compressor settings for live speech

Ratio: 1.5:1–2:1 Decrease the Threshold, so that more of the signal goes above the threshold. For more information, see our Privacy Statement. Dynamic range is the difference between the loudest and softest parts of an audio signal. they're used to gather information about the pages you visit and how many clicks you need to accomplish a task. Same goes for Release, after you are no longer screaming, it will very carefully take exactly 50 milliseconds to stop compressing. Gain control is the single most important concept in audio mixing. This effect is used by radio DJ's to ensure total intelligibility, at the cost of sounding unnatural. Combatting this with other electronic effects (either an expander or noise reduction system) is hit-or-miss, and can produce unwanted artifacts. Wide Frequency Range. It can also be used to tone down a lisp. A good compression setting has a fast attack to catch the stray transient, a quick release so that the compression doesn’t color the sound of the singer, and a low ratio so that when the compressor does go on, it smoothes out the vocals without squashing them. Compress two or three wide frequency ranges individually; Target specific frequency ranges to either enhance or reduce them; Let’s go over each technique in a bit more detail. If every part of every word sounds squished, your compressor is active on every part of the signal. Every word has gone above, and then below, the Threshold before your compressor could do anything. There’s no ‘ideal’ setting here, because it completely depends … They’re a lot harder for a compressor to work with. In a proper recording, the average signal level should be at around -18dB, and the loudest parts might be up to -6dB. We'll do this by reducing the level of the loudest parts of the signal, then increasing the level of the whole signal by the same amount we reduced in the loudest parts. You can always update your selection by clicking Cookie Preferences at the bottom of the page. ​Includes everything from stage work to mixing (and even important communications)! For our purposes, we'll use the digital Full Scale reference, and any use of "dB" will be short for "dbFS". You signed in with another tab or window. If you don't have a gain reduction meter, you'll need to judge it by looking at the compressor's Output Meter (if it has one), or your system's Mix Bus Meter, the final mix level meter. However, digital audio gear was designed to replace analog equivalents, and the converters are still tuned around optimum voltages for analog capture and reproduction. Unfortunately, the voiceover/narration presets in plugins come, well, pre set, and it can be overwhelming to know which one or many of the parameters needs to be changed. Clone with Git or checkout with SVN using the repository’s web address. A low DRIVE (no compressor at all) is not what most of us need (that'd be for an orchestra or a voice actor in a booth). Typical settings may look like this: Threshold: –8dB. Compressors generally all have the same conceptual parts. In a proper recording, the average signal level should be at around -18dB, and the loudest parts might be up to -6dB. We use optional third-party analytics cookies to understand how you use GitHub.com so we can build better products. Threshold: The level above which the compressor activates, Ratio/Amount: The input to output ratio of gain reduction, Output Gain/Makeup Gain: the output level after compression, Input Level: The level of input signal into the compressor, Attack Time: the length in time it takes for the compressor to begin reducing gain after the signal has crossed above the threshold, Release Time: the lenght in time it takes for the compressor to stop reducing gain after the signal has crossed below the threshold, Knee: a degree of smoothing in the output graph between the uncompressed and compressed ranges, Level/Gain/Loudness/Amplitude - The loudness of an audio signal, expressed in decibels. Some voice responds well, others just don't work. For systems dedicated to classical music or extremely dynamic content, consider lowering the compression to a range between 1.5 and 2.0 to 1. Finally, the signal is generally boosted by the Output Gain level before leaving the compressor. When it crosses above the Threshold level, the compressor waits for Attack Time to pass before reducing the input level by Ratio amount. We use essential cookies to perform essential website functions, e.g. Re: Live speech compressor and EQ settings advice. does this help voice overs, or is this a niche thing not really suited for voice overs? Limiters turn down the volume of a sound more strongly. It's also hard to master. Can you not understand the words when they're played over music? Observe your input: using your system's metering, observe the average level of your signal. The problem with those outbursts is theycan cause distortion or simply the voice takes on different frequency characteristics as it gets louder. Your compression should preserve the character of them, not destroy it. Do you hear no change at all? And finally, it seems some advice givers use the subject as a platform for humble-bragging about all the expensive hardware components in their signal chain. With that in mind, the average level of your recordings should be around -18dBFS, with peaks of between -6dBFS and -12dBFS. Most speech sounds natural with an Attack time of 1-5ms. #Advert: Supercharge your computing with a new ASUS motherboard. Allow the compressor to stay active long enough to smooth out whole words or phrases. This is undesirable, but unavoidable. Make it faster so that compression stops before the next word occurs. The faster attack time it has, the sound goes smoother and less aggressive. Set the Attack time: change the Attack Time until the voiceover sounds natural. At this point, you've dialed in the initial settings you're likely to use. Adjust the threshold, ratio, and makeup gain until you can hear every word of the performance clearly. Now, in 2016, software and digital comping is the norm, with lookahead. Best explanation you'll ever read, and if compression obsession has taken hold you could also explore the thoughts of Robert Orban, when he was creating Optimod for broadcasters in the 70s. Noise floor - the quietest non-program part of a signal, typically background room tone, tape hiss in analog recordings, or low-amplitude quantization errors in digital. Looking for Best Compressor Settings For Voice Over… Hi there, Welcome to confinf.org— your one-stop-shop for everything to do with converting text to speech.. We just speak one language here– Voice Overs, and clearly English too. It should subtly improve the sound of the voice without showing off. Just what I've been looking for. Signals with the lowest dynamic range sound flat. Remember to reset your Makeup Gain. Pumping occurs when the latter, quieter phonetics in a word are still being compressed, producing a lumpy, wavy dynamic. Tip #7 – Apply subtractive EQ before compression. Increasing the Release Time can make the signal sound more "smooth". The first number tells us by what factor the level will be reduced. Unless you're a radio DJ or recording a voice over for an advert, you don't want the compression to be noticeable. Does it sound "spikey" or uncontrolled durning loud portions? And that’s it! Stage 3, De-Esser: Most of us don't need this one. Since digital meters display the full scale between 0dBFS and the lowest reproducible signal (usually -96dBFS), choosing an input signal is more difficult. This extra 6-8 VU was considered your "headroom" before distortion. If you don't see all of your compressor's controls here, there's a chance it either has a fixed value (and no control), or is named something else: If nothing else, your compressor will have the first three controls, or something like them. Thanks. The "start out at zero" approach makes a lot of sense. As the Ratio increases to 100:1 (practically Infinity:1), no additional output gain occurs above the Threshold, and the Compressor becomes a Limiter. By simply adding a multiband compressor with the same compression settings over each frequency range you can add energy to the vocal. Experiment with EQ (trying boosting the lows and highs) and different compressor settings. You can also play with the EQ on that bus as well for some interesting results.. Agree with others: this is the best explanation on compression specific to voiceover I've ever read. Once makeup gain is applied, the loudest parts of the signal should be about the same level with the compressor turned on, but the quietest parts should be louder.

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