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1. TKARR

We begin our training with compression: a confusing topic for guitarists as performers and as engineers who want to professionalize their recordings. Compression has five basic parameters: Threshold, Knee, Attack, Ratio and Release, or TKARR. I’ll explain it metaphorically, as if you were at a major event, say the Grammys, and you just won. You’ve condensed a lifetime of “I’d like to say thank you” into 15 seconds, and an anonymous beauty in a prom dress whisked you off the stage.

2. Threshold

The next thing you’re asked to do is go backstage, through the giant ballroom (where a band is playing and people are partying) and into the press room for post-victory photos and interviews . You walk down the long corridor to the door of the ballroom, where a burly 6’8″ porter stands behind velvet ropes. The porter is the threshold and the velvet ropes are the knee.

3. Knee

In order for you to enter the ballroom, the doorman must let you in. When you get to the door, he takes his hands off the strings (hard knee), crosses his arms, looks at you coldly and says, “What are they doing here? This is only for Grammy winners.” Oh! He doesn’t recognize you. He only listens to Siberian reggae bands. high threshold So high you can’t pass. Conversely, if, as you approach, he gently unstrings the strings (soft knee), says “I’m a big fan” and moves on without you having to break stride, you’ve crossed the threshold and are now in the room of dance This is a well-established threshold, allowing entry only to those who are authorized. Or maybe, when you get to the hall entrance, you notice that the porter has passed out, the ropes have long been knocked down (no knees), and anyone can enter. low threshold

4. Attack

As soon as you enter the ballroom, within a millisecond, a waiter approaches you: “Champagne? The press room is on the other side of the ballroom.” This is a quick attack. Notice that there is a string quartet playing Op. 76, and the volume is comfortably loud (low ratio, between 1 ,5:1 and 4:1).Almost as soon as you enter the ballroom, you have your libation and move straight to the press room: quick release.You arrive at the press room with your wits about you , ready to talk about your big win.

Or, upon entering the ballroom, you wander around the crowded room looking for directions and find yourself in the middle of the ballroom before a bartender walks up to you and yells, “Drink? The press room is over there.” That’s a medium attack. The band is an ’80s cover band, and the volume is pretty loud for the room (average ratio, 5:1 to 9.5:1). You finally find your way to the press room and arrive a little groggy, but ready.

Another version: Upon entering the ballroom, you immediately get lost in a sea of ​​people, shouting for directions and trying hopelessly to be heard above the Mötorhead tribute band. Your ears are ringing. Time passes and somehow you find the door to the press room and a waiter puts a drink in your hand just before you leave the ballroom. slow attack You arrive, dazed and confused, in the press room (high ratio, 10:1 and more).

These simple scenarios should help you understand compression settings. It is very important that you know that all these scenarios are equally valid and musically, and by no means exhaustive. Want the “When the Levee Breaks” drum sound? Low Threshold, High Ratio, Fast Attack/Release. Do you want your acoustics to sound natural and dynamic? High to medium threshold, medium attack/release, medium to low ratio. Remember, the purpose of this article is to explain the five compression parameters (TKARR). Due to their very varied and different designs, not all compressors give you access to all parameters. So that will be our topic next month!