Difference in Compressors?

[.onelove.]

So I'm still learning the basics of compression and limiting, experimenting and whatnot.

But I've noticed there's a wide range of Compressors available, and wondered what actual differences there are between them? Are there more options available or do even the basic functions differ in impact from model to model?

At the moment I'm just using the Fruity Limiter, but I don't know whether to carry on with it until I'm more competent in basic production, or spend my time on a more recommended compressor....

[mks]

The big one is whether the compressor is transparent or if it colors the sound.

Another thing to think about are options like side chaining.

You will hear differences between different compressors.

[Ldizzy]

The big one is whether the compressor is transparent or if it colors the sound.

poetry .. that has to be the best answer to ur question.. seriously.

different types of compressors that tend to be emulated at the moment... : http://www.focusrite.com/answerbase/en/ ... php?id=176

a lot of them are enlisted there : http://www.gearslutz.com/board/geekslut ... -opto.html

.... but the sonic character isnt detailed in that thread... so i guess you're gonna have to do a little research ... i did and i thought it was pretty interesting... cant say i have enough knowledge to do a detailed post...

still thought it could give u some material to work with..

[safeandsound]

Yes good call, character.

Whilst compressors tend to do a similar thing, arrest the peaks in a signal in accordance with
time constants that have been pre-determined by the user, no 2 units (or software) sound quite the same as each other
for any given set of settings.

A few reasons for this:

1)Signal path of the device, circuit topology such as Class A, AB, B, solid state, discrete, opamps, valve/tube based.
2)Gain reduction element, optical, VCA, Vari Mu, FET, transconductance amplifier, diode.
3)Time constants are sometimes linked with other parameters such as, each other i.e. attack and release dependent on each other.
4)GR metering not actually accurately reflecting amount of compression the ear might be hearing.
5)Transformers in signal path or not.
6)The way the stereo linking circuit is driven.
7)The way the compresssor uses side chain signals.

Thats why they are a little complicated to learn and a source of constant debate and conversations for musicians, producers and engineers !

[Depone]

Yes good call, character.

Whilst compressors tend to do a similar thing, arrest the peaks in a signal in accordance with
time constants that have been pre-determined by the user, no 2 units (or software) sound quite the same as each other
for any given set of settings.

A few reasons for this:

1)Signal path of the device, circuit topology such as Class A, AB, B, solid state, discrete, opamps, valve/tube based.
2)Gain reduction element, optical, VCA, Vari Mu, FET, transconductance amplifier, diode.
3)Time constants are sometimes linked with other parameters such as, each other i.e. attack and release dependent on each other.
4)GR metering not actually accurately reflecting amount of compression the ear might be hearing.
5)Transformers in signal path or not.
6)The way the stereo linking circuit is driven.
7)The way the compresssor uses side chain signals.

Thats why they are a little complicated to learn and a source of constant debate and conversations for musicians, producers and engineers !

Also threshold curves

[Sharmaji]

some good answers here. some extremely broad and not-always-right summaries:

opto (ie, LA2A): slow and smooth... unless you hit it hard, at which point it can get "pop"-y

FET (ie, 1176)-- relatively fast; can absolutely obliterate transients.

VCA (ie, DBX 160a)-- SMACK. fantastic on drums; can get "pumpy" on slower material... which can be good or bad.

dBX is also great for their "over-easy" circuits-- the compressor circuit starts to react when the signal gets "near" the threshold, resulting in smoother (or heavier) compression.

lots of sonic properties come from the makeup gain circuits as well-- ie, the chandler germanium's germanium circuit puts lots of nice harmonic distortion on material; the api amp in the api 2500 gives clean, punchy gain; the distressor's input and makeup gains are extremely clean, making it so that you can really hear-- and "feed"-- the compressor's circuit, and really be in control of what's happening.

[safeandsound]

And of course peak or RMS detection circuit (often switchable)