http://debianws.lexgopc.com/wiki143/index.php?action=history&feed=atom&title=Dynamic_range_compressionDynamic range compression - Revision history2026-05-04T22:28:09ZRevision history for this page on the wikiMediaWiki 1.43.1http://debianws.lexgopc.com/wiki143/index.php?title=Dynamic_range_compression&diff=4624668&oldid=prev~2025-32585-52: /* Ratio */ include image of mixer screen.2025-11-10T12:06:01Z<p><span class="autocomment">Ratio: </span> include image of mixer screen.</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Previous revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:06, 10 November 2025</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Ratio ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Ratio ===</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:Compression ratio.png|thumb|Compression by a ratio of 5.0:1 on a [[Yamaha_Corporation|Yamaha]] digital mixer. |alt=|upright]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The amount of gain reduction is determined by '''ratio''': a ratio of 4:1 means that if input level is 4&nbsp;[[decibel|dB]] over the threshold, the output signal level is reduced to 1&nbsp;dB over the threshold. The gain and output level has been reduced by 3&nbsp;dB. Another way of stating this is that any input signal level over the threshold will, in this case, be output at a level which is only 25% {{nobreak|(i.e. 1 over 4)}} as much over the threshold as its input level was.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The amount of gain reduction is determined by '''ratio''': a ratio of 4:1 means that if input level is 4&nbsp;[[decibel|dB]] over the threshold, the output signal level is reduced to 1&nbsp;dB over the threshold. The gain and output level has been reduced by 3&nbsp;dB. Another way of stating this is that any input signal level over the threshold will, in this case, be output at a level which is only 25% {{nobreak|(i.e. 1 over 4)}} as much over the threshold as its input level was.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In an article published in January 2014 by the ''Journal of the Audio Engineering Society'', Emmanuel Deruty and Damien Tardieu performed a systematic study describing the influence of compressors and brickwall limiters on the musical audio signal. The experiment involved four software limiters: Waves L2, Sonnox Oxford Limiter, Thomas Mundt's Loudmax, Blue Cat's Protector, as well as four software compressors: Waves H-Comp, Sonnox Oxford Dynamics, Sonalksis SV-3157, and URS 1970. The study provides objective data on what limiters and compressors do to the audio signal.<ref name="DerutyTardieuAES">{{Cite journal |last1=Deruty |first1=Emmanuel |last2=Tardieu |first2=Damien |date=2014-02-03 |title=About Dynamic Processing in Mainstream Music |journal=Journal of the Audio Engineering Society |language=en |volume=62 |issue=1/2 |pages=42–55 |doi=10.17743/jaes.2014.0001 }}</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In an article published in January 2014 by the ''Journal of the Audio Engineering Society'', Emmanuel Deruty and Damien Tardieu performed a systematic study describing the influence of compressors and brickwall limiters on the musical audio signal. The experiment involved four software limiters: Waves L2, Sonnox Oxford Limiter, Thomas Mundt's Loudmax, Blue Cat's Protector, as well as four software compressors: Waves H-Comp, Sonnox Oxford Dynamics, Sonalksis SV-3157, and URS 1970. The study provides objective data on what limiters and compressors do to the audio signal.<ref name="DerutyTardieuAES">{{Cite journal |last1=Deruty |first1=Emmanuel |last2=Tardieu |first2=Damien |date=2014-02-03 |title=About Dynamic Processing in Mainstream Music |journal=Journal of the Audio Engineering Society |language=en |volume=62 |issue=1/2 |pages=42–55 |doi=10.17743/jaes.2014.0001 }}</ref></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Five signal descriptors were considered: [[RMS power]], [[EBU R 128]] integrated loudness,<ref name="EBU3341" /> [[crest factor]], R 128 LRA,<ref name="EBU3342" /> and density of clipped samples. RMS power accounts for the signal's physical level, R 128 loudness for the perceived level.