Concept
Dynamic range compression
Related concepts (28)
Audio editing software
Audio editing software is any software or computer program which allows editing and generating of audio data. Audio editing software can be implemented completely or partly as a library, as a computer application, as a web application, or as a loadable kernel module. Wave editors are digital audio editors. There are many sources of software available to perform this function. Most can edit music, apply effects and filters, and adjust stereo channels.
Variable-gain amplifier
A variable-gain (VGA) or voltage-controlled amplifier (VCA) is an electronic amplifier that varies its gain depending on a control voltage (often abbreviated CV). VCAs have many applications, including audio level compression, synthesizers and amplitude modulation. A crude example is a typical inverting op-amp configuration with a light-dependent resistor (LDR) in the feedback loop. The gain of the amplifier then depends on the light falling on the LDR, which can be provided by an LED (an optocoupler).
Loudness war
The loudness war (or loudness race) is a trend of increasing audio levels in recorded music, which reduces audio fidelity and—according to many critics—listener enjoyment. Increasing loudness was first reported as early as the 1940s, with respect to mastering practices for 7-inch singles. The maximum peak level of analog recordings such as these is limited by varying specifications of electronic equipment along the chain from source to listener, including vinyl and Compact Cassette players.
Latency (audio)
Latency refers to a short period of delay (usually measured in milliseconds) between when an audio signal enters a system and when it emerges. Potential contributors to latency in an audio system include analog-to-digital conversion, buffering, digital signal processing, transmission time, digital-to-analog conversion and the speed of sound in the transmission medium. Latency can be a critical performance metric in professional audio including sound reinforcement systems, foldback systems (especially those using in-ear monitors) live radio and television.
Clipping (signal processing)
Clipping is a form of distortion that limits a signal once it exceeds a threshold. Clipping may occur when a signal is recorded by a sensor that has constraints on the range of data it can measure, it can occur when a signal is digitized, or it can occur any other time an analog or digital signal is transformed, particularly in the presence of gain or overshoot and undershoot. Clipping may be described as hard, in cases where the signal is strictly limited at the threshold, producing a flat cutoff; or it may be described as soft, in cases where the clipped signal continues to follow the original at a reduced gain.
Sonic artifact
In sound and music production, sonic artifact, or simply artifact, refers to sonic material that is accidental or unwanted, resulting from the editing or manipulation of a sound. Because there are always technical restrictions in the way a sound can be recorded (in the case of acoustic sounds) or designed (in the case of synthesised or processed sounds), sonic errors often occur. These errors are termed artifacts (or sound/sonic artifacts), and may be pleasing or displeasing.
Wall of Sound
The Wall of Sound (also called the Spector Sound) is a music production formula developed by American record producer Phil Spector at Gold Star Studios, in the 1960s, with assistance from engineer Larry Levine and the conglomerate of session musicians later known as "the Wrecking Crew". The intention was to exploit the possibilities of studio recording to create an unusually dense orchestral aesthetic that came across well through radios and jukeboxes of the era.
Loudness
In acoustics, loudness is the subjective perception of sound pressure. More formally, it is defined as the "attribute of auditory sensation in terms of which sounds can be ordered on a scale extending from quiet to loud". The relation of physical attributes of sound to perceived loudness consists of physical, physiological and psychological components. The study of apparent loudness is included in the topic of psychoacoustics and employs methods of psychophysics.