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1165:, Emmanuel Deruty and Damien Tardieu performed a systematic study describing the influence of compressors and brickwall limiters on the musical audio signal. The experiment involved four software limiters: Waves L2, Sonnox Oxford Limiter, Thomas Mundt's Loudmax, Blue Cat's Protector, as well as four software compressors: Waves H-Comp, Sonnox Oxford Dynamics, Sonalksis SV-3157, and URS 1970. The study provides objective data on what limiters and compressors do to the audio signal.
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1039:. It is a form of upward compression that facilitates dynamic control without significant audible side effects so long as the ratio is relatively low and the compressor's sound is relatively neutral. On the other hand, a high compression ratio with significant audible artifacts can be chosen in one of the two parallel signal paths. This is used by some concert mixers and recording engineers as an artistic effect called
883:, to let sounds at ordinary volumes be heard normally while attenuating louder sounds, possibly also amplifying softer sounds. This allows, for example, shooters wearing hearing protection at a shooting range to converse normally, while sharply attenuating the much louder sounds of the gunshots, and similarly for musicians to hear quiet music but be protected from loud noises such as drums or cymbal crashes.
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1180:, R 128 LRA, and density of clipped samples. RMS power accounts for the signal's physical level, R 128 loudness for the perceived level. The crest factor, which is the difference between the signal's peak and its average power, is on occasions considered as a basis for the measure of micro-dynamics, for instance in the
580:
The look-ahead function is designed to overcome the problem of being forced to compromise between slow attack rates that produce smooth-sounding gain changes, and fast attack rates capable of catching transients. Look-ahead is implemented by splitting the input signal and delaying one side (the audio
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Multiband compressors can act differently on different frequency bands. The advantage of multiband compression over full-bandwidth compression is that problems related to a specific frequency range can be fixed without unnecessary compression in the other, unrelated frequencies. The downside is that
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Most television commercials are heavily compressed to achieve near-maximum perceived loudness while staying within permissible limits. This causes a problem that TV viewers often notice: when a station switches from minimally compressed program material to a heavily compressed commercial, the volume
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Another control a compressor might offer is hard knee or soft knee selection. This controls whether the bend in the response curve between below threshold and above threshold is abrupt (hard) or gradual (soft). A soft knee slowly increases the compression ratio as the level increases and eventually
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The length of each period is determined by the rate of change and the required change in gain. For more intuitive operation, a compressor's attack and release controls are labeled as a unit of time (often milliseconds). This is the amount of time it takes for the gain to change a set amount of dB or
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Broadcasters use compressors in order that their station sounds louder than comparable stations. The effect is to make the more heavily compressed station jump out at the listener at a given volume setting. This is not limited to inter-channel differences; they also exist between programme material
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Compression can also be used on instrument sounds to create effects not primarily focused on stabilizing the volume. For instance, drum and cymbal sounds tend to decay quickly, but a compressor can make the sound appear to have a more sustained tail. Guitar sounds are often compressed to produce a
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Compression is often used in music production to make instruments more consistent in dynamic range, so that they "sit" more nicely in the mix with the other instruments (neither disappear during short periods of time, nor overpower the other instruments during short periods). Vocal performances in
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Compression is often applied in audio systems for restaurants, retail, and similar public environments that play background music at a relatively low volume and need it compressed, not just to keep the volume fairly constant, but also to make quiet parts of the music audible over ambient noise.
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is the period when the compressor is increasing gain in response to reduced level at the input to reach the output gain determined by the ratio, or, to unity, once the input level has fallen below the threshold. Because the loudness pattern of the source material is modified by the time-varying
1071:. Each split signal then passes through its own compressor and is independently adjustable for threshold, ratio, attack, and release. The signals are then recombined and an additional limiting circuit may be employed to ensure that the combined signals do not create unwanted peak levels.
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signal) by the look-ahead time. The non-delayed side (the gain control signal) is used to drive the compression of the delayed signal, which then appears at the output. This way a smooth-sounding slower attack rate can be used to catch transients. The cost of this solution is added
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over the threshold, the output signal level is reduced to 1 dB over the threshold. The gain and output level has been reduced by 3 dB. Another way of stating this is that any input signal level over the threshold will, in this case, be output at a level which is only 25%
1125:, where an RMS compressor (for general gain control) is followed by a fast peak-sensing limiter (for overload protection). Done properly, even heavy serial compression can sound natural in a way not possible with a single compressor. It is most often used to even out erratic
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A peak-sensing compressor responds to the peak level of the input signal. While providing tighter peak level control, peak level sensing does not necessarily relate to human perception of loudness. Some compressors apply a power measurement function (commonly
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reaches the compression ratio set by the user. A soft knee reduces the potentially audible transition from uncompressed to compressed, and is especially applicable for higher ratio settings where the changeover at the threshold would be more noticeable.
1047:. Combining a linear signal with a compressor and then reducing the output gain of the compression chain results in low-level detail enhancement without any peak reduction; The compressor significantly adds to the combined gain at low levels only.
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As far as the compressors are concerned, the authors performed two processing sessions, using a fast attack (0.5 ms) in one case, and a slow attack (50 ms) in the other. Make-up gain is deactivated, but the resulting file is normalized.
