Chapter 7: Compression, Gate, & Boost
supplementary content/information
This page is meant to be used along with your copy Chapter 7: Compression, Gate, & Boost.
Page 6 - Nashville twang
Watch the following video. See how the compressor seems to be an integral ingredient for the Nashville guitar sound, which can be heard throughout.
page 7 - No compression vs. subtle compression
In the following examples, you will hear a large number of effects. The first clip has no compression and the second has some subtle compression as discussed in the chapter. Notice the subtle differences in sound between the two. The compressed example is a bit less volatile and more direct. It is important to not that the real-world benefits of such compression is much better understood and appreciated in a live setting. The studio environment does not lend itself to recreating the challenges and dangers of playing live with effects. Even with that reality, it is possible to hear in these recordings that the compressed signal is the slightest bit more consistent and under control.
Page 8 - Envelope Filter managed by compression
In these clips you will notice a distinct difference. When the Envelope Filter is left without compression, its loudest point and highest peaks cause some distortion and uncomfortable listening. With the right amount of subtle compression, you will notice that the loudest points are not as abrasive, but the dynamic range is still quite large and expressive.
page 9 - Various Compression Ratios
Listen to the difference here. The clip with a lower compression ratio (less compression) allows for the sound to be well controlled while still allowing the quietest notes to be quiet and the loudest notes to be loud. A full dynamic range is maintained. The clip with the high compression ration (too much compression) sounds a bit more stuffy and squeezed. You will also notice that these is significantly less diference between the quietest and loudest notes. This smaller dynamic range indicates that the Compressor is squeezing with too high a ratio.
page 11 - Gate
The three examples have the threshold of the gate set at different levels. The first clips has the threshold set a good level where it will not overly change the attack or quieter notes. The second clip shows the threshold set just a bit too high, affecting some notes’ attack. The last clips shows what happens when the threshold is set way too high. Notice the abrupt jumpiness of the notes.