It has to do with the value of the ratio around the threshold level. This can easily be demonstrated with a simple test tone. Depending on what sounds and instruments you are using, there will also usually be a few different parameters you can use to shape the timing and extremity of the effect. Namely the amount of original signal you send to the effect, where the threshold is set, i. The compression is still much more musical than Platinum Digital mode.
The compression is efficient, but unmusical. Using Logic Pro X to control the dynamics of your overall mix as well as individual instruments is a crucial fundamental of mixing. The design of the unit also went through numerous changes over the decades. Vintage Opto The Vintage Opto model emulates the Optical Compressor. Though blander in character, Platinum Digital is a precision tool with plenty of transparency. Yea, but they interact together, no? For example in sidechain compression, one sound is used to make another drop away, then rise back up again. Over thinking it will drive you up a wall.
You could contact manufacturers and ask questions, or you could make your own measurements. The two most important factors here are a low Ratio 2:1 and a wide Knee setting 1. In the right situation this can be a really useful mixing technique. Additionally, the design of the unit went through numerous changes over the decades. So with a 2:1 ratio, if your input level is -5dB you have exceeded the threshold by 10dB which means the signal will be reduced by 5dB. Famed for lending its character and punch to some of the greatest recordings in history, the 1176 has become an essential tool found in nearly every professional studio. You just have to use your ears.
The Attack time determines the speed at which that gain fader comes down. So an Attack time is really a speed: the gain change speed, to be accurate. Also in this discussion we've assumed that the gain change speed is constant during attack and release phases, but in reality the gain change may be for example faster at the beginning of the attack phase, and slower at the end. A slower attack, for example which is more forgiving on transients is easy to fine-tune in relation to the attack transients on the graph. I guess it works differently in Logic's compressor of course, than other brands. I am using a few compressors, Logic 9's being one of them.
If you think of the compressor as being an automated gain fader, then when your signal reaches the threshold, the gain fader goes down. Choose the that will trigger Compressor on the Side Chain menu at the top of the plug-in interface. The evidence doesn't make sense to me based on the theory - I have a signal that is peaking at -16 on the track fader. Platinum: This is Logic Pro's original compressor 'model' and it can still be useful in some situations, as it has a fairly transparent quality. The other new feature is new metering.
So an Attack time is really a speed: the gain change speed, to be accurate. This should help understand what happens to your signal in time: Thanks. Now Compressor will compress the audio only when the track chosen on the Side Chain menu reaches the threshold. His ingenious optical compression design was a technological breakthrough, far surpassing the stability and transparency of earlier circuits. That said I often find that the gain Make-Up, though great for auditioning purposes, can be over generous in its output settings. This compressor has a fast response and a distinct sound, and is useful for protecting tracks from clipping.
So if your threshold is -4dB, the compressor will start working at -14 dB and the ratio will increase as the signal approaches -4dB. You often read about engineers applying compression to try and achieve an aggressive and upfront vocal sound. Effectively, that means that when your input signal is above the threshold, every time you raise the input level by 10 dB, the compressor raises the output level by only 1 dB. It has to do with the value of the ratio around the threshold level. Once active, the filtering makes the compressor particularly sensitive to the low end.
The waveform display will give you really clear visual feedback of how much compression is being applied and to which drum hits. As a result of this process a signal will potentially benefit from increased loudness, as well as an increased amount of body and sustain. Low values compress harder, and higher values compress softer. To the right of the interface are the Output and Side Chain tools that really extend the functionality and sound of the compressor. And if your input level is 5dB you have exceeded the threshold by 20dB which means the signal will be reduced by 2dB.