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sometimes seems to increase dramatically. Peak loudness might be the same—meeting the letter of the law—but high compression puts much more of the audio in the commercial at close to the maximum allowable, making the commercial seem much louder.
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In many compressors, the attack and release times are adjustable by the user. Some compressors, however, have the attack and release times determined by the circuit design and cannot be adjusted. Sometimes the attack and release times are
406:−60 dB) means a larger portion of the signal is treated. When the signal level is below the threshold, no processing is performed and the input signal is passed, unmodified, to the output. Thus a higher threshold of, e.g.,
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In other words, limiters increase both physical and perceptual levels, increase the density of clipped samples, decrease the crest factor and decrease macro-dynamics (LRA) given that the amount of limiting is substantial.
689:. A compressor increases the average level of the modulation signal thus increasing the transmitted signal strength. Most modern amateur radio SSB transceivers have speech compressors built-in. Compression is also used in
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To help audio engineers understand what loudness range their material consists of (e.g. to check if some compression may be needed to fit it into the channel of a specific delivery platform), the EBU also introduced the
1007:– lowering the music volume automatically when speaking. The DJ's microphone signal is routed to the side-chain input so that whenever the DJ speaks the compressor reduces the volume of the music. A sidechain with
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A compressor with a side-chain input controls gain from main input to output based on the level of the signal at the side-chain input. An early innovator of side-chain compression in an effects unit was the
1153:, or a playlist that spans multiple music types). This improves the listenability of audio played through poor-quality speakers, or when played in noisy environments (such as in a car or during a party).
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In other words, fast-attack compressors increase both physical and perceptual levels, but only slightly. They decrease the density of clipped samples, and decrease both crest factor and macro-dynamics.
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Omnipressor from 1974. With side-chaining, the compressor behaves in the conventional manner when both main and side-chain inputs are supplied with the same signal. The side-chain input is used by
717:, broadcasters in most countries have legal limits on instantaneous peak volume they may broadcast. Normally these limits are met by permanently inserted compression hardware in the on-air chain.
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has a very high ratio and a very fast attack time. Ideally, this ensures that an audio signal never exceeds the amplitude of the threshold. Ratios of 20:1 all the way up to ∞:1 are considered
922:. The sonic results of more than momentary and infrequent brick-wall limiting are harsh and unpleasant, thus it is more common as a safety device in live sound and broadcast applications.
728:(EBU) has been addressing this issue in the EBU PLOUD group, which consists of over 240 audio professionals, many from broadcasters and equipment manufacturers. In 2010, the EBU published
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Limiting and clipping compared. Note that clipping introduces a large amount of distortion whereas limiting only introduces a small amount while keeping the signal within the threshold.
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They are comfy for hours with their gel caps, have easily accessible button controls, great sound cutoff and compression, and allow for earplugs if the decent 22db NRR doesn't cut it.
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mode applies the same amount of gain reduction to both the left and right channels. This is done to prevent image shifting that can occur if each channel is compressed individually.
854:, where a regular amplitude peak (such as a kick drum) causes the rest of the mix to change in volume due to the compressor, is generally avoided in music production. However, many
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to make a particular station's signal more readable to a distant station, or to make one's station's transmitted signal stand out against others. This is applicable especially in
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In other words, slow-attack compressors decrease both physical and perceptual levels, decrease macro-dynamics, but have no influence on crest factor and clipped sample density.
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can be thought of as an extreme form of downward expansion as the noise gate make the quiet sounds (for instance: noise) quieter or even silent, depending on the floor setting.
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loudness metering. As of 2016, several
European TV stations have announced their support for the new norm and over 20 manufacturers have announced products supporting the new
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Most devices capable of compressing audio dynamics can also be used to reduce the volume of one audio source when another audio source reaches a certain level; this is called
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or RMS) on the input signal before comparing its level to the threshold. This produces a more relaxed compression that more closely relates to human perception of loudness.
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by 50 to 100% with a reduced dynamic range. For paging and evacuation systems, this adds clarity under noisy circumstances and saves on the number of amplifiers required.
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In applications of machine learning where an algorithm is training on audio samples, dynamic range compression is a way to augment samples for a larger data set.
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use a compressor to bring the audio volume into the listener's hearing range. To help the patient perceive the direction sound comes from, some hearing aids use
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where the signal level is measured and a circuit controlled by the measured signal level applies the required gain to the amplifier. This design, known as a
650:, controlled by the kick drum or a similar percussive trigger, to prevent the two from conflicting, and provide a pulsating, rhythmic dynamic to the sound.
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This article is about a process that intentionally reduces the dynamic range of audio signals. For similar reductions caused by circuit imperfections, see
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operation of compressor, it may change the character of the signal in subtle to quite noticeable ways depending on the attack and release settings used.
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A number of user-adjustable control parameters and features are used to adjust dynamic range compression signal processing algorithms and components.
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frequency-specific compression is more complex and requires more processing capacity than full-bandwidth compression and can introduce phase issues.
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within the same channel. Loudness differences are a frequent source of audience complaints, especially TV commercials and promos that seem too loud.
