"Introduction To Music Production" at Berklee

College of Music. Lesson 4

DYNAMICS SIGNAL PROCESSING

The concept behind dynamic processors / threshold, ratio, attack and release.

Hi my name is Odayr Baptista, from Brazil, for the

Berklee Introduction to Music Production class.

For assessment 4 for week 4 I will be explain you about

Dynamic Signal Processing and the concepts of
threshold, ratio, atack and release.

sound produced and is measured in decibels. The dynamic ra

70 dB, measured from a lighter passage and a powerful grow

Dynamic Range

can be difficult to record, because they control the recording

solo flute, for example, three minutes later, will be recorded s

very noise recording.

Dynamic processing is one of the most

eective tools to make sure all of those
important parts that have been recorded
will actually be heard in the final product.

The term "Dynamic Range" refers to the

level dierence between the loudest
musical passage and the softest musical
passage.

A dynamic range so large can be dicult to

record, because they control the recording
volume is set to "very strong", a solo flute,
for example, three minutes later, will be
recorded so quietly be confused with the
very noise recording.

Dynamic Processing devices change this

level dierence.

!
The solution to record music, plays, speeches or sound

range is to adjust the recording volume to amplify the quieter

the registration loudest sounds.

TYPES OF PROCESSING

Compression

Compression means that any signal that tries to exceed a set "threshold" level will
not be allowed to increase as much. In other words the compressor turns down
the maximum passages so they won't be as loud. With the threshold control set
to maximum, no passages will be turned down; as the threshold control is
brought down some peaks of the music will exceed the threshold and be turned
down.

Compression is used to even out the volume of the music so that all passages are
more even.

Expansion

The term "expand" means that any signal the falls bellow
the threshold level will be made to go lower in level than it
would without expansion. In other words expansion is
just the opposite of compression.

One use of expansion is to "undo" the over-use of

compression.

Limiting / Gate

The term '"limit" means that the signal will not be allowed to exceed the threshold level at all.
Limiters are used to prevent distortion by setting the threshold control just below the distortion
level. The limiter then prevents any peak from getting to the level where it would distort.

The term "gate" refers to turning off the signal when it falls below the threshold level. A range
control is included so that signal can just be turned down rather than completely off. Gates are
used to get rid of noise and leakage when the instrument is not playing. This is done by
setting the threshold level lower than the level of the signal but higher than the level of the
noise or leakage.

DYNAMICS PROCESSING CONTROLS

Threshold

The threshold control adjusts the level where the dynamic

processor will start to work. In a compressor or limiter
when the loud passages at the input exceed the threshold
level set, the unit will turn down these loud passages. In an
expander or gate, the unit will turn down any incoming
signals that are below the threshold level.

The threshold is usually adjustable by a control marked

"threshold." Reducing the threshold level means that more
peaks of the signal will trigger the compressor to turn down
the gain; increasing the threshold level means that an
expander or gate will turn down more low-level signals.

Ratio

The ratio control determines how much the signals that are
being compressed or expanded will be turned down.

If a compressor has a 2:1 ratio, the compressor will turn down

the gain so that if the input signal is 2dB above the threshold
level, the output increases only one dB. If the input signal is 4
dB above the threshold, the gain will be turned down so that
the output only rises 2 dB above the threshold (a 2 to 1 ratio).
At a 4:1 ratio the input signal has to be 4 dB above the
threshold for the output to increase 1 dB. When the ratio control
is set to 10:1 or more, the compressor is called a limiter
because the unit is effectively preventing the peak levels from
increasing any significant degree above the threshold level.

Attack & Release Times

The attack time is how fast the dynamics processor will react to a signal crossing
the threshold level, going up. In a compressor it is the time it takes the
compressor to reduce gain on a high-level passage. On an expander, it is the
time that the expander takes to restore full gain after the audio level comes up
after a low level passage.

The release time is how fast the dynamics processor will react to a signal crossing
the threshold level, going down. In a compressor, it is the time it takes the unit to
restore gain after the high-level passage is over with. In an expander, it is the time
the expander takes to turn down a low level passage (below the threshold level).

Very generally speaking, fast attack times are good. Release times should be
adjusted for the frequency and how percussive the signal is. Compressors for
bass signals must not be set to a very short release time or the gain will be
changed within one cycle, causing distortion. Generally speaking, the fastest
release time that sounds natural is the best for both compression and expansion.

Makeup Gain (Output Level)

The makeup gain is a level control at the output of the

compressor. The compressor reduces signal strength of
the louder passages. After this compression, the peak
level of the signal is less. This makeup gain control
allows the compressed signal to be turned up so that its
peaks are as high as they were before compression. This
action of "making up" gain increases the lower level
passages of the signal.

Knee

How abruptly or gradually the compression ratio is applied

to the signal when the signal is near the set threshold level.

A Hard Knee means that the full compression ratio is

applied to any signal above the threshold level.

A Soft Knee means that a mild compression ratio is applied

to signals approaching the threshold level and that the ratio
is increased as the signal rises above the threshold level;
the full compression ratio is applied to signals well above
the threshold level.

The soft knee makes the gain reduction less obvious - sort
of like turning down the volume of a stereo slowly rather
than abruptly. Soft knee is used in applications where you
are using a compressor to even out volume changes in an
instrument.