<ref name="EBU3341" /> The crest factor, which is the difference between the signal's peak and its average power,<ref name="DerutyTardieuAES" /> is on occasions considered as a basis for the measure of micro-dynamics, for instance in the ''TT Dynamic Range Meter'' plug-in.<ref>{{Cite conference |last=Vickers |first=Earl |date=4–7 November 2010 |title=The Loudness War: Background, Speculation and Recommendations |url=http://www.sfxmachine.com/docs/loudnesswar/loudness_war.pdf |conference=129th AES Convention |location=San Francisco |publisher=[[Audio Engineering Society]] |access-date=July 14, 2011}}</ref> Finally, R 128 LRA has been repeatedly considered as a measure of macro-dynamics or dynamics in the musical sense.<ref name="DerutyTardieuAES" /><ref name="SOS_Dynamic_Range">{{Cite magazine |last=Deruty |first=Emmanuel |date=September 2011 |title='Dynamic Range' & The Loudness War |url=https://www.soundonsound.com/sound-advice/dynamic-range-loudness-war |magazine=Sound on Sound |access-date=2013-10-24}}</ref><ref>{{Cite journal |last1=Serrà |first1=J |last2=Corral |first2=A |last3=Boguñá |first3=M |last4=Haro |first4=M |last5=Arcos |first5=JL |date=26 July 2012 |title=Measuring the Evolution of Contemporary Western Popular Music |journal=Scientific Reports |volume=2 |<del style="font-weight: bold; text-decoration: none;">page</del>=521 |arxiv=1205.5651 |bibcode=2012NatSR...2..521S |doi=10.1038/srep00521 |pmc=3405292 |pmid=22837813 }}</ref><ref>{{Cite journal |last1=Hjortkjær |first1=Jens |last2=Walther-Hansen |first2=Mads |date=2014-02-03 |title=Perceptual Effects of Dynamic Range Compression in Popular Music Recordings |journal=Journal of the Audio Engineering Society |volume=62 |issue=1/2 |pages=37–41 |doi=10.17743/jaes.2014.0003 }}</ref><ref>{{Cite journal |last=Skovenborg |first=Esben |date=2012-04-26 |title=Loudness Range (LRA) - Design and Evaluation |url=http://www.aes.org/e-lib/browse.cfm?elib=16254 |language=en |publisher=Audio Engineering Society |url-access=subscription |access-date=2019-11-04 |via=AES E-Library}}</ref></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Five signal descriptors were considered: [[RMS power]], [[EBU R 128]] integrated loudness,<ref name="EBU3341" /> [[crest factor]], R 128 LRA,<ref name="EBU3342" /> and density of clipped samples. RMS power accounts for the signal's physical level, R 128 loudness for the perceived level.<ref name="EBU3341" /> The crest factor, which is the difference between the signal's peak and its average power,<ref name="DerutyTardieuAES" /> is on occasions considered as a basis for the measure of micro-dynamics, for instance in the ''TT Dynamic Range Meter'' plug-in.<ref>{{Cite conference |last=Vickers |first=Earl |date=4–7 November 2010 |title=The Loudness War: Background, Speculation and Recommendations |url=http://www.sfxmachine.com/docs/loudnesswar/loudness_war.pdf |conference=129th AES Convention |location=San Francisco |publisher=[[Audio Engineering Society]] |access-date=July 14, 2011}}</ref> Finally, R 128 LRA has been repeatedly considered as a measure of macro-dynamics or dynamics in the musical sense.<ref name="DerutyTardieuAES" /><ref name="SOS_Dynamic_Range">{{Cite magazine |last=Deruty |first=Emmanuel |date=September 2011 |title='Dynamic Range' & The Loudness War |url=https://www.soundonsound.com/sound-advice/dynamic-range-loudness-war |magazine=Sound on Sound |access-date=2013-10-24}}</ref><ref>{{Cite journal |last1=Serrà |first1=J |last2=Corral |first2=A |last3=Boguñá |first3=M |last4=Haro |first4=M |last5=Arcos |first5=JL |date=26 July 2012 |title=Measuring the Evolution of Contemporary Western Popular Music |journal=Scientific Reports |volume=2 |<ins style="font-weight: bold; text-decoration: none;">article-number</ins>=521 |arxiv=1205.5651 |bibcode=2012NatSR...2..521S |doi=10.1038/srep00521 |pmc=3405292 |pmid=22837813 }}</ref><ref>{{Cite journal |last1=Hjortkjær |first1=Jens |last2=Walther-Hansen |first2=Mads |date=2014-02-03 |title=Perceptual Effects of Dynamic Range Compression in Popular Music Recordings |journal=Journal of the Audio Engineering Society |volume=62 |issue=1/2 |pages=37–41 |doi=10.17743/jaes.2014.0003 }}</ref><ref>{{Cite journal |last=Skovenborg |first=Esben |date=2012-04-26 |title=Loudness Range (LRA) - Design and Evaluation |url=http://www.aes.org/e-lib/browse.cfm?elib=16254 |language=en |publisher=Audio Engineering Society |url-access=subscription |access-date=2019-11-04 |via=AES E-Library}}</ref></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Limiters ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Limiters ===</div></td></tr>
