^ This is probably the most concise and useful explanation I've heard thus far regarding compression.

^ Those graphs are extremely informative. Thanks for the tips, No Avenger

 

Yes, of dymanic range. Meaning, of difference between the loudest and the quietest signal.
So, downwards compression makes the dynamic range smaller by making the louder parts quieter.
On the other hand, upwards compression makes the dynamic range *yet again smaller* by making the quieter parts louder.
In both cases, the dynamic range is compressed.
The same goes for expansion.
Downwards expansion makes the quieter parts even quieter, thus increasing the dynamic range, as the difference between the loudest and the quietest parts is becoming bigger.
Upwards expansion makes the louder parts even louder, thus yet again increasing the dynamic range.
Honestly, this is rather simple.

 

Do you want more shit into ventilator?

COMPANDER

 

Why, this is easy. You first compress the signal, then apply some level-sensitive processing, like saturation, then expand the signal to its original dynamic range. Hence "Compander", meaning "Compressor + Expander".
On analog hardware it was vital for clean sound. Nowadays, it's sometimes used to create a more evenly spread saturation.
The trick is to use right algorithms for compression and expansion. It'll not be easy to recreate a compander with Pro-C and Pro-G without preparation, better to find a ready-made compander first, like the one in u-He Satin. Nevertheless do try to make it by yourself once you understand how compression and expansion work. It's an interesting exercise.

 

I know what compander is. Just an other tool to speak about)

 

Yeah - when the shit hits the fan.... or ventilator

 

Feedback or Feedforward?

 

Peak Or RMS?

 

Downward compression = reduce dynamic span by attenuating louder parts
Upward compression = reduce dynamic span by raising quieter parts

 

I'm gonna have to disagree with this. I believe gate is an expander function..

limiting is compression with a very high ratio
don't take my word for it.. go visit someone who actually makes limiters

https://www.izotope.com/en/learn/audio-dynamics-101-compressors-limiters-expanders-and-gates.html

relevant text here:
"You may be wondering if a limiter attenuates the loudest parts of a signal, how is it any different from a compressor? Essentially, a limiter is just a compressor with a very high ratio."

 

now that you say it... mid/side or sum/difference?

 

i already deleted my post since it was misleading.

the main point about a limiter is the infinite ratio.

however, it is not expansion either. ;)

i´ve written dozens of dynamic effects myself.

of course the real fun begins when you ignore the old conventions. but it is important to get the conventions right first.

technically a gate function is part of every compressor function.

interestingly a classic compressor model can be more complicated to make than something more "effective".

in my opinion gating is totally underrated as sounddesign tool.

 

Last edited: Feb 11, 2021

basically just dled ott and play around with the upward and downward knobs

 

In simplest terms

DOWNWARD COMPRESSION- signal that is above a threshold you set is reduced by the ratio in decibels you set. ATTACK is the time is takes the compressor to react to a signal above the threshold. RELEASE is the time it toes the compressor to stop compressing once a signal falls below the threshold.

UPWARD COMPRESSION - Is the exact opposite in relation to threshold.

 

Nice and succinct answer.

 

If you see ratio goes clockwise (above threshold or below) it is compression.
Counterclockwise - expansion.

Upward if rises higher, downward is sets down. For both, exp and comp.

 

how is it any or much different than gaining the entire signal and then compressing/or limiting it?