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Compression can give you an unnatural sound, which is a sound I can love in other productions, but in my own, I tend to want to use more round and full-frequency sounds. Natural and analog sounds are by nature a bit looser, so I tend to try to maintain as much of that as I can. I think the more you compress, the more you can lose the energy, the texture and the real frequency of a sound, so I tend to use less and less compression because I am more and more trying to connect with the natural essence of the sounds I am using. How I use compression depends on the intention of the track. From those producers who use the technique only sparingly to those who see compressors as an essential compositional tool, the second edition of Modern Approaches seeks to further pull back the curtain on the subtle art of compression. In order to help us cut through the fog, we have again tapped a diverse panel of working artists to share some insight into how they approach implementing compression in their own work.
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This is also why leaning heavy on a compressor can bring the background noise of an audio signal much closer to the foreground – an extreme reduction of a soundbite’s dynamic range can bring to life some far-off dog bark or car horn hidden in a field recording or (for better or worse) bring the electric noise that was once buried in the recording of a synthesizer up to a much more audible level.Īdd to all that the fact that there are many different types of compression – multi-band compression, where only signals within a certain frequency range are compressed side-chain compression, where an outside piece of audio triggers the compressor and limiting, a form of compression which usually makes use of a large (10:1 or 20:1) ratio in order to prevent peaks in signal from overloading an eventual output just to name a few – and it’s easy to see why compression is one of the harder concepts within the audio production sphere to wrap one’s head around. This is why compressors are often noted for their ability to “even out” or “round out” a piece of audio: by reducing the peaks in a signal, a compressor can make both the louder and softer portions of a sound source appear more uniform in terms of volume. A compressor’s simplest function is to reduce the peaks of a signal (when they exceed the threshold), while allowing for a user to in turn increase the volume of the entire soundbite (using a compressor’s output gain) without having the original audio’s peaks pierce through or potentially clip a channel.