1960:
Salamon, Justin; Bello, Juan Pablo (March 2017). "Deep
Convolutional Neural Networks and Data Augmentation for Environmental Sound Classification".
803:; compression algorithms have been engineered specifically to accomplish the task of maximizing audio level in the digital stream. Hard limiting or
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is the period when the compressor is decreasing gain in response to the increased level at the input to reach the gain determined by the ratio. The
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is a compressor with a high ratio and, generally, a fast attack time. Compression with ratio of 10:1 or more is generally considered limiting.
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while the other aggressively compresses stronger peaks. This is the normal internal signal routing in common combination devices marketed as
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controls can be used to reduce the volume of signals that have a strong spectral content within a certain frequency range: it can act as a
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plug-in sets is increasing their use among mix engineers. The TC Electronic
Finalizer included a three band compressor and was a popular
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1117:. Serial compression is achieved by using two fairly different compressors in a signal chain. One compressor generally stabilizes the
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version of the input signal, so that specific, sibilance-related frequencies (typically 4000 to 8000 hz) activate the compressor more.
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that implement compression. These can increase loudness of audio tracks, or level out the volume of highly-variable music (such as
2335:
Hjortkjær, Jens; Walther-Hansen, Mads (2014-02-03). "Perceptual
Effects of Dynamic Range Compression in Popular Music Recordings".
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software. In recorded and live music, compression parameters may be adjusted to change the way they affect sounds. Compression and
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in the range of 6–9 kHz. Another use of the side-chain in music production serves to maintain a loud bass track without the
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use a compressor to reduce the dynamic range of a signal for transmission or recording, expanding it afterward, a process called
95:
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and hip-hop musicians purposefully use this phenomenon, causing the mix to alter in volume rhythmically in time with the beat.
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can be thought of as an extreme form of downward compression as it compresses the sounds over the threshold especially hard.
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1912:
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There are a number of technologies used for variable-gain amplification, each having different advantages and disadvantages.
47:
A rack of audio compressors in a recording studio. From top to bottom: Retro
Instruments/Gates STA level; Spectra Sonic 610;
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plug-in. Finally, R 128 LRA has been repeatedly considered as a measure of macro-dynamics or dynamics in the musical sense.
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a set percentage towards the target gain. There is no industry standard for the exact meaning of these time parameters.
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can result, affecting the tone and timbre of the music. The effort to increase loudness has been referred to as the
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after the input signal has fallen below the threshold, the compressor continues to apply dynamic range compression.
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amplifiers include limiters to prevent sudden volume peaks from causing distortion or damaging the speakers.
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the dynamic range of the audio signal. Like compression, expansion comes in two types, downward and upward.
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are identical in process but different in degree and perceived effect. A limiter is a compressor with a high
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1291:, similar (but generally undesired) reductions in waveform gain, caused by amplifier circuit imperfections
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often include compression circuitry to prevent sudden high-wattage peaks that could damage the speakers.
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Because a downward compressor only reduces the level of the signal, the ability to add a fixed amount of
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Record companies, mixing engineers and mastering engineers have been gradually increasing the overall
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1653:"Using Compression for Recorded and Live Audio - The Broadcast Bridge - Connecting IT to Broadcast"
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Compression and limiting are identical in process but different in degree and perceived effect. A
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of commercial albums. This is achieved by using higher degrees of compression and limiting during
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to boost the perceived volume of sound while reducing the dynamic range of source audio. To avoid
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2003:
1969:
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Deruty, Emmanuel; Tardieu, Damien (2014-02-03). "About
Dynamic Processing in Mainstream Music".
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There are two types of compression: downward and upward. Both types of compression reduce the
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A dedicated electronic hardware unit or audio software that applies compression is called a
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Set with a slow attack, the tested compressors had the following influence on the signal:
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Set with a fast attack, the tested compressors had the following influence on the signal:
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The first 8 bars are without side-chaining applied, the second 8 are with side-chaining.
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where the grid-to-cathode voltage changes to alter the gain. Optical compressors use a
417:). When the signal level goes above threshold, compressor operation is delayed by the
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1101:. Having a louder sound is often considered an advantage in commercial broadcasting.
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A compressor reduces the level of an audio signal if its amplitude exceeds a certain
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Hands-on Guide to
Streaming Media: An Introduction to Delivering On-Demand Media
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Multiband compressors work by first splitting the signal through some number of
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units, or built-in devices in bass amps, to even out the sound levels of their
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at the output is usually provided so that an optimum output level is produced.
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the threshold remain unaffected. This is the most common type of compressor. A
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There is no industry standard and different manufacturers define differently.
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117:. In the 2000s, compressors became available as software plugins that run in
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A compressor may provide a degree of control over how quickly it acts. The
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The trend of increasing loudness as shown by waveform images of the song "
362:. Often the algorithms are used to emulate the above analog technologies.
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Description of expansion, compression, and limiting in an audio processor
1432:
Giannoulis, Dimitrios; Massberg, Michael; Reiss, Joshua D. (2012-07-09).
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Threshold timing behavior is subject to attack and release settings (see
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type, is used today in most compressors. Earlier designs were based on a
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to make an audio program stand out. It is an integral technology in some
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Loudness range: A measure to supplement EBU R 128 loudness normalisation
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518:, meaning that the behavior may change depending on the input signal.
