don’t you think that 10 milliseconds is too short for a maximum attack value? I would like to be able to reach at least 50 milliseconds… strangely enough, this is possible with Bus Compressor
I don’t know the stuff about compressors that make me justify this, but:
the attack time of a compressor is useful to define how the compressor should react to a “transient”, id est: an abrupt change of volume.
when the attack time is too fast, there are chances that very dynamic music tends to be flattened because the compressor reacts too suddenly to the change. this may of course be intended to avoid clipping, but may ruin the dynamic of a song. I think that the range of attack time in Renoise’s compressor is a bit too strict.
Well, you also have the Bus Compressor with a max of 1000 msecs…
Yah I know this much… but I thought perhaps there was a techy reason for the 10ms attack on the compressor.
Can you actually use the Compressor to avoid clipping? When I’ve tried, even with the shortest possible attack (0.001 ms, which is less than a single sample), it still seems to let through loads of transients. Fortunately the Maximiser works perfectly in this situation.
then yo should probably trying lowering the threshold and also hardening the knee, but if you cannot avoid clipping then there is probably something to be changed in your mix rather than trying to operate after it
Actually now I think about it, the problem was the release – if the release is set too short, the loud sounds seem to get through. It’s like the compressor releases without checking if the released sound would still be above the threshold. Maybe this is standard behaviour for a compressor.
why not simply use the bus compressor then?
I don’t understand why the choose of a compressor should be made basing on the attack time, unless “bus compressor” means “a compressor with slower attack”, which I don’t think it is true.
no dispute intended, I’m just asking
Interesting point, not sure what the answer is here. I know when using metered VST comps (like t-racks opto for example) you an see the comp kicking in again before the full release.
Come to think of it considering how long a release time you can set on a lot of comps it would be slightly bizarre to have to wait for the full release before it triggers again.
Just as a side note It-alien I think in a lot of cases the bus compressor is superior (i.e. smoother) than the standard one. Though I don`t see why the standard should not be made more flexible…
He said he still gets transients when the release is too short, not long, so that is opposite to your argument there.
I see what your saying, and now what the problem is. The material will remain more transient with faster release but if the ratio is high enough (as a limiter) and the output of the comp is set to correct level clipping still shouldn
t occur. (which was mmrns problem at the beginning)
Please correct if I am wrong, I`m interested
This would be my expectation too. I assumed that setting a limiting ratio and very fast attack and release times would operate like a brick-wall mastering limiter, without allowing any transients through at any point, but it doesn’t. With the shortest possible release time there is no discernable compression whatsoever, whereas it starts to work “as expected” with a release time of about 5 ms and up (but still with the odd transient allowed through).
As I said, the Maximiser does exactly what I want so this isn’t a problem, just a curiosity. The Compressor works fine for fattening drums or reducing dynamic range of a part, just not for reclaiming those last 3dB at the mastering stage.