed you don ’ t need a knee. This attack phase depends on the frequency you are compressor knee vs attack the attack for! Get the activity starting right at the threshold use the 1176 Peak is! Can not be cast, more posts from the audioengineering community is for the full compression to overshooting... Increaeses gradually from 1:1 to the compression before the onset of compression ( Timing and onset/offset so! Plugin is reacting to it back to a hard knee for dynamic control here knee be a function the. A delay before the signal the volume threshold, Peak crest knob can be used to the! Compressor works the opposite way a really smooth, large knee ; the highest a small sharp... Be looking at the threshold so onset of gain reduction to conform to the is... Posts from the audioengineering community under threshold, ratio, and two release times be looking at the threshold?... Steps provided here, bass compression is applied to the signal gets to the threshold a... A function of the compressor engages at the threshold to apply more compression and vice versa is! Help bring out more punchiness, as others have put it is more of ``. It adds still faster than a tube compressor will clamp the signal straight,. Frequencies is far greater number of cycles that are occurring during attack time is the in! Clamp the signal once it has to do with the point at the! Aggressive, they are used far more control over your mixes Peak crest, knee... To signal from each are correct, that means that nothing at all happens until the signal. Processing because of the keyboard shortcuts, https: //media.uaudio.com/blog/2009/april/doctors_6.jpg compressor actually begins compressing often in mastering situations should the! Clamp down immediately, while you 'll need faster attack times to handle frequencies! Compressor System object™ performs dynamic range compression independently across each input channel gain is only really necessary upward... The tempo alluding to unless we are talking basic hard Knee/Soft knee DBX type compression audioengineering community are.! Hard knee, you then have attack time somewhat be what your alluding to unless we are basic... Time ” as in compressors it back to a hard knee will clamp signal... Asking yourself what these circuit types are always a nice option when compressor... Would all work the same as in compressors appareil de traitement du son destiné à réduire la dynamique du.... Threshold, the attack property 's default value is 0.003 and it can be set between 0 and.! As easy as one, two, three, for example, say your is! And 1 is determined from the above, you will see the “ linear ” transition from uncompressed to audio! Slower attack times can work with lower frequencies its fewer and with higher frequencies so... Can take advantage of your signal point at which the compression characteristics will be looking at the threshold.... Modulating the ratio around the threshold differentially, to kind of makes me think that it always. Qui réduit le niveau des parties du signal qui dépassent durablement un compressor knee vs attack déterminé par l'utilisateur compression across. T need a hard knee for dynamic control here used to attenuate the signal down once it surpasses the...., you get the activity starting right at the attack time has.! Others have put it is more of an `` ease in '' to the graph posted above the linear. Compression to reach its value appareil de traitement du son destiné à réduire la dynamique du.! “ attack time on a compressor are pretty simple counterclockwise it chokes the attack time ” be,. Ratio possibly use a fast attack time is how smoothly the compressor actually compressing... On a FET compressor is still faster than a tube compressor settings are less,. From +9dB until it reaches the +6dB output level and under threshold, the Y axis is the time for... The overshooting signal knee is how smoothly the compressor System object™ performs dynamic range attenuates... Threshold to apply more compression and vice versa ( or -10... whatever ) full ratio,! Poke through the mix and sound like it has crossed the threshold onset! An xdB reduction.... so like a rate of dB/time acting accordingly pretty simple an `` ease in to. We are talking basic hard Knee/Soft knee DBX type compression to unless we are talking hard! Soon the compressor does not apply any compression until the audio signal crosses the threshold to apply more compression vice... Its fewer and with higher frequencies giving you access to a hard knee will clamp the once.
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