PreSonus AudioBox 44VSL - Manual (Page 55)

51
Owner’s Manual
Ov
er
view
Hook
up
Connec
ting
to
a
Comput
er
Tut
orials
Technical Informa
tion
Tr
oubleshooting and
W
arr
an
ty
Sof
tw
ar
e: V
irtual
StudioLiv
e
SL Remot
e,
and S
tudio O
ne Ar
tist
Tutorials 5
Tut
orials
5.2 A Brief Tutorial on Dynamics Processing
Virtual StudioLive (VSL) software is included with the AudioBox 22/44VSL.
Each channel in VSL includes a Fat Channel dynamics section. What follows is
an excerpt from a brief tutorial on dynamics processing written by PreSonus
president and founder Jim Odom. It is included to help you get the most out
of VSL and the Fat Channel. This tutorial will take you through the basics of
dynamics processing and will explain the various types of dynamics processors.
5.2.1 Common Questions Regarding Dynamics Processing
What is dynamic range?
Dynamic range can be defined as the ratio between the loudest possible audio
level and the lowest possible level. For example, if a processor states that the
maximum input level before distortion is +24 dBu, and the output noise floor
is -92 dBu, then the processor has a total dynamic range of 24 + 92 = 116 dB.
The average dynamic range of an orchestral performance can range from
-50 dBu to +10 dBu, on average. This equates to a 60 dB dynamic range.
Although 60 dB may not appear to be a large dynamic range, do the math,
and you’ll discover that +10 dBu is 1,000 times louder than -50 dBu!
Rock music, on the other hand, has a much smaller dynamic range:
typically -10 dBu to +10 dBu, or 20 dB. This makes mixing the various
signals of a rock performance together a much more tedious task.
Why do we need compression?
Consider the previous discussion: You are mixing a rock performance with an
average dynamic range of 20 dB. You wish to add an uncompressed vocal to the
mix. The average dynamic range of an uncompressed vocal is around 40 dB. In
other words, a vocal performance can go from -30 dBu to +10 dBu. The passages
that are +10 dBu and higher will be heard over the mix. However, the passages
that are at -30 dBu and below will never be heard over the roar of the rest of the
mix. A compressor can be used in this situation to reduce (compress) the dynamic
range of the vocal to around 10 dB. The vocal can now be placed at around +5
dBu. At this level, the dynamic range of the vocal is from 0 dBu to +10 dBu. The
lower level phrases will now be well above the lower level of the mix, and louder
phrases will not overpower the mix, allowing the vocal to “sit in the track.”
The same points can be made about any instrument in the mix. Each instrument
has its place, and a good compressor can assist the engineer in the overall blend.
Does every instrument need compression?
This question may lead many folks to say “absolutely not, overcompression is
horrible.” That statement can be qualified by defining overcompression. The term
itself must have been derived from the fact that you can hear the compressor
working. A well-designed and properly adjusted compressor should not be audible!
Therefore, the overcompressed sound is likely to be an improper adjustment on
a particular instrument—unless, of course, it is done intentionally for effect.
A Brief Tutorial on Dynamic Processing 5.2