Besides the electronically dimensioning of the time-setting links, are especially the topology (Forward- or backward-control) as well as the usage of certain building-parts, for example tubes ( Vari-Mu), photoconductive resistors as well as voltage-controlled amplifiers ( VCAs) or field-effect transistor ( FETs) determining the sound. Therefore, the timely reaction of a compressor is mainly determining the sound. Usually, this sound is not wanted, unless one uses it as a silent remedy or for the sound-design (guitar-amp or similar). Most of you can imagine from our own experience, how the over blasting sounds. Signal levels which lie above the upper limits are therewith restricted within the level. If the reaction would happen immediately the sound behavior of the compression would be similar to a distorted amplifier, which can no longer transmit the signal peak that is reaching over a certain value. Through the settable reaction time ( Attack and Decay/Release) it is definable, how long the peak of the signal is supposed to be, who has not yet been (completely) influenced by the level-reduction respectively how long the signal-parts are, which after cutting under the threshold are reduced inside the level. The level-reduction does likewise only gradually go back if the level overreached the set threshold again ( Decay and respectively Release time). Therefore the level does only gradually go back after it has overreached the threshold ( Attack time).
In compressors the level reduction does not start immediately, the reaction time is settable. With most compressors the level, from which the level-reduction is supposed to start, can be set manually. This relation is commonly known as the Ratio.
All the levels that reach above this value will be reduced in relation to the original level. As a general rule, compression does in the first place mean the reduction of the level, as soon as a certain value has been reached over. Connected with that is a raise of the signal-output respectively the timely energy-density, provided that one compensates the level-reduction again at the exit by raising the gain makeup. Compression generally serves a better level control through the reduction of the level-difference that appears within the signal.
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