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But I guess there will be pan or soundstage shift if there are peaks being compressed in only one channel?
Also, what is the gain reduction meter showing when compressing a stereo track? Left, right, the sum or the average?
I believe I read in a thread here that a lot of people prefer unlinked compressor channels, but not all. Is there any way to link the channels?
Is the compressor in the Levelizer also unlinked?
Thanks.
__________________
Ian Alexander
VO Talent/Audio Producer
*************************************************************************************************
Both circuits work the same way... and by compressing each side separately, the overall result is to even out the left right imbalances...
The Levelizer is the same code.
The meter reads the max compression peak happening on either channel.
You could link them to the left, right or mono side by using the key switch and keying from another track containg the same regions as the main track... on that track you can select mono L, R or Both, thereby sending the same signal to both sides of the compressor on the main track... obviously you mute the key track... it is only used as a way to pick which signal side is triggering the compressor.
Bob L
Also, what is the gain reduction meter showing when compressing a stereo track? Left, right, the sum or the average?
I believe I read in a thread here that a lot of people prefer unlinked compressor channels, but not all. Is there any way to link the channels?
Is the compressor in the Levelizer also unlinked?
Thanks.
__________________
Ian Alexander
VO Talent/Audio Producer
*************************************************************************************************
Both circuits work the same way... and by compressing each side separately, the overall result is to even out the left right imbalances...
The Levelizer is the same code.
The meter reads the max compression peak happening on either channel.
You could link them to the left, right or mono side by using the key switch and keying from another track containg the same regions as the main track... on that track you can select mono L, R or Both, thereby sending the same signal to both sides of the compressor on the main track... obviously you mute the key track... it is only used as a way to pick which signal side is triggering the compressor.
Bob L
再來... 這個很不錯....在懷疑之前不忘虛心學習.....
The idea of my compresor is to be as transparent as possible... not to be an "Effect".
The thing I love about the design is that you can use it in many situations where all you really want and need is that the performance remain controllable... without dynamically jumping all over the place... but without altering the overall quality of the original signal... that is precisly the design goal.
There are more than enough... in fact most in my opinion... compressors that color the sound source as to categorize them as more of an effect processor rather than a useful audio tool that is meant to correct audio problems rather than add an effect to the original sound.
The basics of a compressor are pretty simple... set a threshold which determines when the compressor starts to kick in and squash the signal level... how fast it reacts is set by the attack time... how slow it releases control and stops squashing the signal is set by the release time... and how much it squashes the level is set by the ratio.
Experiment with different setting combinations and different sound sources and you will learn how and when to use each of the different settings for the desired results.
By the way... if you over use the threshold and attack time and release time and ratio, you can create some pretty effecty processing with my compressors also... but that was not the original design goal.
You can also use my gates to create some pretty wild compression effects... normally a gate is OFF until the threshold is reached... at which time it opens... by using the RVS switch, the gate will stay open until the threshold is reached... when it will close... the floor setting determines how much is closes down to... so by setting the floor at -12db for instance, when the threshold is reached, the signal will drop 12 db and then release when the source signal drops below the threshold again... of course utilizing the attack and release settings in the process... this can create some pretty wild and unique compression effects, generally not attainable with any compressor.
Experiment... that's where you gain the power and options to have many choices to use in your session work.
Bob L
[ 本帖最后由 himhui 于 07-8-21 12:05 编辑 ]
The idea of my compresor is to be as transparent as possible... not to be an "Effect".
The thing I love about the design is that you can use it in many situations where all you really want and need is that the performance remain controllable... without dynamically jumping all over the place... but without altering the overall quality of the original signal... that is precisly the design goal.
There are more than enough... in fact most in my opinion... compressors that color the sound source as to categorize them as more of an effect processor rather than a useful audio tool that is meant to correct audio problems rather than add an effect to the original sound.
The basics of a compressor are pretty simple... set a threshold which determines when the compressor starts to kick in and squash the signal level... how fast it reacts is set by the attack time... how slow it releases control and stops squashing the signal is set by the release time... and how much it squashes the level is set by the ratio.
Experiment with different setting combinations and different sound sources and you will learn how and when to use each of the different settings for the desired results.
By the way... if you over use the threshold and attack time and release time and ratio, you can create some pretty effecty processing with my compressors also... but that was not the original design goal.
You can also use my gates to create some pretty wild compression effects... normally a gate is OFF until the threshold is reached... at which time it opens... by using the RVS switch, the gate will stay open until the threshold is reached... when it will close... the floor setting determines how much is closes down to... so by setting the floor at -12db for instance, when the threshold is reached, the signal will drop 12 db and then release when the source signal drops below the threshold again... of course utilizing the attack and release settings in the process... this can create some pretty wild and unique compression effects, generally not attainable with any compressor.
Experiment... that's where you gain the power and options to have many choices to use in your session work.
Bob L
[ 本帖最后由 himhui 于 07-8-21 12:05 编辑 ]
剛剛簡單翻了一下........... bob 的底子極其深厚, 我們只有學習份兒, 自問真的不敢懷疑......