1818:, Version 3.0, European Broadcasting Union, 2016-01-25, EBU Tech 3341
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expansion makes the quiet sounds below the threshold even quieter. A
335:) to create changes in signal gain. Other technologies used include
2439:
2268:
Serrà, J; Corral, A; Boguñá, M; Haro, M; Arcos, JL (26 July 2012).
2136:
Waves – Linear-Phase MultiBand
Software Audio Processor Users Guide
1974:
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Different compression ratios for a signal level above the threshold
288:
A feed-forward compressor design (left) and feedback design (right)
276:
expansion makes the louder sounds above the threshold even louder.
55:; Smart Research C2; Chandler Limited TG1; Daking FET (91579); and
2873:
2286:
1907:(2nd ed.). San Diego, California: Singular Thomson Learning.
1815:'EBU Mode' metering to supplement EBU R 128 loudness normalisation
1205:
decrease of EBU R 128 LRA, but only for high amounts of limiting,
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768:
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613:
525:
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79:
1434:"Digital Dynamic Range Compressor Design—A Tutorial and Analysis"
292:
The signal entering a compressor is split; one copy is sent to a
34:. For processes that reduce the size of digital audio files, see
395:
308:
layout where the signal level was measured after the amplifier.
2443:
2270:"Measuring the Evolution of Contemporary Western Popular Music"
1855:"TV ads sound too loud and rules should change, says regulator"
1192:
The tested limiters had the following influence on the signal:
1035:
Inserting the compressor in a parallel signal path is known as
350:(DSP) techniques are commonly used to implement compression as
1367:
Audio
Production Worktext: Concepts, Techniques, and Equipment
399:
328:
2215:
The
Loudness War: Background, Speculation and Recommendations
1784:"Sky confirms formal adoption of R128 loudness specification"
1725:(2nd ed.). Atlanta: Noble Pub. pp. 13–25, 271–290.
1074:
In music production, multiband compressors are primarily an
951:
2775:
1571:
Jeffs, Rick; Holden, Scott; Bohn, Dennis (September 2005).
410:−5 dB, results in less processing, less compression.
136:
Compression is used to improve performance and clarity in
1755:"Loudness: France chooses EBU R128 to bolster audio laws"
402:
for hardware compressors), where a lower threshold (e.g.
1474:
Ciletti, Eddie; Hill, David; Wolff, Paul (2008-04-19).
1721:
Sabin, William E.; Schoenike, Edgar O., eds. (1998).
1637:(190724 ed.). Universal Audio. pp. 219–220.
1573:"Dynamics Processors – Technology & Applications"
1363:
Reese, David E; Gross, Lynne S; Gross, Brian (2009).
455:
437:: a ratio of 4:1 means that if input level is 4
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2738:
2677:
2567:
2477:
2180:
2178:
2176:
2019:
2017:
1476:"An Overview of Compressor/Limiters and Their Guts"
1023:causing undue peaks that result in loss of overall
685:. An SSB signal's strength depends on the level of
446:as much over the threshold as its input level was.
2363:
2024:Droney, Maureen; Massey, Howard (September 2001).
1646:
1644:
1548:"Audio compressor controls: The threshold control"
1364:
693:, especially in transmitted audio of professional
602:Compression can increase average output gain of a
461:
421:setting. For an amount of time determined by the
248:Some compressors also have the ability to do the
237:compression increases the volume of quiet sounds
152:. It is used on voice to reduce sibilance and in
1161:In an article published in January 2014 by the
1093:commonly use multiband compressors to increase
673:Compression is used in voice communications in
2365:"Loudness Range (LRA) - Design and Evaluation"
1416:"Dynamic Range Processing and Digital Effects"
1406:"Dynamic Range Processing and Digital Effects"
836:players often use compression effects, either
433:The amount of gain reduction is determined by
219:compression reduces the volume of loud sounds
2455:
875:in some electronic active hearing protection
489:The attack and release phases in a compressor
8:
2435:Information on Compression in Home Recording
666:) by feeding the compressor's side-chain an
82:or amplifies quiet sounds, thus reducing or
2053:
2051:
1651:Bridge, The Broadcast (November 23, 2016).
732:which introduces a new way of metering and
2462:
2448:
2440:
2060:"Beyond The Basics: Sidechain Compression"
1833:
1831:
1808:
1806:
1804:
1528:. Vol. 4, no. 3. Universal Audio
1241:slight decrease of clipped sample density.
1109:Serial compression is a technique used in
945:The sidechain of a feed-forward compressor
78:operation that reduces the volume of loud
2869:Music technology (electronic and digital)
2311:
2285:
1973:
1905:The textbook of hearing aid amplification
1452:
1168:Five signal descriptors were considered:
454:
2337:Journal of the Audio Engineering Society
2245:"'Dynamic Range' & The Loudness War"
2187:Journal of the Audio Engineering Society
1441:Journal of the Audio Engineering Society
1163:Journal of the Audio Engineering Society
940:
893:
484:
283:
176:Two methods of dynamic range compression
42:
2221:. 129th AES Convention. San Francisco:
1358:
1356:
1331:(1 ed.). Focal Press. p. 84.
