![]() ![]() ![]() These days, many digital compressors model the saturation and tone of their analog counterparts. Subtle harmonic distortion and “box tone” is a big part of what gives these coveted compressors their place in history. ![]() To add color or tonal alteration: Hardware compressors often impart a desirable, useful tone that results from the unique designs of their analog circuitry. Sidechain compression is one way of doing this, though you can also shape groove without an external sidechain input, particularly on a looped phrase you can change the feel of a drum kit or a bass part, for example. To alter the groove or feel of an instrument: You can use a compressor to shape the groove of an instrument in a variety of ways. You can squash them down into the body of the signal for a denser sound, or accentuate them for more smack and excitement. To shape transients: Using the attack and release controls, you can really alter how transients come across. Think of a vocal that grows too loud at the end of each phrase. To control a signal’s overall dynamics: The signal level varies too much between loud and quiet sections, and we want to control its dynamic range. If you’re new to compression, you may also want to get up to speed on some common mistakes to avoid. Before we look at all the compressors on offer, let’s quickly recap the main reasons we would choose to use compression in the first place. ![]()
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