The result? The compressor only reduced the signal level when it detected harsh sibilant sounds. The compressor “listened” to only the harshest sibilant sounds, and then “processed” the main dialogue signal. This signal was then routed into the compressor’s detector. With this equalizer, Shearer filtered the signal path until only its spikiest, most annoying ess sounds were prevalent. One path went through the compressor, the other to an equalizer. He wanted, basically, to de-ess the signal-only de-essers didn’t exist yet. Our goal is to introduce the concept of the sidechain, and build towards helping you understand sidechain compression in a holistic way.Ī cinema sound designer named Douglas Shearer wanted to make some spoken dialogue quieter whenever the actor said a sibilant word. So, compressors have been used, throughout the years, to alter music in colorful, impactful ways. This is one use for a compressor.Ĭompressors are audio tools, and audio engineers are naturally curious people who love to experiment. If the difference is too much, you can use a compressor to restrain the loudest bits, so that their amplitude doesn’t rise as high as it would un-compressed. The phrase ‘Dynamic range’ actually indicates the difference in dB between the noise of an audio system and the level at which it distorts.

Now, what is dynamic range? Most people use the term dynamic range to refer to the difference between quiet and loud sections in audio and musical programs. A compressor is used to reduce a sound’s dynamic range-that is, to make the louder and quieter parts of the performance closer to each other in level, be it an instrument, a loop, or even a whole mix.

Sidechain studio one 3