1317:
1265:no influence on clipped sample density.
414:
241:a certain threshold. The louder sounds
130:
2389:
2378:
1232:slight increase of EBU R 128 loudness,
984:
223:a certain threshold. The quiet sounds
1522:"Compression Technology and Topology"
631:are compressed for the same reason.
7:
2084:"50th Flashback #3: The Omnipressor"
781:mastered on CD four times since 1983
2243:Deruty, Emmanuel (September 2011).
2212:Vickers, Earl (4–7 November 2010).
1880:"Compression in Audio Music Mixing"
1628:"Fairchild Tube Limiter Collection"
1208:increase of clipped sample density.
709:Compression is used extensively in
658:A compressor can be used to reduce
530:Hard Knee and Soft Knee compression
315:are used in a configuration called
639:
456:
245:the threshold remain unaffected.
94:. Compression is commonly used in
25:
2710:Recording studio as an instrument
1937:"10 Best Shooting Ear Protection"
1782:Davies, David (9 December 2013).
1606:"Advanced Compression Techniques"
1157:Objective influence on the signal
646:, side-chaining is often used on
346:When working with digital audio,
27:Audio signal processing operation
2886:
2362:Skovenborg, Esben (2012-04-26).
2111:"Techniques For Vocal De-essing"
1696:"Techniques For Vocal De-essing"
1500:"Model LA-2A Leveling Amplifier"
985:Problems playing this file? See
967:
699:remote control dispatch consoles
679:single-sideband (SSB) modulation
618:An inexpensive guitar compressor
195:
183:
96:sound recording and reproduction
2058:Colletti, Justin (2013-06-27).
1723:HF radio systems & circuits
1256:decrease of EBU R 128 loudness,
1199:increase of EBU R 128 loudness,
390:. Threshold is commonly set in
2426:Article on Optical Compressors
1962:IEEE Signal Processing Letters
1015:, reducing the level of vocal
871:Compressors are also used for
635:fuller, more sustained sound.
144:and to improve consistency in
1:
1604:White, Paul (December 2000).
1393:– via Internet Archive.
1307:, the photographic equivalent
1259:no influence on crest factor,
1229:slight increase of RMS power,
1078:tool, but their inclusion in
2893:Record production portal
1546:Mellor, David (2017-11-16).
1520:Berners, Dave (April 2006).
398:for digital compressors and
323:stimulated by a small lamp (
2864:Music technology (electric)
2368:. Audio Engineering Society
2161:TC Electronic Finalizer 96K
1903:Sandlin, Robert E. (2000).
1760:European Broadcasting Union
1480:www.tangible-technology.com
726:European Broadcasting Union
2934:
2417: (archived 2019-06-05)
2375:– via AES E-Library.
1657:www.thebroadcastbridge.com
1262:decrease of EBU R 128 LRA,
1238:decrease of EBU R 128 LRA,
1086:tool around year 2000.
963:Uplifting Trance Sidechain
901:
784:
736:. The Recommendation uses
662:('ess' sounds) in vocals (
360:digital audio workstations
126:
29:
2882:
2421:Dynamic range compression
2223:Audio Engineering Society
2109:Senior, Mike (May 2009).
1349:– via Google Books.
1235:decrease of crest factor,
1202:decrease of crest factor,
1080:digital audio workstation
348:digital signal processing
119:digital audio workstation
64:Dynamic range compression
53:Empirical Labs Distressor
2027:Compression Applications
1992:10.1109/LSP.2017.2657381
1371:. Focal Press. pp.
1325:Follansbee, Joe (2006).
1295:LA-2A Leveling Amplifier
1089:On-air signal chains of
337:field effect transistors
333:electroluminescent panel
129:and, generally, a short
104:live sound reinforcement
36:Audio compression (data)
2349:10.17743/jaes.2014.0003
2199:10.17743/jaes.2014.0001
1526:Universal Audio WebZine
820:Noise reduction systems
585:through the processor.
462:{\displaystyle \infty }
294:variable-gain amplifier
252:of compression, namely
76:audio signal processing
2388:Cite journal requires
1671:"What is Sidechaining"
1284:Automatic gain control
1253:decrease of RMS power,
1196:increase of RMS power,
1182:TT Dynamic Range Meter
1143:software audio players
1137:Software audio players
956:
946:
899:
782:
644:electronic dance music
619:
531:
490:
463:
375:
289:
138:public address systems
60:
2781:Ghostwriters in music
1176:integrated loudness,
1051:Multiband compression
955:
944:
897:
830:Instrument amplifiers
772:
617:
529:
488:
469::1 is often known as
464:
449:The highest ratio of
373:
366:Controls and features
287:
108:instrument amplifiers
46:
1524:. Analog Obsession.
1041:New York compression
1037:parallel compression
1031:Parallel compression
840:available in pedal,
453:
213:of an audio signal.
190:Downward compression
2918:Dynamics processing
2296:2012NatSR...2E.521S
1984:2017ISPL...24..279S
1635:UAD Plug-Ins Manual
1123:compressor-limiters
916:Brick wall limiting
539:Peak vs RMS sensing
522:Soft and hard knees
296:and the other to a
18:Compression (audio)
2695:Hip hop production
2274:Scientific Reports
1105:Serial compression
1045:Motown compression
957:
947:
900:
873:hearing protection
783:
752:(LRA) descriptor.
