Compression and Dynamic Range Flashcards
6 cards from real Music & Audio Advice practice questions. Tap to flip, then mark Knew It or Still Learning — missed cards come back until you master them.
Read the first 6 Compression and Dynamic Range flashcards as text
An audio engineer wants to make a bass guitar part more present and powerful without sacrificing the punch of its initial transients. They decide to blend the original, unprocessed bass track with a heavily compressed version of the same track. What is this technique called?
Answer: Parallel Compression
Parallel compression, also known as New York compression, involves mixing an unprocessed 'dry' signal with a heavily compressed version of the same signal. This technique allows the transients of the dry signal to remain intact while the compressed signal adds body, sustain, and increases the audibility of quieter details.
Which of the following best defines 'dynamic range' in the context of an audio recording?
Answer: The difference in decibels between the loudest possible undistorted peak and the noise floor.
Dynamic range is the ratio between the loudest and smallest values of a signal. In audio, it specifically refers to the difference in decibels (dB) between the loudest peak a system can handle without distortion and the level of the inherent noise floor.
A producer is mixing an electronic dance track and wants the synth pad to rhythmically decrease in volume every time the kick drum hits, creating a characteristic 'pumping' effect. Which compression technique is most suitable for this task?
Answer: Sidechain Compression
Sidechain compression uses the signal from one track (the kick drum) to trigger the compressor on another track (the synth pad). This causes the synth pad's volume to be reduced, or 'ducked', whenever the kick drum hits, creating the classic pumping and breathing effect common in electronic music.
In a standard downward compressor, what is the function of the 'Threshold' parameter?
Answer: It sets the decibel level at which the compressor begins to apply gain reduction.
The threshold is a key parameter on a compressor that sets the specific decibel level. When the input signal exceeds this level, the compressor starts to attenuate the signal. Signals below the threshold remain unaffected by the gain reduction.
What is the primary difference between a compressor and a limiter?
Answer: A limiter is essentially a compressor with a very high, often infinite, ratio.
A limiter is a specific type of compressor characterized by a very high or infinite ratio (e.g., 20:1 to ∞:1). While a compressor reduces the signal above the threshold by a set ratio (like 4:1), a limiter acts as a 'brick wall,' preventing the signal from exceeding the threshold ceiling.
Which of the following describes the function of upward compression?
Answer: It increases the volume of signals that fall BELOW a set threshold, leaving loud signals untouched.
Unlike standard downward compression that reduces the level of signals above a threshold, upward compression works on the quieter parts of the audio. It increases the gain of signals that fall below a set threshold, effectively making quiet details louder without affecting the louder peaks.