The idea of my compresor is to be as transparent as possible... not to be an "Effect".
設計 saw compressor 的目的就是要讓它盡量透明, 而不是讓它成為一個效果器。![]()
The thing I love about the design is that you can use it in many situations where all you really want and need is that the performance remain controllable... without dynamically jumping all over the place... but without altering the overall quality of the original signal... that is precisly the design goal.
我喜歡這樣設計, 主要是讓大家能在很多情況下可以盡量控制其表現, 而沒有影響原訊號的整體質素, 亦正是設計的方向。
There are more than enough... in fact most in my opinion... compressors that color the sound source as to categorize them as more of an effect processor rather than a useful audio tool that is meant to correct audio problems rather than add an effect to the original sound.
事實上 , 我個人認為現在大多 compressor 是偏向於像一個效果處理器去為訊號加上效果 , 而不是用來修正或處理音頻問題。
The basics of a compressor are pretty simple... set a threshold which determines when the compressor starts to kick in and squash the signal level... how fast it reacts is set by the attack time... how slow it releases control and stops squashing the signal is set by the release time... and how much it squashes the level is set by the ratio.
壓縮器的基本原理很簡單, 設置門檻去決定什麼時候去壓和釋放, 也包括其時間長短和壓縮的比例。
Experiment with different setting combinations and different sound sources and you will learn how and when to use each of the different settings for the desired results.
By the way... if you over use the threshold and attack time and release time and ratio, you can create some pretty effecty processing with my compressors also... but that was not the original design goal.
如果用一些極端的手法, 如門檻 (閥值 )、attack、 release 時間和壓縮比, 但這並不是設計的原意。
You can also use my gates to create some pretty wild compression effects... normally a gate is OFF until the threshold is reached... at which time it opens... by using the RVS switch, the gate will stay open until the threshold is reached... when it will close... the floor setting determines how much is closes down to... so by setting the floor at -12db for instance, when the threshold is reached, the signal will drop 12 db and then release when the source signal drops below the threshold again... of course utilizing the attack and release settings in the process... this can create some pretty wild and unique compression effects, generally not attainable with any compressor.
你也可以使用 saw 的 gate 製造出很強烈的壓縮效果....一般 gate 是關上, 直至訊號觸及threshold時才打開。使用 RVS 鍵設置, GATE 便會保留著打開的狀態, 直到觸及閥值便關上 , 而 floor 就是決定減少多少音量。假設把 floor設為 -12db, 當訊號髑及 threshold,訊號便會向下趺 12db, 當訊號離開閥值又回到正常狀態, 調校時當然也要注意attack和 release 時間。
這樣做可以得到非常猛烈和獨特的效果, 一般的壓縮是很難達到這效果。
Experiment... that's where you gain the power and options to have many choices to use in your session work.
Bob L
[ 本帖最后由 himhui 于 07-8-21 14:03 编辑 ]
The idea of my compresor is to be as transparent as possible... not to be an "Effect".
設計 saw compressor 的目的就是要讓它盡量透明, 而不是讓它成為一個效果器。
The thing I love about the design is that you can use it in many situations where all you really want and need is that the performance remain controllable... without dynamically jumping all over the place... but without altering the overall quality of the original signal... that is precisly the design goal.
我喜歡這樣設計, 主要是讓大家能在很多情況下可以盡量控制其表現, 而沒有影響原訊號的整體質素, 亦正是設計的方向。
There are more than enough... in fact most in my opinion... compressors that color the sound source as to categorize them as more of an effect processor rather than a useful audio tool that is meant to correct audio problems rather than add an effect to the original sound.
事實上 , 我個人認為現在大多 compressor 是偏向於像一個效果處理器去為訊號加上效果 , 而不是用來修正或處理音頻問題。
The basics of a compressor are pretty simple... set a threshold which determines when the compressor starts to kick in and squash the signal level... how fast it reacts is set by the attack time... how slow it releases control and stops squashing the signal is set by the release time... and how much it squashes the level is set by the ratio.
壓縮器的基本原理很簡單, 設置門檻去決定什麼時候去壓和釋放, 也包括其時間長短和壓縮的比例。
Experiment with different setting combinations and different sound sources and you will learn how and when to use each of the different settings for the desired results.
By the way... if you over use the threshold and attack time and release time and ratio, you can create some pretty effecty processing with my compressors also... but that was not the original design goal.
如果用一些極端的手法, 如門檻 (閥值 )、attack、 release 時間和壓縮比, 但這並不是設計的原意。
You can also use my gates to create some pretty wild compression effects... normally a gate is OFF until the threshold is reached... at which time it opens... by using the RVS switch, the gate will stay open until the threshold is reached... when it will close... the floor setting determines how much is closes down to... so by setting the floor at -12db for instance, when the threshold is reached, the signal will drop 12 db and then release when the source signal drops below the threshold again... of course utilizing the attack and release settings in the process... this can create some pretty wild and unique compression effects, generally not attainable with any compressor.
