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Anglais > Français : Livre - techniques audionumériques, mixage audio - 342 pages
techniques audionumériques, mixage audio
342 pages (en format pdf)
délai souhaité : 2 mois serait l'idéal
Exemple du texte :
9.1 C ompression With Two Controls
A compressor is effectively a fader that you can program so that it wiggles around in real time. The beauty of it at mixdown is that you can combat undesirable signal-level variations that would otherwise prevent an instrument from maintaining its position in the balance. In other words, a compressor can iron out some of those pesky fader instabilities that we met while performing the initial balance in Chapter 8.
To explain how a compressor can do its job, let’s take the example of a lead vocal recording where the singer mumbles some of the words. If you set your fader so that the majority of this vocal part is nicely audible in your mix, the lower-level mumbled words will start playing hide and seek. If, on the other hand, you fade the vocal up so that the mumbled syllables come though, then the rest of the vocal will eat Manhattan! The result is that no single fader setting will give you a good balance, because the difference between the vocal recording’s highest and lowest signal levels (the dynamic range) is too large. Compressors provide a solution to this problem by reducing dynamic range. In other words, compression reduces the level differences between the mumbled and unmumbled words in our hypothetical vocalist’s performance, making it easier for you to find a static fader setting that works for all of them. The way the processor does this is to turn down (or “compress”) the louder signals in a given audio recording so that they match the quieter signals more closely.
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