</table>~2025-32585-52http://debianws.lexgopc.com/wiki143/index.php?title=Dynamic_range_compression&diff=1692399&oldid=previmported>Citation bot: Altered bibcode. | Use this bot. Report bugs. | Suggested by Abductive | Category:Dynamics processing | #UCB_Category 4/132025-06-27T07:17:35Z<p>Altered bibcode. | <a href="/wiki143/index.php?title=En:WP:UCB&action=edit&redlink=1" class="new" title="En:WP:UCB (page does not exist)">Use this bot</a>. <a href="/wiki143/index.php?title=En:WP:DBUG&action=edit&redlink=1" class="new" title="En:WP:DBUG (page does not exist)">Report bugs</a>. | Suggested by Abductive | <a href="/wiki143/index.php?title=Category:Dynamics_processing&action=edit&redlink=1" class="new" title="Category:Dynamics processing (page does not exist)">Category:Dynamics processing</a> | #UCB_Category 4/13</p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Previous revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 07:17, 27 June 2025</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l183">Line 183:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In an article published in January 2014 by the ''Journal of the Audio Engineering Society'', Emmanuel Deruty and Damien Tardieu performed a systematic study describing the influence of compressors and brickwall limiters on the musical audio signal. The experiment involved four software limiters: Waves L2, Sonnox Oxford Limiter, Thomas Mundt's Loudmax, Blue Cat's Protector, as well as four software compressors: Waves H-Comp, Sonnox Oxford Dynamics, Sonalksis SV-3157, and URS 1970. The study provides objective data on what limiters and compressors do to the audio signal.<ref name="DerutyTardieuAES">{{Cite journal |last1=Deruty |first1=Emmanuel |last2=Tardieu |first2=Damien |date=2014-02-03 |title=About Dynamic Processing in Mainstream Music |journal=Journal of the Audio Engineering Society |language=en |volume=62 |issue=1/2 |pages=42–55 |doi=10.17743/jaes.2014.0001 }}</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In an article published in January 2014 by the ''Journal of the Audio Engineering Society'', Emmanuel Deruty and Damien Tardieu performed a systematic study describing the influence of compressors and brickwall limiters on the musical audio signal. The experiment involved four software limiters: Waves L2, Sonnox Oxford Limiter, Thomas Mundt's Loudmax, Blue Cat's Protector, as well as four software compressors: Waves H-Comp, Sonnox Oxford Dynamics, Sonalksis SV-3157, and URS 1970. The study provides objective data on what limiters and compressors do to the audio signal.<ref name="DerutyTardieuAES">{{Cite journal |last1=Deruty |first1=Emmanuel |last2=Tardieu |first2=Damien |date=2014-02-03 |title=About Dynamic Processing in Mainstream Music |journal=Journal of the Audio Engineering Society |language=en |volume=62 |issue=1/2 |pages=42–55 |doi=10.17743/jaes.2014.0001 }}</ref></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Five signal descriptors were considered: [[RMS power]], [[EBU R 128]] integrated loudness,<ref name="EBU3341" /> [[crest factor]], R 128 LRA,<ref name="EBU3342" /> and density of clipped samples. RMS power accounts for the signal's physical level, R 128 loudness for the perceived level.<ref name="EBU3341" /> The crest factor, which is the difference between the signal's peak and its average power,<ref name="DerutyTardieuAES" /> is on occasions considered as a basis for the measure of micro-dynamics, for instance in the ''TT Dynamic Range Meter'' plug-in.<ref>{{Cite conference |last=Vickers |first=Earl |date=4–7 November 2010 |title=The Loudness War: Background, Speculation and Recommendations |url=http://www.sfxmachine.com/docs/loudnesswar/loudness_war.pdf |conference=129th AES Convention |location=San Francisco |publisher=[[Audio Engineering Society]] |access-date=July 14, 2011}}</ref> Finally, R 128 LRA has been repeatedly considered as a measure of macro-dynamics or dynamics in the musical sense.