你也可以使用 saw 的 gate 製造出很強烈的壓縮效果....一般 gate 是關上, 直至訊號觸及threshold時才打開。使用 RVS 鍵設置, GATE 便會保留著打開的狀態, 直到觸及閥值便關上 , 而 floor 就是決定減少多少音量。假設把 floor設為 -12db, 當訊號髑及 threshold,訊號便會向下趺 12db, 當訊號離開閥值又回到正常狀態, 調校時當然也要注意attack和 release 時間。
這樣做可以得到非常猛烈和獨特的效果, 一般的壓縮是很難達到這效果。
Experiment... that's where you gain the power and options to have many choices to use in your session work.
Bob L
[ 本帖最后由 himhui 于 07-8-21 14:03 编辑 ]
原帖由 dabeat 于 07-8-21 13:18 发表
反应过度 ? 这点小弟不明白。
我反而对小马说的方法用的次数少。
需然 Bob 也曾提及过，但尝试过后，我不习惯这样做。(当这是 Stereo Tracks的时候)
可能因为小弟会觉得事件变得更覆杂吧......
因为我曾经用过这个方法来模拟 PAN AUTO，左右不同的压缩参数导致压缩的时间和“方法”会有所不同，导致音量会有不同的变化，因而产生一些PAN上的变化（有音量而引起的），但是感觉某些乐器对这个方法反应比较快~~当然这个问题的出现应该是我使用次数少，以及参数调节上的不精细导致的，HOHO。
原帖由 himhui 于 07-8-21 12:01 发表
再來... 這個很不錯....在懷疑之前不忘虛心學習.....
The idea of my compresor is to be as transparent as possible... not to be an "Effect".
The thing I love about the design is that you ...
看了第1句话，我就知道我的用意完全不符合他的设计了，他似乎是用这个comp来控制电平的，那我以后就更知道该怎么用它了。
我看以后不要叫这个为saw comp了，还是叫bob comp比较准确
既然你这样认为，你就按照你的想法去做吧～没问题的，只要目标达到就好。
“thereby sending the same signal to both sides of the compressor on the main track... obviously you mute the key track... it is only used as a way to pick which signal side is triggering the compressor.
这个sidechain不还是给这个压缩同一个触发指令嘛，难道说使用key的时候，comp就变成link的了？”
你可能还不是很清除HIMHUI列举的方法SIDECHAIN的用法，既然你能影响别人，为什么别人不能影响你呢？？很多人在处理BASS和GT的时候，直接就GT和BASS互相SIDECHAIN，而这个方法在SAW中实现却非常容易。
“看了第1句话，我就知道我的用意完全不符合他的设计了，他似乎是用这个comp来控制电平的，那我以后就更知道该怎么用它了。
我看以后不要叫这个为saw comp了，还是叫bob comp比较准确”
其实有那个压缩不是“controlling level change"的？如果你真的明白压缩器的操作过程，你就能确切的明白“ controlling level ”的结果是什么了。而其他压缩器插件所带的音色其实是在模拟硬件，但问心的一句：URS和SSL这两个插件所模拟的声音，你真的觉得很好？BLUE TUBE所模拟的电子管音色很舒服？希望你能了解BOB”There will be no phase shifting, because it is only controlling level changes.”这句话的真正意思，谢谢。
对了：其实很多效果器都是对音量的控制从而产生音色的变化，例如EQ。
[ 本帖最后由 Ying 于 07-8-21 21:55 编辑 ]
“thereby sending the same signal to both sides of the compressor on the main track... obviously you mute the key track... it is only used as a way to pick which signal side is triggering the compressor.
这个sidechain不还是给这个压缩同一个触发指令嘛，难道说使用key的时候，comp就变成link的了？”
你可能还不是很清除HIMHUI列举的方法SIDECHAIN的用法，既然你能影响别人，为什么别人不能影响你呢？？很多人在处理BASS和GT的时候，直接就GT和BASS互相SIDECHAIN，而这个方法在SAW中实现却非常容易。
“看了第1句话，我就知道我的用意完全不符合他的设计了，他似乎是用这个comp来控制电平的，那我以后就更知道该怎么用它了。
我看以后不要叫这个为saw comp了，还是叫bob comp比较准确”
其实有那个压缩不是“controlling level change"的？如果你真的明白压缩器的操作过程，你就能确切的明白“ controlling level ”的结果是什么了。而其他压缩器插件所带的音色其实是在模拟硬件，但问心的一句：URS和SSL这两个插件所模拟的声音，你真的觉得很好？BLUE TUBE所模拟的电子管音色很舒服？希望你能了解BOB”There will be no phase shifting, because it is only controlling level changes.”这句话的真正意思，谢谢。
对了：其实很多效果器都是对音量的控制从而产生音色的变化，例如EQ。
[ 本帖最后由 Ying 于 07-8-21 21:55 编辑 ]