620:
532:
491:
481:Attack and release
477:time has expired.
459:
376:
290:
202:Upward compression
61:
2913:Audio engineering
2900:
2899:
2502:Critical distance
2304:10.1038/srep00521
1763:. 25 October 2011
1552:Audio Masterclass
1382:978-0-240-81098-0
1279:1176 Peak Limiter
1065:crossover filters
1061:band-pass filters
972:
744:loudness meters.
734:normalizing audio
691:land mobile radio
516:program dependent
16:(Redirected from
2925:
2891:
2890:
2889:
2806:Session musician
2471:Music production
2464:
2457:
2450:
2441:
2430:Sweetwater Sound
2398:
2397:
2391:
2386:
2384:
2376:
2374:
2373:
2367:
2359:
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2352:
2332:
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2289:
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2259:
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2234:
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2182:
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2169:
2168:
2156:
2150:
2149:
2148:
2147:
2141:
2131:
2125:
2124:
2122:
2121:
2113:. Sound Advice.
2106:
2100:
2099:
2097:
2095:
2080:
2074:
2073:
2071:
2070:
2055:
2046:
2045:
2043:
2037:. Archived from
2032:
2021:
2012:
2011:
1977:
1957:
1951:
1950:
1945:
1944:
1933:
1927:
1926:
1900:
1894:
1893:
1891:
1890:
1876:
1870:
1869:
1867:
1866:
1861:. Pinsent Masons
1851:
1845:
1844:
1835:
1826:
1825:
1824:
1823:
1810:
1799:
1798:
1796:
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1681:
1667:
1661:
1660:
1648:
1639:
1638:
1632:
1624:
1618:
1617:
1612:. Archived from
1601:
1595:
1594:
1589:
1588:
1581:Rane Corporation
1568:
1562:
1561:
1559:
1558:
1543:
1537:
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1420:
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1401:
1395:
1394:
1370:
1360:
1351:
1350:
1322:
1289:Gain compression
974:
973:
954:
610:Music production
556:A compressor in
546:root mean square
468:
466:
465:
460:
445:
409:
405:
199:
187:
32:Gain compression
21:
2933:
2932:
2928:
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2926:
2924:
2923:
2922:
2903:
2902:
2901:
2896:
2887:
2885:
2878:
2827:
2796:Record producer
2749:
2745:
2734:
2688:
2684:
2673:
2614:Double tracking
2570:
2563:
2554:Sound recording
2492:Audio mastering
2473:
2468:
2415:Wayback Machine
2407:
2402:
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2139:
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2093:
2091:
2090:. 10 March 2021
2082:
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2015:
1959:
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1954:
1942:
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1902:
1901:
1897:
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1886:
1884:The Whippinpost
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1507:Universal Audio
1502:
1498:
1497:
1493:
1484:
1482:
1473:
1472:
1468:
1459:
1457:
1454:10.1.1.260.1340
1436:
1431:
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1426:
1418:
1413:
1408:
1403:
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1398:
1383:
1362:
1361:
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1339:
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1323:
1319:
1314:
1275:
1219:
1190:
1159:
1151:classical music
1139:
1111:sound recording
1107:
1097:while avoiding
1084:audio mastering
1076:audio mastering
1053:
1033:
992:
991:
983:
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978:
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958:
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939:
906:
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817:
789:
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758:
707:
656:
612:
604:power amplifier
596:
591:
578:
566:
554:
541:
524:
483:
451:
450:
444:(i.e. 1 over 4)
443:
431:
407:
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384:
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356:mixing consoles
282:
207:
206:
205:
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192:
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179:
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162:noise reduction
39:
28:
23:
22:
15:
12:
11:
5:
2931:
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2808:
2803:
2801:Rhythm section
2798:
2793:
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2773:
2768:
2763:
2761:Audio engineer
2758:
2752:
2750:
2748:
2747:
2743:
2739:
2736:
2735:
2733:
2732:
2727:
2722:
2717:
2712:
2707:
2705:Overproduction
2702:
2697:
2691:
2689:
2687:
2686:
2682:
2678:
2675:
2674:
2672:
2671:
2666:
2661:
2656:
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2646:
2641:
2636:
2634:Exciter effect
2631:
2626:
2621:
2611:
2606:
2596:
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2581:
2575:
2573:
2565:
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2423:
2418:
2406:
2405:External links
2403:
2400:
2399:
2390:|journal=
2354:
2343:(1/2): 37–41.
2327:
2260:
2249:Sound on Sound
2235:
2204:
2193:(1/2): 42–55.
2172:
2151:
2126:
2115:Sound on Sound
2101:
2088:Eventide Audio
2075:
2047:
2044:on 2010-12-31.
2013:
1968:(3): 279–283.
1952:
1928:
1913:
1895:
1871:
1846:
1827:
1800:
1774:
1746:
1731:
1713:
1700:Sound on Sound
1687:
1662:
1640:
1619:
1616:on 2015-09-24.
