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Compressor the same as Limiting?

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Would this pedal do the same thing as the Hard Limiting function in Adobe Audition?

Hard Limiting is basically...

You put in an input level (say, -15) and it limits the maximum level to -15. Would this do the same thing?


Thanks.

Travis. :)
 
I don't mean to hijack this thread, but this is sort of on topic:
I have a Digitech BP80 and in the compresor settings it has a frequency setting where everything below and up to that Q gets compressed, everything above it is left alone. Why would someone want to compress only part of their signal? Anybody have a musically beneficial reasons for this?
 
Never_grew_up said:
I don't mean to hijack this thread, but this is sort of on topic:
I have a Digitech BP80 and in the compresor settings it has a frequency setting where everything below and up to that Q gets compressed, everything above it is left alone. Why would someone want to compress only part of their signal? Anybody have a musically beneficial reasons for this?

This setting determines the frequency threshold at which the compressor will "activate". If you have a low threshold then nearly all of the signal will be compressed. This results in a punchier tone because your signal is smaller. If you have a high threshold then the High frequencies will be compressed and will result in more BUB BUB of the lower frequencies.
 
Kickin'Fruit said:
This setting determines the frequency threshold at which the compressor will "activate". If you have a low threshold then nearly all of the signal will be compressed. This results in a punchier tone because your signal is smaller. If you have a high threshold then the High frequencies will be compressed and will result in more BUB BUB of the lower frequencies.


Compressors work on the amplitude of the wav form, not it's frequency. A "soft knee" compression compresses the wav more gradually while a "hard knee" compresses just at the extremes of the wav and comes on more "sudden". An extreme "hard knee" setting is like a Limiter.
 
When frequency comes into the picture is when the comp contains a crossover (as it sounds like NGU's comp does). The comp will apply compression in different amounts (or not at all) to each channel of the crossover, depending on the settings you choose. The main benefits of multi-band compression are:

There can be very strong low freq spikes which we don't "hear" as a high volume level. With normal full-range compression, a large spike in the low frequencies will trigger heavy compression, and the rest of your tone will get sucked down with it. Notes can seem to "disappear" in the mix that way. Compressing the lows more than the highs fixes that problem.

Most of the mwah of a fretless and the bite of a slapped fret (for example) are in the higher frequencies. Compressing the highs more can give you more sustain from a fretless, or allow you to really spank your fretted, without exaggerating the rest of your tone.

OTOH, some people feel that the audible artifacts that come with most crossovers are not worth the benefits described. Also, most of the problems and/or benefits described can be regulated or achieved with good playing technique.
 
jonly said:
my understanding is that they are different. if I was 6 feet tall and needed to walk through a 5 foot doorway, my understanding is that a limiter would cut off my head, and a compressor would make a 5 foot version of me.

This is very funny and true! With a limiter, once you get to a pre-dtermined threshold of loudness, the limiter prevents the signal from getting any louder. This great to prevent damge to your amp/speakers but the extreme dynamic element of your insurument is lost. (Example: really loud and loud sound the same).

The compressor allows the signal to pass this loudness threhold but will control the level...with certain conditions. These condition are the paramters of the compressor which are addressed in many other threads on TalkBass.