Adobe Audition and Compression

[feverpa]

Colin,

I use Audition for my work, and I usually don't do much to my audio. I've recently started doing EQ after I record to brighten up what I think is a slightly muddy or dark sound to my mic.

I've never even considered any compression, nor knew that it was really possible with Audition. It's usually done on the way IN with most microphones, but my USB goes straight in, so I've never considered it.

Tonight, in playing around, looking through help files, etc - I discovered how to do compression in Audition.

Are there presettings you recommend I try to start things out. I'm not familiar with the various "dos and don'ts" of compression - what's too much - too little.

I would like to learn how to do some of that to my audio to give it more of that "in your face" quality that was discussed in a different thread.

any guidance on settings to use would be great - are there good presets in Audition?

Thanks.

Kevin

[Jacoby]

AY, this is a hard subject to give any general directions on. It depends on many factors like levels (obviously), background noise in the recording environment, the reading style (soft read, dramatic read...) but most importantly, what the client wants. Some clients hate when the voice artists mess with post processing. So carefully consider if it's really something you want to do. Personally I do some processing for certain clients, mostly radio commercials, but for anything else I don't do anything.

Presets will only get you half way there, you always have to adjust for the actual circumstances anyway, i.e. making your own presets.

[Colin Campbell]

I like the "Tube Modeled Compressor" in Audition. As Jacob says, it depends on the situation but I start with the "Comp Light" or "Comp Medium" and tweak them a bit. A guy I work with likes the "For The Ladies" preset.

I only compress produced pieces, not dry voice.

You really have to use and trust your ears. The main parameters to concern yourself with are ratio and threshold. Threshold is the level above which the audio will be compressed. So if the threshold is -10, everything above -10 db will be compressed. Then ratio means how much... 2 to 1, 5 to 1 etc. Since the resulting audio is not overall as loud as the original after compression, you have "makup gain." I think Audition's compressors just call it gain. I find that many times Audition's make up gain is too high or low and I often vary it from their preset level.

Hope this helps.

[Paul Plack]

Kevin, there are two questions here. Learning when and how to use a compressor is a topic that would literally fill library shelves.

As for the plug-ins that come with CoolEdit/Audition, they have their uses, and have a theoretical advantage over outboard hardware processing in that they can "look ahead in time" to avoid some artifacts, but I've never been as pleased with the results as I have with good outboard gear.

If the compressor plug-in "pumps" too much at settings needed to get the effect you want, try the "Hard Limiting" instead. It is a combination limiter and ALC, not a brick-wall clipper, but it's sometimes a better tool to get average loudness up or "cut through" without obvious compressor artifacts.

Be aware it has a bug which has been there at least a decade, which leaves occasional short sections at levels below the overall program. Always listen back carefully to the outcome if you use it.

[feverpa]

Thanks for the answers guys. All great information.

I've been in and around radio for about 15 years, and I've got a great ear - but that doesn't mean I know diddly about all this stuff. I've been able to pick out differences and qualities in different mics I've used over the years, in different studios, at different stations, using different processing. But I've never known anything about what was going on "behind the scenes." I always sat at the mic and opened my mouth - period - never tinkering with processing, reverb, EQ, limiting, or anything like that.

This is a subject that I would love to dive into more, get to understand how processing, limiting, etc all works - when to use it and when to NOT use it - how to know the right way to tinker - etc.

It's tough to find time to "study" another subject on top of a full-time job, a family, a side voice-over career, and other committments, but I think this is a mid-term goal for me. To become more proficient in this area - become more tech oriented when it comes to mics, processors, etc.

Thanks again guys!

[Colin Campbell]

Ignore the product specific notes and read this....

http://www.symetrixaudio.com/repository/528E_ug.pdf

[Mike Sommer]

Though I prefer to do all my processing with outboard gear, I have from time to time used plugins.

I always apply modest compression to my vocal. A good start is: Ratio 2:1 with Threshold about -21Dbu hard Knee, Attack 0.1 ms, Release 100ms. Use your "makeup Gain" as needed. From this point you can adjust your ratio and Threshold until it sounds good to you.

You should apply Rolloff/EQ to prevent pumping and make any other EQ adjustments before going into compression NOT AFTER or dynamics will get all screwed up.

Realize that even at 2:1 the noise floor will seem to go up, but actually it didn't it was always there.

[Colin Campbell]

Multi-band compression will help with "pumping" as well.

[LuisAcevedo]

Hi Colin...My name is Luis...Hey, do you use the 528e? I just bought it and I am very happy with it. I have read some of your posts and it seems like you are an open book with great information. Can I pick your brain? Let me tell you my gear chain and you tell me if you would do anything different. I have a RodeNT1A mic, into the 528e wich goes into my breakout box Emu1616m, then the Emu goes into my pc via the Emu sound card. My pc is an intel core2 duo. I also have a Behringer Xenix 1204 mixer and I have my monitors (M-Audio BX5a) hooked to it for volume control only.

Any thoughts? feel free to email me at acevedo.luis@hotmail.com thank you in advance...

[Colin Campbell]

Sounds like a good setup to me. I have two 528e's. I plan on (someday when I have money) putting a dynamic mic on the second one to compliment my condenser. Everything is laid in (mic boom, cables, etc.) I just need now to afford the mic. I have a second condenser on it now, but since it's not quite as good to my ear as my main condenser I tend to ignore it. (Main mic... Shure KSM32, not quite as good... Shure KSM27.) I'd like to get an SM7b someday for the other 528e.