• Dynamics processors: Introduction

    It not uncommon to have the need to control the volume (dynamics) of a signal in an automated way.

    We may be trying to avoid too high a level that will clip an amplifier or deafen the audience or send a speaker cone excursing to hyperspace. Or we may just want to regain control on the voice of a singer that will alternate shouting and whispering. Sometimes we will want to avoid background noise when no signal is present.

    To perform all those functions, dynamics processors come to our aid. These are commonly used in live sound reinforcement as well as multi-track recording, while they are not used as often for pre-recorded sound, which is assumed to have canned controlled dynamics. These days more and more mixing is performed with digital mixers, which often integrate dynamics processing, so there is more dynamics processing taking place routinely than ever before.

    1. Defining dynamics processing

    The concept of a dynamics processor is really not that different from that of a person changing the volume by moving a mixer fader. For instance, if we have a singer that starts singing too loud or getting too close to the microphone, we will reduce the volume on that voice's channel. In that case we are proving compression. When the singer is not singing, we may move the fader all the way down to avoid background noise leaking into the main outputs, thereby acting as a noise gate. There is basically a process whereby someone is listening to the volume changes of a signal and taking the decision of whether the volume needs to be changed or not. The graph below illustrates the process : the auditory system detects the volume changes, and the brain commands the hand to bring the fader up or down as a function of the signal volume.

    This human dynamics processor has its limitations. It can only control one channel, it is slow, and its actions are not repeatable. We might want to use a robot with an articulated arm that would ride a mixer's faders. In practice, though, we choose an electronic device that performs an equivalent function. The electronic version is not very different from a philosophic point of view, though it does away with its limitations.

    As shown below, the input to a dynamics processor is split into two. One of these signal copies will be processed by a gain changing element, which will typically be a voltage controlled amplifier (VCA) or a digital equivalent. The other copy goes to a detection circuit that rides the VCA. For the volume changes to be smooth, an envelope generator is used to ramp volume changes and thus avoid abrupt audible changes. The slope and shape of the ramp can be modified, as we will see later. Often we can choose to feed the detector with the input signal or, alternatively, an external signal which is referred to as the "Side Chain" or "Key" signal.

    One of the side effects of using analog volume control elements (VCAs) to process the signal is noise. The quietest VCAs tend to be expensive, and therefore only included in highly professional equipment. As well as a good VCA, a quality dynamics processor also needs a good detection stage, which is by no means easy to design. Which would explain why only a handful of brands on both side of the Atlantic enjoy a reputation for quality dynamics processors and are used for serious sound reinforcement. A good dynamics processor should make it easy to control dynamics transparently, avoiding any kind of audible undesired "pumping" and "breathing" effects. Newer digital units, often built into digital mixers, do not suffer from noise problems, though quality dynamics processing algorithms are not easy to come by, and therefore it will probably be unrealistic to expect quality compression or gating from inexpensive digital products.

    2. Types

    The more commonly used dynamics processors are :

    • A compressor / limiter attenuates or limits signals exceeding a pre-defined signal level. There exists an special version of a compressor/limiter called "de-esser", which tames excessive levels of the portion of the frequency spectrum where sibilance occurs.
      A limiter is only a form of compressor.
    • A noise gate mutes or attenuates signals below a pre-defined signal level. If it allows the selection of the attenuation level (as opposed to just providing total attenuation, i.e. muting), it is referred to as a "downward expander".

    There also exists the "true expander", though in practice there are no commercial devices that perform true expansion, which would entail amplifying signals above a specified level and attenuating those below it, therefore expanding the dynamics of a signal.

    We could also speak of digital (those that process a digitized signal) and analog devices. In reality, (good) digital devices can work like their analog counterparts, though normally one uses their processing power to increase manipulation possibilities. For instance, for recording and other non-real time applications, we could compress a signal using a "look-ahead" buffer to make compression/limiting decisions based on what is still to come, so that, for instance, we could start compressing a peak before it exceeds the threshold, avoiding the transient overshoot that would occur on an analog compressor and doing so in an inaudible way.