1610:Sound On Sound
1596:
1563:
1538:
1512:
1491:
1466:
1447:(6): 399–408.
1424:
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1135:
1106:
1103:
1099:overmodulation
1091:radio stations
1052:
1049:
1032:
1029:
982:
976:
966:
961:
960:
959:
950:
949:
948:
938:
935:
902:Main article:
891:
888:
816:
813:
766:
763:
757:
754:
750:Loudness Range
715:overmodulation
706:
703:
695:walkie-talkies
655:
652:
611:
608:
595:
592:
590:
587:
577:
574:
565:
562:
558:stereo linking
553:
552:Stereo linking
550:
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537:
523:
520:
482:
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383:
380:
367:
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352:audio plug-ins
281:
278:
201:
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166:
51:162; Dbx 165;
26:
24:
14:
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10:
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6:
4:
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2:
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2870:
2867:
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2847:
2845:
2844:Interpolation
2842:
2840:
2837:
2836:
2834:
2830:
2824:
2821:
2817:
2814:
2813:
2812:
2811:Backup singer
2809:
2807:
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2725:Wall of Sound
2723:
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2701:
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2670:
2667:
2665:
2662:
2660:
2657:
2655:
2652:
2650:
2647:
2645:
2644:Octave effect
2642:
2640:
2637:
2635:
2632:
2630:
2627:
2625:
2622:
2619:
2615:
2612:
2610:
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2597:
2595:
2592:
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2589:Chorus effect
2587:
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2580:
2577:
2576:
2574:
2572:
2566:
2560:
2557:
2555:
2552:
2550:
2547:
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2540:
2537:
2535:
2532:
2530:
2527:
2523:
2522:Wah-wah pedal
2520:
2518:
2515:
2514:
2513:
2510:
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2505:
2503:
2500:
2498:
2495:
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2036:
2035:TC Electronic
2029:
2028:
2020:
2018:
2014:
2009:
2005:
2001:
1997:
1993:
1989:
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1971:
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1939:. 27 May 2020
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1732:9781613530740
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1119:dynamic range
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937:Side-chaining
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868:compression.
867:
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849:
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843:
839:
838:effects units
835:
834:Electric bass
831:
827:
825:
821:
814:
812:
810:
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802:
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771:
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743:
739:
738:ITU-R BS.1770
735:
731:
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718:
716:
712:
704:
702:
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692:
688:
684:
680:
676:
675:amateur radio
671:
669:
665:
661:
653:
651:
649:
645:
641:
640:side-chaining
636:
632:
630:
626:
616:
609:
607:
605:
600:
594:Public spaces
593:
588:
586:
584:
583:audio latency
575:
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321:photoresistor
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211:dynamic range
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92:dynamic range
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50:
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37:
33:
19:
2884:
2849:Loudness war
2816:Ghost singer
2791:Orchestrator
2786:Horn section
2669:Reverse echo
2629:Equalization
2599:Delay effect
2593:
2549:Punch in/out
2544:Ping-ponging
2512:Effects unit
2507:Effects loop
2497:Audio mixing
2487:Audio filter
2381:cite journal
2370:. Retrieved
2357:
2340:
2336:
2330:
2277:
2273:
2263:
2252:. Retrieved
2248:
2238:
2226:. Retrieved
2214:
2207:
2190:
2186:
2165:, retrieved
2160:
2154:
2144:, retrieved
2135:
2129:
2118:. Retrieved
2114:
2104:
2092:. Retrieved
2087:
2078:
2067:. Retrieved
2063:
2039:the original
2026:
1965:
1961:
1955:
1947:
1941:. Retrieved
1931:
1904:
1898:
1887:. Retrieved
1883:
1874:
1863:. Retrieved
1859:Out-Law News
1858:
1849:
1839:
1820:, retrieved
1814:
1791:. Retrieved
1787:
1777:
1765:. Retrieved
1758:
1749:
1722:
1716:
1704:. Retrieved
1699:
1690:
1678:. Retrieved
1674:
1665:
1656:
1634:
1622:
1614:the original
1609:
1599:
1591:
1585:. Retrieved
1576:
1566:
1555:. Retrieved
1551:
1541:
1530:. Retrieved
1525:
1515:
1506:
1494:
1483:. Retrieved
1479:
1469:
1458:. Retrieved
1444:
1440:
1427:
1414:Kadis, Jay.
1404:Kadis, Jay.
