As you venture beyond general‑purpose balance discussions, though, the subject of compression becomes shrouded in mystique, particularly with respect to the qualities and quirks of the most famous hardware compressors, many of which are prized as much for their tonal qualities and audio side‑effects as for their ability to control dynamic range. While the practicalities of setting up compressors can take a little time to get your head around to start with, there is still a certain logic behind the process, as I've tried to demonstrate in preceding pages of this issue of SOS. Whether they truly recreate the real thing or just give you a hint of their flavour, there's now a bewildering number of classic compressor emulations in software.Īt its most basic level, compression can be seen merely as a labour‑saving solution to mix-balance problems: if you control the levels of an overly dynamic instrument, it becomes easier to find a consistent fader setting for it.
But whether hardware or software, which is right for which job?
Now that we have digital models and dynamic convolution technology, we're spoilt for choice when it comes to classic compressor flavours.
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