Gain Reduction Meter Needed for Compressor

ProAudio

New Member
Hi,
I wish I were a programmer to contribute programming and GUI for a much needed "Gain Reduction" meter for the great new built in Compressor and Limiter filters, however, I can only strongly ask/suggest the "Absolute Need" for a Gain Reduction Meter in order for functional control of the Compressor and Limiter. Thanks (in advance)!
 

AaronD

Active Member
New? The EQ and some others are new, but the Compressor, Limiter, Noise Gate, Noise Suppression, and VST have been there as long as I can remember. v25 has them too. Exact same GUI.

Yes, more metering would be very helpful, even the classic graph of output volume vs. input volume that updates in real time with the controls and shows the current operating point as a dot on the curve. Maybe even leave the curve and come back to it as the timing controls do their thing.

But you can still make a fairly good guess by turning the filter off, looking at the meter, turning it back on, and looking at the meter again. That meter is post-fader, to use a pro audio term. (I wish it were pre-everything or even customizable.) Not nearly as convenient, but it works.
 

ProAudio

New Member
More appropropriate: "Newly Discovered" :) However, the reason I suggest a gain reduction meter is that watching input/output meters is sufficient if adjusting a sinusoidal tone, but a crude insufficient method of adjusting parameters (like attack time, depth of threshold). The best compression limiting is that which is "not heard", which is often far before it is seen just in an output meter.

Better yet, is there another option for choosing a VST-2 (or VST3) Compressor/Limiter plugin of our choice in the filter adjustments? If so, how do I do that? (I would prefer to use professional WAVE plugins, etc.)
 
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AaronD

Active Member
...watching input/output meters is sufficient if adjusting a sinusoidal tone, but a crude insufficient method of adjusting parameters (like attack time, depth of threshold). The best compression limiting is that which is "not heard", which is often far before it is seen just in an output meter.
I do it by ear anyway, and I need to squash it pretty good. I manage a combination local and remote meeting, and I can't mic the local room very well. And some of the remote people are hard of hearing. So I need it to be exactly full-scale regardless of how far each person is from the mic. It's taken a while to get an acoustic solution that is also acceptable to the other local people - had a collection of wireless cardioids on stands for a while, distributed around a large circle, and mixed with VoiceMeeter before going to OBS (still dry except for a "dumb mix" and a "telephone EQ" on the mix master) - but I think we're finally settled on a small circle around a single beamforming mic with automatic beam direction, still running through VM and the 'phone EQ. Still varying distance and varying volumes, so I still need the brickwall with lots of makeup gain.

For my own personal stuff, yeah, I'll lighten up, but according to my ears at least, I think I've done a pretty good job with the brickwall in the meeting. It *is* pretty much full-scale for everybody, and it doesn't sound half bad either, considering how aggressive I am with it. That's even with OBS's built-in compressor, which I don't really like so much either.

Better yet, is there another option for choosing a VST-2 (or VST3) Compressor/Limiter plugin of our choice in the filter adjustments? If so, how do I do that? (I would prefer to use professional WAVE plugins, etc.)
I think Google would have a better idea than I would, of how to get your preferred processing in VST format.

That said though, I'm in the process of building a new rig while still running the old one, and for the new one I'm using Ardour on Ubuntu Studio Linux to do all of the audio stuff:
Ardour is a quite capable DAW that comes preinstalled with Ubuntu Studio, which is all free, and also comes with a TON of plugins preinstalled, including the ones that became my favorite even before I starting using that platform:
The finished audio then goes to OBS as an unchanged passthrough.
OBS v27 is also preinstalled, but you can update it to v29 by installing the direct PPA (see one of the sticky threads on the Linux support forum here), and then doing a normal system update.
 

ProAudio

New Member
Thank you. Spent an enjoyable day looking at your fantastic recommendations! Absolutely amazing and impressive stuff. Linux sound capabilities has come a long way. However, all my video/audio programs/plugins and hardware are in the Windows World currently (and last 25 years). Using the limiter in OBS for Peaks (just under zero) is a very nice convenience as a stop gap for overs. I'll keep seeking for alternate VST methods for plugins in OBS (using Windows).
 
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