Yeah, I remember compression from the good old times it was used on DBX noise reduction for tapes (or High Com, for the Germans). So I do understand the principle.
But again, the parameters are:
The minimum parameter is ratio, right? So what’s the difference for that factor in different devices?
I rememember that DBX had a very noticable “breathing” effect, while High Com was almost free of that. But that was a bug, not a feature…
If I were to pick one minimum parameter it would be Threshold, as infinite ratio (i.e. limiting) is perfectly valid compression.
I think this was Dolby C… especially if you had a tape recorded with Dolby C and played it back without 
If I were looking for a pedal-based compressor, the (new) Cali is certainly worthwhile considering, but I’d opt for this one (though often a bit hard to find):
Dolby C came later and was just effective for higher frequencies, if I remember correctly.
DBX and High Com were full spectrum “companders”…
Ah, my memory does not suck!
“The use of separate pre-emphasizing “encoding curves” allows the overall compression to be much less than it would be on dbx, where it is always 2 to 1. For lower frequency signals, like a conversation, Dolby may apply no compression at all. In contrast, dbx would continue to compand these signals, in which case the tape hiss is also re-expanded on playback, continually varying as the volume changes”
This varying hiss as the volume changes is the dreaded “breathing” effect.
In hated it - and hated that a friend of mine that had a better High Com compander even more 
I clearly remember when everybody (and eventually/reluctantly me too) abandoned DBX and High Com for the inferior - but standard - Dolby C, so we could make mix tapes that our current-girl-of-interest could actually listen too…
Yeah and a fixed ratio, say 4:1 like the LA-2A, works fine for a bass. I always use 4:1 for the bass track and infinite for the master track.
Yup yup. Variable threshold is way more important than variable ratio.
sure
OK, I ignored alll complex stuff and got a cheap Klank VST for one good reason: the UI is big enough on my notebook display, so I can read the d@mn values on those little knobs ^^
The parameters are as expected
Mind you, I’m not a comprexpert, but I believe I’m correct in saying the following:
Typically I think of gain as input gain. It raises the signal before it goes through the compressor. You could adjust that with the “IN” knob in the upper left. You can adjust the post-processed level with the “Level” knob.
The typical recommendation I hear is to adjust the gain et al. settings to get the sound you want, and then adjust using the level knob (sometimes labeled as “makeup gain” ) to make up for the loss in volume induced by the compression. In other words, set it so the level is the same when the plugin is on and off.
And maybe EQ out any high frequency noise that has been made louder.
Will do - thanks!
If only I knew what to do with this (and why):
Attack is how soon it starts compressing the signal once the threshold is reached. Leaving space for the transient (pick/thumb attack) allows it to come through. A super fast attack on the other hand lessens the transient. If you have a looper, you can set it to keep playing notes and you can sweep the attack knob to find the spot where it sounds the way you want. Play around!
Release is how fast it stops compressing after the threshold is no longer reached. Again, you want to experiment. I believe the advice is to set it so that the compression meter has a chance to reset back to zero again before you play the next note.
I have a great article on compression bookmarked, but it’s on my other computer. I’ll edit this post in a few minutes to include it.
LINK:
I can’t tell you what to do with it, but I can tell you why.
Attack is how quickly the compressor kicks on after the signal exceeds the level. If the attack is set slow you get the full initial impact before the compressor squashes it, and if it’s fast you have less/none of the initial transient before the signal starts getting compressed.
Release is the opposite, how long the compressor holds on, so a longer release keeps sustain going longer.
I need values to enter, VAAAAAAAAAAALUES!!! ^^
“use your ears”
I’m sorry, I’m deaf and can not read what you’ve written
Yeah - that’s the stuff!
Well then you can’t tell the difference if you change the values anyhow!
Checkmate
I just want my girlfriend to stop complaining (she uses sign language to tell me I s#ck! ^^)
Your compressor settings aren’t gonna change that. Embrace it and be thankful you’ve got a very patient girlfriend. That’s what I’m doing. 
