a peak based compressor.Īttack - how long the compressor waits after the waveform has exceed the threshold before it begins reducing the amplitude (or volume in laymen's terms). This can also help to keep the dialogue sounding more natural vs. Without making the explanation too complex, this is essentially a way to average out the signal so that the compression starts its work in a more natural way-its isn't so fidgetty. However, another option is an RMS control law. They watch for peaks that hit or exceed the threshold and then start compressing. Most compressors work based on peak control. Speaking of "control law", what is a control law? This is how the compressor knows when to start compressing. Here I'm using Izotope's Ozone 6 "Dynamics" plugin which is a really nice, though somewhat expensive option just to demonstrate how it works. There are gazillions of other options out there, some free, others at a price. If you have a favorite compressor plugin with a soft knee and an RMS "control law", let us know in the comments below! I've also included a link to one or two free options. However, Audition supports VST plugins (or on Mac, both VST and AU). Unfortunately, Audition doesn't come with a compressor plugin that has a soft knee feature. And this can result in a more natural sound. One solution: Soft knee where the compression is applied more gently over a span of amplitudes (dBs, or loudness levels). There's still a potential problem: Compression is applied in a pretty abrupt fashion, right at the threshold If not, no need to compress.Ĭompression graph: Axes = input level and output level and thresholdįirst and most obvious thing: Don't use a crazy compression ratio. In audition, loudness normalize and see if your peaks get clipped. Most of my footage needs just a little bit of compression so that I can loudness normalize for mobile and computer viewing. So in this episode, let's look at a couple of things you can do to prevent that crushed sound.įirst, check to see if you even need to compress your clip. We've covered audio compression in previous episodes but kept the description super simple as a start. That approach is a good intro but sometimes it doesn't work out very well and your audio ends up sounding over-compressed, sort of crushed and un-natural. For those that will watch or listen on mobile devices with earbuds, they can hear your project clearly. It allows you to loudness normalize to the established broadcast standards or recommendations so your audience doesn't strain to hear or experience the pain of audio that is too loud or distorted. The audio should help tell your story without making it hard for your audience. So first, why compress dialogue audio? So that the purpose of your film or video is served. While learning, I've sometimes ended up with over compressed audio sounding something like this: Audio clip with a regular clip control law compressor Compression of dialogue audio requires a bit of finesse to be effective.
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