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Concept Behind 

Dynamic Processors

 

 

Dynamics

 

Dynamics are changes in loudness for expressive purposes over the course of a song. This category of processing is called “dynamic” because that’s the aspect of sound it’s designed to address — relative loudness and the ways we perceive it. The operative part of that definition is “perception.”

 

Loudness is measured in Decibels, or dB SPL (sound pressure level).

 

0dB SPL is the human threshold of hearing.

120-140db SPL is the human threshold of pain.

 

 

Dynamic Range

 

 

 

 

 

 

 

 

 

 

 

The big Peak at the start of an audio wave is called a Transient and can be controlled on a micro scale changing the sound of impact.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dynamics processors do a variety of tasks, but they all work on the same basic principles:

 

  • They sort sounds out according to whether a sound exceeds a threshold or not

 

  • They apply their effect to sound that’s above or below the threshold

 

  • The timing of the effect depends on settings for attack and release

 

  • The amount of the effect is determined by settings for a ratio (for compression/limiting) or a range (or range of attenuation; gating/expansion

 

Dynamics processors use numerical values for their parameter settings, but they require your careful listening to do their jobs properly.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

There are four common types of dynamics processors included in the DAW I am using, Logic Pro X, that can change the dynamic range.

 

The most common are: 

- Compressor

- Expander

- Limiter

- Noise Gate

 

These are each used for different audio processing tasks.

Click on the images in the carousel below for detials. 

 

4 Common Types of 

Dynamic Processors

Compressor

Although each of these dynamic processors creates changes in dynamic range a little differently, they have some common components and work on some common principles.

 

First, each of these is basically divided into two sections – one section analyses the input signal to find the shape of the sound envelop (the RMS). This is called the “side chain section” (or key section). 

 

We have to listen to the vocal (side-chain section), analyze it and respond to it. 

Analyze and calculate the envelope of the audio. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The other section contains the volume fader that is used to make adjustments in the audio level – either up or down as needed. 

 

Finally, the Adjustment Factors these processors have in common include Threshold, Ratio, Attack and Release we will look at next. 

Compressor
Expander
Limiter
Noise Gate
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