Posted on Sep 16, 2008 09:50 am
McMerkin
Hobbyist musician,pro recorder
Member Since: May 15, 2007
In the alt.comp.freeware newsgroup the author of the LSAMP program just happened upon my plea for info on his set up...he didn't exactly answer my question (re: his dials setup) he furnished the following info:
==
The windows version is no longer supported (I don't go near Windows
> anymore
> and, moreover, have not coded audio-related apps for quite a few years
> now --
> no time at all). So please consider the website (and the donation
> page, etc.)
> as inactive/defunct (i.e. do not use either of those).
>
> Now to your questions...
>
> 1st compressor: idea to even out the slow-changing, soft dynamic
> envelope of
> the song (i.e. does not react to peaks). To do this:
>
> set low threshold
>
> set slowish attack reaction; whilst release may be a bit faster (to
> prevent 'pumping' effect)
>
> set low ratio (don't compress too much) -- remembering that the idea
> is to
> even-out the loudness values between 'large' time sections of the song
> (so that
> overly soft parts of the song are more 'equal' in their loudness
> w.r.t. some of
> the louder parts of the song).
>
> when looking at the 'red gain reduction bar' -- you want to see a slow
> moving behavior.
>
> given that 'auto_gain' is automatically calculated without taking into
> account
> the fact that compression may not catch up in time with the song's
> volume
> envelope (the very real situation when slow attack reaction is used)
> -- you
> will need to reduce the 'gain' value (do this until you can't hear the
> distortion -- yes use your ears... in all too many tools people rely
> on
> 'visual' things, whilst it is one's ears that ought to be used as much
> as possible).
>
> 2nd compressor: even-out peaks (e.g. snares, etc.) -- this one may
> even allow
> some distortion (e.g. on some snare sounds it is acutally able to give
> more
> character to the sound)...
>
> do not have low threshold (depending on the mix, may be -8 dB -- would
> depend
> *heavily* on the mix)
>
> have fast attack reaction and reasonably fast release reaction (adjust
> to your
> 'flavor' -- may be a bit slower than attack).
>
> have high compression ratio (may allow to squeeze quite a bit)
>
> given that any attack reaction time which is not infinitely fast will
> still
> exhibit some 'latency' -- you may still reduce the 'gain' wheel to
> prevent
> audible distortion (to you taste, of course).
>
> Now -- attack/release reactions are opposite to the traditional
> compressors --
> low values mean slow, high values mean fast (AFAIK)-- just think of
> them as
> 'reaction ' indicators -- high value implies faster adaptation/sensing
> of
> sounds volume changes.
>
> About 'pdl' -- peak distortion limiters -- from memory they are in-
> between eq
> and each of the compressors -- those are just very fast reaction
> compressors
> that may be used to 'limit' sharp peaks that seat close to clipping
> range of
> the audio signal. Usually help to squeeze the mix more (if needed) and
> at the
> same time reduce any overly-audible distortion effects (once again if
> so needed).
>
> Leon.
>
> PS -- AFAIR, the WAV format that is used to read the sounds may not be
> 100%
> tolerant of non-canonical wav files, so if you have some of those
> generic
> 'wav' cleaner utils (which strip metadata like irrelevant chunks,
> etc.) -- use
> them on the sound.
>
> Also, and once again AFAIR, the sounds must be 16 bit, stereo, 44.1KHz
> format.
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