An Investigation into the Sonic Signature of Three Classic Dynamic Range Compressors

Moore A, Till R, Wakefield J. An Investigation into the Sonic Signature of Three Classic Dynamic Range Compressors. In: AES Convention 140. Audio Engineering Society; 2016. Paper 9572. Available from: https://aes.org/publications/elibrary-page/?id=18270

@inproceedings{Moore2016_18270,
  author = {Moore, Austin and Till, Rupert and Wakefield, Jonathan},
  title = {{An Investigation into the Sonic Signature of Three Classic Dynamic Range Compressors}},
  booktitle = {AES Convention 140},
  note = {Paper 9572},
  year = {2016},
  month = may,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=18270}
}

TY  - CPAPER
TI  - An Investigation into the Sonic Signature of Three Classic Dynamic Range Compressors
AU  - Moore, Austin
AU  - Till, Rupert
AU  - Wakefield, Jonathan
T2  - AES Convention 140
M1  - Paper 9572
PY  - 2016
DA  - 2016/05/06
UR  - https://aes.org/publications/elibrary-page/?id=18270
PB  - Audio Engineering Society
LA  - en
AB  - Dynamic range compression (DRC) is a much-used process in music production. Traditionally the process was implemented in order to control the dynamic range of program material to minimize the potential of overloading recording devices. However, over time DRC became a process that was applied more as a creative effect and less as a preventative measure. In a professional recording environment it is not uncommon for engineers to have access to several different types of DRC unit, each with their own purportedly unique sonic signature. This paper investigates the differences between three popular vintage dynamic range compressors by conducting a number of measurements on the devices. The compressors were tested using: THD measurements, tone bursts, and objective analysis of music-based material using spectrum analysis and audio feature extraction.
ER  -