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Pro Audio – Compressors versus Limiters
Compressors are commonly used for many audio applications and functions by lowering the uppermost dynamic range of a signal at a set threshold. Once the signal exceeds that threshold, the compressor will engage and reduce it, by a set amount. Compressors also allow the engineer to determine how fast the gain reduction will engage and how slow it will be released.
How severely the compressor reduces the signal, is determined by two parameters: ratio and threshold. A ratio of 2:1 or less is considered mild compression, reducing the output by a factor of two for signals that exceed the compression threshold. Ratios above 10:1 are considered hard limiting. Assuming a nominal input-signal level, as the compression threshold is lowered, more of the input signal is compressed.
A well-designed and properly adjusted compressor should not be audible. Too much compression can destroy the acoustic dynamic response of a performance.
The question is sometime ask isn’t a limiter and compressor the same thing. Well the answer is “it depends”
At the simplest level, a limiter is a compressor that is set to prevent any increase in the level of a signal above the threshold. A true analog peak limiter is not just a compressor with a high ratio. A compressor’s detector circuit is usually designed to detect RMS, or average, levels, so transient peaks will usually overshoot a compressor’s threshold level. A true peak limiter employs a detector circuit that responds to peak energy levels and thus reacts faster.
Limiters are like super compressors. They are meant to function over very fast periods of time and apply super high ratios for gain reduction.
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