Cubase dynamics:
- Compressor/Limiter
How severely the compressor reduces the signal is determined by the compression ratio and compression 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. Limiting refers to the processing that prevents the signal from getting any louder (that is, it prevents any increase in the signal’s amplitude) at the output.
-
Threshold - sets the level at which compression begins.
-
Ratio - relationship between the output level and the input level. If you have the ratio set to 2:1, any signal levels above the threshold setting will be compressed such that for every 1 dB of level increase into the compressor, the output will only increase 0.5 dB. As you increase the ratio, the compressor gradually becomes a limiter.
-
Hard/Soft Knee - With hard-knee compression, the gain reduction applied to the signal occurs as soon as the signal exceeds the level set by the threshold. With soft-knee compression, the onset of gain reduction occurs gradually after the signal has exceeded the threshold
-
Makeup Gain - When compressing a signal, gain reduction usually results in an overall reduction of level. The gain control allows you to restore the loss in level due to compression (like readjusting the volume).
- Compressor Sidechain. When a connector is inserted into this jack, the signal path is broken. The control signal can then be processed by an equalizer, for example, to reduce sibilance (de-essing) in a vocal track. The control signal is then returned to the unit via the connector.
Limiter is a compressor that is set to prevent any increase in the level of a signal above the threshold. For example, if you have the threshold knob set at 0 dB, and the ratio turned fully clockwise, the compressor becomes a limiter at 0 dB, so that the output signal cannot exceed 0 dB regardless of the level of the input signal.
- Expander/Noise Gate
Expansion decreases the level of a signal after the signal goes below the expansion threshold. The amount of level reduction is determined by the expansion ratio. For example, a 2:1 expansion ratio reduces the level of a signal by a factor of two. (e.g., if a level drops 5 dB below the expansion threshold, the expander will reduce it to 10 dB below the threshold. For example, a 2:1 expansion ratio reduces the level of a signal by a factor of two. (e.g., if a level drops 5 dB below the expansion threshold, the expander will reduce it to 10 dB below the threshold.). Ratios of 4:1 and higher act much like a noise gate.
-
Hold time is used to keep the gate open for a fixed period after the signal drops below the gate threshold.
-
Range - If the range is set at 0 dB, there will be no change in the signal as it crosses the threshold. If the range is set to -60 dB, the signal will be gated (reduced) by 60 dB, etc.
-
Key Listen - allows the user to listen to the signal that is being filtered by the gate.
-
Frequency Key Filter - some gates offer a variable frequency control allowing the user to set a specific frequency band that the will cause the gate to open or close.
Noise gating is the process of removing unwanted sounds from a signal by attenuating all signals below a set threshold. How fast the gate opens to let the “good” signal through is determined by the
attack time. How long the gate stays open after the signal has gone below the threshold is determined by the
hold time. How fast the gate closes is determined by the
release. How much the gate attenuates the unwanted signal while closed is determined by the
range.
Noise gates were originally designed to help eliminate extraneous noise and unwanted artifacts from a recording, such as hiss, rumble, or transients from other instruments in the room. Since hiss and noise are not as loud as the instrument being recorded, a properly set gate will only allow the intended sound to pass through; the volume of everything else is lowered.
.
.
