Week 6 - Audio Signal Processing

Applying the compression effect to the audio piece caused a reduce dynamic range, producing consistent volume levels and increasing perceived loudness.

Compression is particularly effective for voice-overs, because it helps the speaker stand out over musical soundtracks and background audio.

Some info I found on helping remember what each setting does:

Standard settings

Amount  
Controls the level of compression.

Advanced settings

Threshold  
Sets the input level at which compression begins. The best setting depends on audio content and style. To compress only extreme peaks and retain more dynamic range, try thresholds around 5 dB below the peak input level. To highly compress audio and greatly reduce dynamic range, try settings around 15 dB below the peak input level.
Ratio  
Sets a compression ratio between 1‑to‑1 and 30‑to‑1. For example, a setting of 3 outputs 1 dB for every 3-dB increase above the threshold. Typical settings range from 2 to 5; higher settings produce the extremely compressed sound often heard in pop music.
Attack  
Determines how quickly compression starts after audio exceeds the Threshold setting. The default, 10 milliseconds, works well for a wide range of source material. Use faster settings only for audio with quick transients, such as percussion recordings.
Release  
Determines how quickly compression stops when audio drops below the Threshold setting. The default, 100 milliseconds, works well for a wide range of audio. Try faster settings for audio with fast transients, and slower settings for less percussive audio.
Output Gain  
Boosts or cuts amplitude after compression. Possible values range from ‑30 dB to +30 dB, where 0 is unity gain.


Ambient Sound and Reverb:

The 'reverb' you hear on records is sometimes the result of ambient miking techniques, rather than artificial reverb. Opening the doors of a studio and placing ambient mics in hallways or adjacent spaces, as described by producer Ben Hillier, seems to be a popular technique.