1. Compressor
What it does
Its main job is to “compress the dynamic range.”
When the input volume exceeds the set Threshold, the compressor reduces the signal’s gain according to the set Ratio. This prevents the audio from being too loud in some parts and too quiet in others, resulting in a more even listening experience.
It’s great for controlling dynamic signals like vocals or instruments, making the overall sound more balanced.
Simple analogy
Imagine someone speaking: some words are soft, and some are suddenly shouted. The compressor is like “gently pulling back those loud parts” so everything stays at a similar volume.
2. Limiter
What it does
Think of it as an extreme compressor.
The ratio is usually close to ∞:1, meaning anything above the threshold is basically not allowed through.
It’s not for smoothing out dynamics, but for preventing clipping—protecting your gear and avoiding distortion.
Often used in mastering, live streaming, or at the final stage of recording to ensure the volume never exceeds a safe level.
Simple analogy
A limiter is like a “ceiling”: no matter how high you jump, your head won’t go through it.
3. How to set the Threshold
The threshold is the volume level at which compression or limiting kicks in. Here’s how to adjust it:
For a Compressor
Usually set a bit above the signal’s average level.
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If set too high → Only the loudest parts get compressed; effect is subtle.
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If set too low → Most of the sound gets compressed, which can kill dynamics and make it sound flat.
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Common vocal range: between -18 dBFS and -12 dBFS (depending on your recording level).
For a Limiter
Usually set at your target maximum level (e.g., -6 dBFS or -3 dBFS).
The goal isn’t to tame normal volume changes, but to act as a safety net.
It only activates when peaks exceed your set limit.