Compressor max msp full#

This prevents a signal overload when the controls are set for punching.

LimEnabled: This message puts an absolute limit on the strength of the output signal.

This means that softer signals (where the ear is less sensitive to dynamic change) will not be as compressed as loud ones. Progressive release speeds up the release time on stronger inputs. Signals above this but below gating level will have a slow release. Signals below the freeze level will not trigger any amplification.

Release: The three messages gatingLevel, freezeLevel, and progressiveRelease make automatic adjustments to the release timer based on the input signal.

There are no attack and release controls because gating is normally applied to very quiet signals. When enabled, this applies downward expansion to any signal below the ngThreshold. To help prevent this, the omx.comp~ has a built-in noise gate. For instance, if you are recording a guitar amp, the compressor will emphasize the amp hum between notes.

NoiseGate: Noise gating is almost always necessary when you compress audio from the real world.

It will keep the voice from pushing down sustaining parts such as organ.

Compressor max msp full#

This will reduce the effect of vocals on the output level, useful if you are compressing a full mix. Sidechain: A Sidechain filter applies the inverse vocal EQ described in the next tutorial to the measurement circuit.Combined with a fast attack time, this will produce strong but very short drum kicks, perfect for hip hop. This will allow fast peaks through for an extra punchy sound. Delay: This message delays the application of the measurement to the amplifier control.SmoothGain controls the time of this envelope. To prevent this, an envelope (similar to line~) is applied to the control signal. SmoothGain: Since the level detector works in discrete steps, applying the level measurement directly to the gain control would result in stepped action or вЂњzipper noiseвЂќ.On 2 the right channel determines the action. If channelCoupling is set to 1, compression will follow the left channel. Normally, the amount of compression is determined by the stronger channel at any moment. Therefore equal compression is applied to both channels even if only one needs it. This will result in a movement of the sound image. If one channel triggers compression but the other does not, the relative levels of the channels will be changed. channelCoupling: Stereo signals naturally have different levels on each side.In addition to Threshold, ratio, Attack, and Release, the following messages are available: (Try them out in patcher C3mTweakingCompression.) Using these messages gives you unprecedented access to the inner workings of the object and let you adjust the behavior for a wide variety of sounds. Naturally, threshold and ratio strongly affect this effect.There are more messages used to control the omx.comp~ object than controls on many compressors. The delay control delays the signal to the level detector.

This effect can be achieved with a bit more subtlety using the delay parameter as found in the tweaks subpatcher. This kind of setting is known in the trade as вЂњpunchingвЂќ, and is often applied to kick drums to give a strong sense of beat without overwhelming the band. This will exaggerate the percussion effect.

When the sound level coming in increases faster than the compressor can respond, the internal gain will briefly be in the wrong mode, amplifying when it should be reducing. Why? At the start of the sound, the compressor is amplifying as much as it can because there's no signal. In fact, it will distort badly when the attack rate is too slow. You will hear even more pop in the sound. Now reduce the attack rate a bit (this is the same as increasing attack time). It seems that the compressor is somehow accentuating the percussive aspect of the tone.

Now listen carefully to the attack portion of the tones. Set the threshold to -10 and the compression ratio around 20:1.