1399:
1366:
1327:
1320:
1305:Tone mapping
1268:
1248:
1244:
1224:
1220:
1211:
1191:
1181:
1178:crest factor
1167:
1162:
1160:
1140:
1122:
1108:
1088:
1073:
1069:filter banks
1058:
1054:
1044:
1040:
1034:
1009:equalization
1001:disc jockeys
993:
924:
919:
915:
914:
907:
885:
870:
862:Hearing aids
860:
852:Gain pumping
850:
828:
818:
809:loudness war
790:
787:Loudness war
759:
749:
746:
741:
723:
719:
711:broadcasting
708:
705:Broadcasting
677:that employ
672:
657:
637:
633:
621:
601:
597:
579:
570:make-up gain
569:
567:
564:Make-up gain
557:
555:
542:
533:
515:
511:
508:
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494:
492:
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470:
448:
434:
432:
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418:
412:
387:
385:
377:
345:
341:diode bridge
325:incandescent
316:
313:Vacuum tubes
310:
305:
302:feed-forward
301:
297:
291:
273:
272:
263:
262:
257:
256:. Expansion
253:
249:
247:
242:
238:
234:
233:
224:
220:
216:
215:
208:
175:
154:broadcasting
135:
114:
112:
100:broadcasting
88:audio signal
83:
71:
70:) or simply
67:
63:
62:
40:
2839:Click track
2823:Vocal coach
2766:Backup band
2746:professions
2720:Turntablism
2594:Compression
2579:Pitch shift
2539:Overdubbing
2479:Engineering
2142:, p. 3
1217:Compressors
779:The Beatles
317:variable-mu
158:advertising
131:attack time
84:compressing
72:compression
2907:Categories
2771:Bandleader
2730:Xenochrony
2685:aesthetics
2649:Noise gate
2609:Distortion
2571:processing
2534:Microphone
2372:2019-11-04
2254:2013-10-24
2167:2023-12-29
2146:2021-11-08
2120:2015-03-16
2069:2015-03-16
2064:SonicScoop
1975:1608.04363
1943:2021-05-25
1914:1565939972
1889:2013-12-07
1865:2019-11-03
1822:2019-11-03
1788:SVG Europe
1702:. May 2009
1675:Sage Audio
1587:2012-12-21
1557:2019-07-31
1532:2016-08-29
1485:2019-11-03
1460:2019-06-06
1391:1011721139
1347:1003326401
1312:References
987:media help
920:brick wall
824:companding
815:Other uses
785:See also:
765:Over-usage
687:modulation
625:rock music
576:Look-ahead
298:side-chain
268:noise gate
115:compressor
2681:Practices
2584:Auto-Tune
2559:Tape loop
2529:Diffusion
2287:1205.5651
2000:1070-9908
1741:842936687
1509:(Manual).
1449:CiteSeerX
1174:EBU R 128
1170:RMS power
1021:bass drum
1017:sibilance
931:PA system
927:bass amps
846:basslines
842:rackmount
801:mastering
775:Something
756:Marketing
730:EBU R 128
668:equalized
664:de-essing
660:sibilance
648:basslines
629:pop music
512:automatic
457:∞
388:threshold
382:Threshold
358:, and in
258:increases
254:expansion
164:systems.
150:mastering
106:and some
2756:Arranger
2715:Sampling
2639:Flanging
2517:Talk box
2322:22837813
2228:July 14,
1923:42475568
1577:RaneNote
1273:See also
1188:Limiters
1145:support
1095:loudness
1025:headroom
1013:de-esser
997:Eventide
890:Limiting
881:earplugs
877:earmuffs
866:binaural
805:clipping
793:loudness
742:EBU Mode
471:limiting
392:decibels
306:feedback
264:Downward
250:opposite
217:Downward
140:, as an
123:limiting
2659:Pumping
2624:Ducking
2569:Signal
2413:at the
2313:3405292
2292:Bibcode
2280:: 521.
2008:3537408
1980:Bibcode
1793:8 April
1767:8 April
1579:(155).
1300:Squelch
1147:plugins
1131:guitars
1005:ducking
910:limiter
904:Limiter
499:release
423:release
229:limiter
2859:Medley
2854:Mashup
2664:Reverb
2654:Phaser
2320:
2310:
2094:17 May
2006:
1998:
1921:
1911:
1739:
1729:
1706:12 May
1680:12 May
1451:
1389:
1379:
1345:
1335:
1127:vocals
1115:mixing
797:mixing
495:attack
475:attack
419:attack
408:
404:
339:and a
280:Design
274:Upward
235:Upward
146:mixing
142:effect
80:sounds
74:is an
2874:Remix
2832:Other
2742:Roles
2700:Lo-fi
2603:STEED
2428:from
2282:arXiv
2219:(PDF)
2140:(PDF)
2042:(PDF)
2031:(PDF)
2004:S2CID
1970:arXiv
1631:(PDF)
1583:: 6–7
1503:(PDF)
1437:(PDF)
1419:(PDF)
1409:(PDF)
1141:Some
925:Some
856:dance
777:" by
683:DXing
654:Voice
642:. In
435:ratio
429:Ratio
415:below
354:, in
331:, or
243:above
239:below
225:below
221:above
168:Types
127:ratio
59:436c.
57:Altec
2394:help
2318:PMID
2230:2011
2096:2021
1996:ISSN
1919:OCLC
1909:ISBN
1795:2020
1769:2020
1737:OCLC
1727:ISBN
1708:2010
1682:2020
1387:OCLC
1377:ISBN
1343:OCLC
1333:ISBN
1129:and
1113:and
1003:for
929:and
879:and
799:and
724:The
697:and
589:Uses
396:dBFS
156:and
148:and
2618:ADT
2345:doi
2308:PMC
2300:doi
2195:doi
1988:doi
1373:149
1067:or
1043:or
627:or
514:or
400:dBu
329:LED
90:'s
86:an
68:DRC
49:Dbx
2909::
2776:DJ
2385::
2383:}}
2379:{{
2341:62
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