Dynamic range compression in the context of Sound engineer

Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain, producing a "fuzzy", "growling", or "gritty" tone. Distortion is most commonly used with the electric guitar, but may be used with other instruments, such as electric bass, electric piano, synthesizer, and Hammond organ. Guitarists playing electric blues originally obtained an overdriven sound by turning up their vacuum tube-powered guitar amplifiers to high volumes, which caused the signal to distort. Other ways to produce distortion have been developed since the 1960s, such as distortion effect pedals. The growling tone of a distorted electric guitar is a key part of many genres, including blues and many rock music genres, notably hard rock, punk rock, hardcore punk, acid rock, grunge and heavy metal music, while the use of distorted bass has been essential in a genre of hip hop music and alternative hip hop known as "SoundCloud rap".

The effects alter the instrument sound by clipping the signal (pushing it past its maximum, which shears off the peaks and troughs of the signal waves), adding sustain and harmonic and inharmonic overtones and leading to a compressed sound that is often described as "warm" and "dirty", depending on the type and intensity of distortion used. The terms distortion and overdrive are often used interchangeably; where a distinction is made, distortion is a more extreme version of the effect than overdrive. Fuzz is a particular form of extreme distortion originally created by guitarists using faulty equipment (such as a misaligned valve (tube); see below), which has been emulated since the 1960s by a number of "fuzzbox" effects pedals.

An audio engineer (also known as a sound engineer or recording engineer) helps to produce a recording or a live performance, balancing and adjusting sound sources using equalization, dynamics processing and audio effects, mixing, reproduction, and reinforcement of sound. Audio engineers work on the "technical aspect of recording—the placing of microphones, pre-amp knobs, the setting of levels. The physical recording of any project is done by an engineer…"

Sound engineering is increasingly viewed as a creative profession and art form, where musical instruments and technology are used to produce sound for film, radio, television, music and video games. Audio engineers also set up, sound check, and do live sound mixing using a mixing console and a sound reinforcement system for music concerts, theatre, sports games, and corporate events.

An effects unit, effects processor, or effects pedal is an electronic device that alters the sound of a musical instrument or other audio source through audio signal processing.

Common effects include distortion/overdrive, often used with electric guitar in electric blues and rock music; dynamic effects such as volume pedals and compressors, which affect loudness; filters such as wah-wah pedals and graphic equalizers, which modify frequency ranges; modulation effects, such as chorus, flangers and phasers; pitch effects such as pitch shifters; and time effects, such as reverb and delay, which create echoing sounds and emulate the sound of different spaces.

Audio mixing is the process by which multiple sounds are combined into one or more audio channels. In the process, a source's volume level, frequency content, dynamics, and panoramic position are manipulated or enhanced. This practical, aesthetic, or otherwise creative treatment is done in order to produce a finished version that is appealing to listeners.

Audio mixing is practiced for music, film, television and live sound. The process is generally carried out by a mixing engineer operating a mixing console or digital audio workstation.

Dynamic range (abbreviated DR, DNR, or DYR) is the ratio between the largest and smallest measurable values of a specific quantity. It is often used in the context of signals, like sound and light. It is measured either as a ratio or as a base-10 (decibel) or base-2 (doublings, bits or stops) logarithmic value of the ratio between the largest and smallest signal values.

Electronically reproduced audio and video is often processed to fit the original material with a wide dynamic range into a narrower recorded dynamic range for easier storage and reproduction. This process is called dynamic range compression.

In sound recording and reproduction, audio mixing is the process of optimizing and combining multitrack recordings into a final mono, stereo or surround sound product. In the process of combining the separate tracks, their relative levels are adjusted and balanced and various processes such as equalization and compression are commonly applied to individual tracks, groups of tracks, and the overall mix. In stereo and surround sound mixing, the placement of the tracks within the stereo (or surround) field are adjusted and balanced. Audio mixing techniques and approaches vary widely and have a significant influence on the final product.

Audio mixing techniques largely depend on music genres and the quality of sound recordings involved. The process is generally carried out by a mixing engineer, though sometimes the record producer or recording artist may assist. After mixing, a mastering engineer prepares the final product for production.

Mastering is a form of audio post production which is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device called a master recording, the source from which all copies will be produced (via methods such as pressing, duplication or replication). In recent years, digital masters have become usual, although analog masters—such as audio tapes—are still being used by the manufacturing industry, particularly by a few engineers who specialize in analog mastering.

Mastering requires critical listening; however, software tools exist to facilitate the process. Results depend upon the intent of the engineer, their skills, the accuracy of the speaker monitors, and the listening environment. Mastering engineers often apply equalization and dynamic range compression in order to optimize sound translation on all playback systems. It is standard practice to make a copy of a master recording—known as a safety copy—in case the master is lost, damaged or stolen.

In telecommunications and signal processing, companding (occasionally called compansion) is a method of mitigating the detrimental effects of a channel with limited dynamic range. The name is a portmanteau of the words compressing and expanding, which are the functions of a compander at the transmitting and receiving ends, respectively. The use of companding allows signals with a large dynamic range to be transmitted over facilities that have a smaller dynamic range capability. Companding is employed in telephony and other audio applications such as professional wireless microphones and analog recording.

Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain, producing a "fuzzy", "growling", or "gritty" tone. Distortion is most commonly used with the electric guitar, but may be used with other instruments, such as electric bass, electric piano, synthesizer, and Hammond organ. Guitarists playing electric blues originally obtained an overdriven sound by turning up their vacuum tube-powered guitar amplifiers to high volumes, which caused the signal to distort. Other ways to produce distortion have been developed since the 1960s, such as distortion effect pedals. The growling tone of a distorted electric guitar is a key part of many genres, including blues and many rock music genres, notably hard rock, punk rock, hardcore punk, acid rock, grunge and heavy metal music, while the use of distorted bass has been essential in a genre of hip hop music and alternative hip hop known as "SoundCloud rap".

The effects alter the instrument sound by clipping the signal (pushing it past its maximum, which shears off the peaks and troughs of the signal waves), adding sustain and harmonic and inharmonic overtones, leading to a compressed sound that is often described as "warm" and "dirty", depending on the type and intensity of distortion used. The terms distortion and overdrive are often used interchangeably; where a distinction is made, distortion is a more extreme version of the effect than overdrive. Fuzz is a particular form of extreme distortion originally created by guitarists using faulty equipment, such as a misaligned valve (tube), which has been emulated since the 1960s by a number of "fuzzbox" effects pedals.

The Empirical Labs EL8 Distressor Compressor/Limiter is an audio compression unit designed by Dave Derr and first sold in 1995. The name is a portmanteau of distortion and compressor.

The Distressor was inducted into the TECnology Hall of Fame in 2016 and has sold an estimated 40,000 units. Universal Audio, Slate Digital, and Softube all make software emulations of the Distressor.

In electronics, a limiter is a circuit that allows signals below a specified input power or level to pass unaffected while attenuating (lowering) the peaks of stronger signals that exceed this threshold. Limiting is a type of dynamic range compression. Clipping is an extreme version of limiting.

Limiting is any process by which the amplitude of a signal is prevented from exceeding a predetermined value.