    3. Controls

    Different dynamics processors will provide differing sets of controls and indicators. In general, the controls we will find on dedicated units (built-in ones may obviate some of the controls) are:

    • Threshold. When the signal goes above or below this level, the processing starts.
    • Attack time. It's the time it takes for the signal to get attenuated/limited/muted/amplified. In general, low attack times work better with low frequency signals and, conversely, faster attack times do a better job with high frequency signals. When processing a full range signal, attack times are generally based on the lowest frequencies present in the signal. Some models may force a minimum attack time to avoid distortion in full range signals.
    • Release time. It's the opposite of attack time, i.e., the time it takes for the signal to go from a processed state to not being processed. Release times are normally longer than attack times.
    • Hold time. Specifies the minimum time that a compressor or gate will process the signal for.
    • Ratio. Defines the amount of attenuation or gain that will be applied to the signal. On noise gates, it may be pre-set so that it is just a muting effect.
    • Stereo Link. Used to process a stereo signal such that both channels are always processed at the same time, even if one of them has not triggered the processing. This avoids confusing image shifts from the center to one of the sides when only one of the channels is being compressed or gated.
    • Automatic. It is becoming more and more common to control some of the parameters defined above (typically attack and release times) automatically based on the signal characteristics. If available, this control activates or deactivates that feature.
    • Bypass. Allows comparing of the original versus the processed signal.

    4. Meters and indicators

    The most common visual indicators provided on dynamics processors are given below. You may not always find them, or you may get additional ones:

    • Gain or attenuation meter. It is normally implemented as a row of LEDs and indicates the amount of attenuation or gain being applied, to visually judge whether we are over processing or not processing at all. On noise gates we will normally only find an activation light.
    • Activation LED. Shows when processing is taking place.

    Related reading »» Compressors-limiters, Noise gates
  • Ad

  • News

    inMusic acquires ArKaos

    Fort Lauderdale, FL USA (October 27, 2020) inMusic, the has announced the acquisition of ArKaos.

    Founded in 1996, ArKaos specializes in video processing technologies,... Read more

    Meyer Sound launches Spacemap Go, a tool for spatial sound design and mixing

    Meyer Sound has officially released Spacemap® Go for spatial sound design and mixing. Available now as a free app for Apple iPad (any iPad capable of running the latest iPadOS), Spacemap... Read more

    Bose unveils L1 Pro family

    These three new portable Bose PA systems are designed to give artists choices, suit different styles and audiences, and provide an solution for creators reintroducing live music and sound experiences into venues and online platforms across... Read more

    ClearOne BMA 360 beamforming microphone array ceiling tile

    ClearOne (NASDAQ:CLRO), provider of audio and visual communication solutions, has announced its new BMA 360, reportedly the world’s most technologically advanced Beamforming Microphone Array Ceiling Tile.

    The ClearOne BMA 360 is the world’s first truly wideband,... Read more
  • Recent articles

    Power amplifier modes : stereo, parallel and bridge mono

    In general, two-channel power amplifiers for professional use default to stereo mode. That is, each amplifier channel receives a signal from its input connector and its volume is controlled by... Read more

    Basic electricity formulas

    Although it not specific to sound, we include this document with some basic electricity formulas. They can be found in any electricity textbook, but we have added them to the DoPA Library for reference.

    Ohm's law

    The most basic formulas derive from Ohm's law, which specifies that the electric current between two points is proportional to the potential difference (voltage) between them and inversely proportional to the resistance between them. The formula is:
    I = ———

    where I is the current (intensity) in amps and V is the voltage in volts. Since we use alternating current in audio, we have replaced resistance with impedance (Z, and this could also be resistance R), measured in ohms. Clearing Z and V we have these other two formulas:

    Z = ———
    ... Read more

    Y-cables, looping audio signals through

    This article will explain loop-though connections and "y-cables" for analog audio signals.

    To obtain one or more copies of a signal (for example, to distribute the signal from a mixer to various self-powered speakers or power amplifiers) we use parallel connections. To do this we simply connect each terminal (pin) of the connectors in parallel. That is, 1 to 1, 2 to 2 and 3 to 3 (or tip to tip, ring to ring and sleeve to sleeve in a TRS connector). When we split a signal in two in this way, we refer to a "Y-cable" or "Y" connection, since the division of a signal in two looks like letter "y". Contrary to what it may seem, a y-cable is not a technically incorrect solution, but a correct way of splitting the audio signal. In fact, when a self-powered loudspeaker system or one channel of... Read more
  • PAcalculate app