Sonnox Oxford Dynamics - Manual (Page 15)

4.6 General
Programme
Compression 4 COMPRESSOR
4.6.2 ‘Overall
Compression’
Approach
This concept advocates that a more transparent sounding compression can be achieved
if a relatively large portion of the programme level range is under continuous compression.
The rationale here is that the rate of change disturbances are minimised because the
compressor spends less time going over the onset of compression transition range. But
the downside is that peak loudness is less well controlled, therefore quite heavy additional
peak limiting is sometimes required to tailor the performance into an overall mix.
The above graph illustrates this general approach. The threshold is set to around –30 dBr
and the ratio is set to 2:1; the level loss has been compensated manually by the make-up
gain control. In this case we can see that quiet parts of the programme output below –30
dBr are boosted by 15 dB. The most prominent 30 dB range of the programme is
represented by only a 15 dB dynamic range, whilst still maintaining a good representation
of the dynamic information in the performance.
This approach can significantly improve the loudness of programme material over a wider
range, where maintaining a decent dynamic range in the output is an important feature.
Therefore this approach works well for the compression of classical, choral and solo
instrumental work.
4.6.3 Combined
Approach
From the above discussion we can see that the digital compressor, with its sonically
transparent gain control process and very accurate level control, allows very effective
influence over a wide dynamic range of programme material, without incurring some of
the problems associated with analogue units. The range of control provided by the Oxford
Compressor allows the construction of many possible combinations and variations of the
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