<ref name="DerutyTardieuAES" /><ref name="SOS_Dynamic_Range">{{Cite magazine |last=Deruty |first=Emmanuel |date=September 2011 |title='Dynamic Range' & The Loudness War |url=https://www.soundonsound.com/sound-advice/dynamic-range-loudness-war |magazine=Sound on Sound |access-date=2013-10-24}}</ref><ref>{{Cite journal |last1=Serrà |first1=J |last2=Corral |first2=A |last3=Boguñá |first3=M |last4=Haro |first4=M |last5=Arcos |first5=JL |date=26 July 2012 |title=Measuring the Evolution of Contemporary Western Popular Music |journal=Scientific Reports |volume=2 |page=521 |arxiv=1205.5651 |bibcode=2012NatSR...<del style="font-weight: bold; text-decoration: none;">2E</del>.521S |doi=10.1038/srep00521 |pmc=3405292 |pmid=22837813 }}</ref><ref>{{Cite journal |last1=Hjortkjær |first1=Jens |last2=Walther-Hansen |first2=Mads |date=2014-02-03 |title=Perceptual Effects of Dynamic Range Compression in Popular Music Recordings |journal=Journal of the Audio Engineering Society |volume=62 |issue=1/2 |pages=37–41 |doi=10.17743/jaes.2014.0003 }}</ref><ref>{{Cite journal |last=Skovenborg |first=Esben |date=2012-04-26 |title=Loudness Range (LRA) - Design and Evaluation |url=http://www.aes.org/e-lib/browse.cfm?elib=16254 |language=en |publisher=Audio Engineering Society |url-access=subscription |access-date=2019-11-04 |via=AES E-Library}}</ref></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Five signal descriptors were considered: [[RMS power]], [[EBU R 128]] integrated loudness,<ref name="EBU3341" /> [[crest factor]], R 128 LRA,<ref name="EBU3342" /> and density of clipped samples. RMS power accounts for the signal's physical level, R 128 loudness for the perceived level.<ref name="EBU3341" /> The crest factor, which is the difference between the signal's peak and its average power,<ref name="DerutyTardieuAES" /> is on occasions considered as a basis for the measure of micro-dynamics, for instance in the ''TT Dynamic Range Meter'' plug-in.<ref>{{Cite conference |last=Vickers |first=Earl |date=4–7 November 2010 |title=The Loudness War: Background, Speculation and Recommendations |url=http://www.sfxmachine.com/docs/loudnesswar/loudness_war.pdf |conference=129th AES Convention |location=San Francisco |publisher=[[Audio Engineering Society]] |access-date=July 14, 2011}}</ref> Finally, R 128 LRA has been repeatedly considered as a measure of macro-dynamics or dynamics in the musical sense.<ref name="DerutyTardieuAES" /><ref name="SOS_Dynamic_Range">{{Cite magazine |last=Deruty |first=Emmanuel |date=September 2011 |title='Dynamic Range' & The Loudness War |url=https://www.soundonsound.com/sound-advice/dynamic-range-loudness-war |magazine=Sound on Sound |access-date=2013-10-24}}</ref><ref>{{Cite journal |last1=Serrà |first1=J |last2=Corral |first2=A |last3=Boguñá |first3=M |last4=Haro |first4=M |last5=Arcos |first5=JL |date=26 July 2012 |title=Measuring the Evolution of Contemporary Western Popular Music |journal=Scientific Reports |volume=2 |page=521 |arxiv=1205.5651 |bibcode=2012NatSR...<ins style="font-weight: bold; text-decoration: none;">2.</ins>.521S |doi=10.1038/srep00521 |pmc=3405292 |pmid=22837813 }}</ref><ref>{{Cite journal |last1=Hjortkjær |first1=Jens |last2=Walther-Hansen |first2=Mads |date=2014-02-03 |title=Perceptual Effects of Dynamic Range Compression in Popular Music Recordings |journal=Journal of the Audio Engineering Society |volume=62 |issue=1/2 |pages=37–41 |doi=10.17743/jaes.2014.0003 }}</ref><ref>{{Cite journal |last=Skovenborg |first=Esben |date=2012-04-26 |title=Loudness Range (LRA) - Design and Evaluation |url=http://www.aes.org/e-lib/browse.cfm?elib=16254 |language=en |publisher=Audio Engineering Society |url-access=subscription |access-date=2019-11-04 |via=AES E-Library}}</ref></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Limiters ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Limiters ===</div></td></tr>
</table>imported>Citation bothttp://debianws.lexgopc.com/wiki143/index.php?title=Dynamic_range_compression&diff=177157&oldid=prev2605:8D80:4C1:1F5E:C858:48B5:2F19:A841: /* Side-chaining */2025-01-19T10:08:28Z<p><span class="autocomment">Side-chaining</span></p>
<a href="http://debianws.lexgopc.com/wiki143/index.php?title=Dynamic_range_compression&diff=177157">Show changes</a>2605:8D80:4C1:1F5E:C858:48B5:2F19:A841