Use the sample rate of your audio file reader. And any add-on box is going to add more noise and distortion, particularly when the components are 40 years old. I tested a few others and no way, there does not seem to be many out there with that particular feature. Side-chain equalization may take the form of a parametric filter with variable boost, cut and bandwidth , high-cut filter, low-cut filter or all three. Complicating this is that many broadcasters use quasi- peak meters and peak-levelling.
The effect diminishes, at an adjustable rate, to the steady-state expansion condition. When none of the lights in a row is glowing, the expansion gain in that frequency band is unity. You could use no compression on the low end of a bass, with heavy compression on the top end to put the string slaps in balance with the bottom. For an amount of time determined by the release after the input signal has fallen below the threshold, the compressor continues to apply dynamic range compression. With this knowledge, the best release rate is set dynamically. The problem with heavy compression low threshold and a high ratio is the nasty side effects. You can write to me and I will remove you immediately.
. This is one of the tricks for bringing the vocals up in any mix, live or recorded. It is also possible, by adjusting the threshold controls, to have each of these circuits overlap and interact with each other to develop a dynamic curve. When recording vocals use a compressor to reduce the dynamic range of the whole piece to fit the recording or reproduction requirements. This is the amount of time it takes for the gain to change a set amount of dB or a set percentage towards the target gain. The solid black line shows the resultant curve. These abilities allow a wide range of new topologies offering superior performance; some of which appear later in this note.
No dynamic range expansion, though. The study provides objective data on what limiters and compressors do to the audio signal. So, a gate does not really increase the dynamic range of the track it is applied to! I haven't heard what an expander does, and while it could help shifting and rounding down clipped peaks as they say, it just can't get the original mix since every instrument is set to normalize, it could do a 'proportional expansion' I presume. This way a smooth-sounding slower attack rate can be used to catch transients. Figure 14a illustrates the basic topology. Hold time in seconds, specified as a real scalar greater than or equal to 0.
It put a variable amount of L-R on one channel and L+R on the other. Both downward and upward compression reduce the of an audio signal. Since so much of today's stereo content is highly compressed, I have been toying with the idea of getting a dynamic range expander. Gates A gate is to an expander, as a limiter is to a compressor. I've had the most enjoyment of material from squashed albums by watching or listening to professionally recorded live versions. Bass drums are difficult to capture consistently due to drumming technique and other issues. A dynamic expander is essentially a variable-gain amplifier whose amplification is proportional to and controlled by the amplitude of the incoming signal.
I personally would go without it. Note that the traditional threshold control is now labeled target. Single sided noise reduction unit that I always thought was tape only, but come to find out, it does a killer job of dropping the noise floor on vinyl too. Aside from the reliability, those old devices are analog and the time constants, distortion characteristics, etc. It is not possible to separate the waveform into different instruments with non-proportional dynamics.
It is a common myth that if you make a gate open faster it will sound better; however, such is not the case. Never stay home without it! The compressor behaves in the conventional manner when both inputs are supplied with the same signal. Do not over compress the high frequencies or the pick attack will sound slurred. This controls whether the bend in the response curve between below threshold and above threshold is abrupt hard or gradual soft. There is no silver bullet. It actually quiets things down enough that I then noticed a slight hum when running phono. I upgraded the ground and all is golden again.
A compressor makes these increases smaller. If you are attenuating it 50dbs or 100dbs the gate will affectively be making that attenuated sound inaudible. The release 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. Sometimes use of an expander - even at low levels will accentuate part of a track in an unpleasant way. Input Level vs Output Level With Expansion An extreme form of expander is the noise gate, in which lower signal levels are reduced severely or eliminated altogether. Record companies, mixing engineers and mastering engineers have been gradually increasing the overall volume of commercial albums. You could sometimes hear the noise level rising and falling as the expander did it's thing with the music.