PRESONUS ADL700 [18/32] Tutorial

3.0 Tutorial

3.1 A Brief Tutorial on Dynamics Processing

ADL 700 includes a custom FET Compressor. 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 your ADL

700. This tutorial will take you through the basics of dynamics processing.

3.1.1 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 noise ﬂoor. 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.

3.0 Tutorial

3.1 A Brief Tutorial on Dynamics Processing

ADL 700

Owner’s Manual