The manipulation of audio dynamics toward both technical and artistic goals in recorded music

Abstract

The musical dynamics of recorded sounds must be made to fit within the audio dynamic range of the recording and playback equipment. This constraint on dynamic range is presented track by track in the multitrack recording studio and at every stage of audio signal processing up to and including the end user’s system. Recorded orchestras must be made to sound good on clock radios. Audio compressors and limiters have been developed to help the recording engineer cope with this problem. Automatic, but careful, control of the signal gain during the course of music recording and playback is part of almost all music production styles, most notably pop music. In addition, these dynamics processors are used for purely aesthetic purposes. They shape the character, timbre, and emotional feel of a musical performance. These more innovative applications of compression become part of the music, creating effects that range from subtle to conspicuous. This paper reviews many compression techniques used in the production of recorded music and describes their technical and creative goals.