Every guitar sound – whether on vinyl or Spotify – has been compressed. Let’s find out why
Compression
In very simple terms, compressors are like automatic volume controls that kick in when the input signal exceeds a preset level. Then, once the input level has fallen back below that threshold level, the compressor resets itself and ceases to have any effect on the sound. Depending on the sophistication or design of the compressor itself, users may be able to set the level at which the compressor is activated, the speed of response, the speed at which it resets, and the overall output level of the compressor itself.
We’ll explore those controls in more detail later, but first let’s discuss the origins of electronic compression.
Narrow View
For our purposes, dynamic range can be defined as the difference between the quietest and loudest parts of a musical performance. This caused technical challenges during the analogue audio era, when recordings were made direct to disk or onto magnetic tape. Both formats have a noise floor that can be audible when music is at its quietest, and, in extreme cases, disc surface noise and tape hiss can obscure the music. At the top end of the dynamic range, the input signal can exceed the capabilities of the recording media and induce unpleasant distortion.
Whichever compressor you choose, these units can help bring asmoother sound to picked single notes and are amust for country players
Dynamic range is a key component of musical expression, but even so, audio engineers soon realised that amethod of narrowing dynamic range was needed in order to make viable recordings. Audio compressors were originally designed to overcome technical issues, rather than enhance the sound or create musical effects. Having a compressor on hand to control the loudest passages allowed recording engineers to print quieter passages at a
Audio compressors were designed to overcome technical issues, rather than enhance sound
higher level than was previously possible. This improved the signal-to-noise ratio, which effectively masked tape hiss in addition to reducing the risk of distortion.
You could argue that the theoretical ideal would be complete audio transparency, with the compressor imperceptibly controlling the dynamics while imparting no sonic character. But in reality, many compressors have strong sonic characteristics –and that’s what we love about them.
