文档介绍：A Concise Guide pression & Limiting by Paul White
Settings and Characteristics
• Threshold
• Ratio
• Hardknee
• Attack
• Autoattack/ Release
• Holdtime
• Stereo Link
• All in the ear
• pressors
• Side Effects
• De-Essing
pression and limiting have been covered before, but like the brown
mould that you blitz every few months in the bathroom only to watch gradually return,
questions on the subject steadily build up again, mere months after we explain the basic
principles in an article such as this one! On the one hand, musicians are encouraged to
give an enthusiastic and dynamic performance, while on the other, their levels must be
controlled to some extent, if we are to create musically acceptable mixes. One tool that is
vital in helping us to do this is pressor, but before looking at how they work, I'd
like to outline the types of problems they are designed to solve. While the faders on a
mixer can be used to set the overall balance of the voices and instruments that make up a
piece of music, short term changes such as the occasional loud guitar note or exuberant
vocal scream are less easy to deal with manually. When I first started recording,
compressors were too expensive for home use, so we had no alternative but to 'ride' the
faders. Once you've used pressor to control your levels, however, e to
appreciate that there are certain things it can do that the human engineer is just too slow
to manage. For example, unless you've played the track through and memorised exactly
where the loud and quiet spots are, you'll always respond too late, because you can't start
to move the fader until you hear that something is wrong. pressor, on the other
hand, will be aware of a level problem virtually as soon as it happens. Fortunately, good
compressors are now relatively inexpensive, and next to reverb, pressor is probably
the most important studio processor to own—at least for those who