WTF is a Compander?

[@DanWorrall]

I've added affiliate links to the video description. If you make a purchase using these links I'll get a small commission, and you'll be helping to encourage more such videos in future.

[@rado3714]

And so I shall. I know this video is a bit old now but you've finally sold me on it. Was on the fence for a while. Love your videos. You sold me on the Tokyo Dawn stuff many moons ago and I still love them. Cheers! And happy new year!

[@Mixedbyjojo355]

This man is David Attenborough of audio community!

[@sinane.y]

I thought that was loopop

[@coolscube5062]

For geeks like ME in the Music / Production /sound design \engineering .. This Guy Dan Worrall Is The GOD Of Audio :P

[@shengwho8430]

damn i just wanted to comment that hahahaha , my thoughts exactly spot on !

[@RichSProducer]

I literally fall asleep to these videos at night and learn from them during the day 🙃

[@nerfytheclown]

He makes Attenborough look like a guy who's never even USED a compressor before.

[@djvoid1]

It's a combination of a computer and a panda

[@coolscube5062]

PANDA OR was that Prada Loll

[@XiyuYang]

I laughed way too hard at this than I should.

[@sameeruddin]

Hahahaha

[@JimAlfredson]

I've been a Satin user since it launched. A few years ago a friend asked me to help him transfer some 16 track 2" multitrack tapes from a session originally done at the legendary Rudy Van Gelder studios in Englewood, NJ back in 1972. I just happen to have a 16 track 2" Scully machine. So he was excited that I could help him. The problem was that the tapes had dbx Type I NR on them. My machine came with 16 channels of dbx Type I NR but only eight were working. Enter Satin, which had just come out at the time. I transferred the tapes into my computer raw and then applied the decoding in my DAW. It worked perfectly. Thanks for the great video on companders. They are fun to play with and I agree that no other plug-in offers that functionality, as far as I know.

[@artysanmobile]

I have a beloved 16 track master recorded with dbx NR. I’d about given up ever being able to revisit it when I found a facility with the same Otari MX70 1” format. Sadly though, no NR fitted. Q: Can you recommend I try Satin to decode it? It would be a longtime dream to revive that extraordinary session. One of those where the band was magic and everything went perfectly.

[@JimAlfredson]

@@artysanmobile yeah, it should work!

[@magmakum4628]

I flat out brickwalled and then clipped the like button.

[@cheungcfoo]

Thank God... that you didn't saturate it....

[@alphanumeric1529]

You're just another soldier in the likeness war. 🙃

[@KingGrio]

Dan. In the first damn minute of this video you've given me a Eureka moment. I've been at a music studio to try using analog gear, in my early training in audio engineering, I've never understood why compression was so prevalent in general, but particularly why the owner of that music studio kept telling me to always apply 2 or 3 dB of compression when recording any kind of drums. I understood that you (almost) always apply some compression anyway in order to get the sounds to sit nicely in the final mix, and that it's very rare that you don't apply any compression at all, particularly in a rock context. I had accepted this idea as a rule of thumb for recording while keeping in mind the targetted shape of the signals for a final mix. But you've reminded me of a day I've never known (at least, I never took interest in audio engineering in that day because I was a small child): recording to analog tape. And now finally I understand that anyway a compressor is required simply to not hit analog tape too hard. And this was probably where this audio engineer who was training me was getting his habit from (he is an older guy), and I couldn't understand why he recorded this way since it looked to me he was sending his signal to a great AnalogDigitalConverter anyway and probably could record his takes clean in ProTools. And now even more I understand why people rave so much about analog compressors and how important they are, and I also understand even more that when you are working with these restrictions, you are forced to keep your signals within a more constrained dynamic range. I have the opposite issue: being a digital kid, I have so much dynamic range I struggle to find the right balance for my signals that tend to come in and out of the mix if I'm not being careful. I know all of this sounds super obvious, but because I've never seen a recording studio digital tape in my life and never experienced the hassles of analog recording of the old days, I never put 2 and 2 together, for me tape is an effect, not a medium. And finally, now that I've had this eureka moment, I'd like to try to do a mix by applying tape emulation on every track, as an exercise in discovering how mixing with these restrictions in dynamic range can maybe train my ears to get used to their sound, and later mix without tape emulation but with my ears attuned to what a sensible dynamic range is, for a classic record.

[@flexprog3374]

The compander + saturation trick is incredible. It sounds nuts, because you can absolutely crush the sound and still get the dynamics. I love to hear that kind of sound in recordings (arctic monkey's AM, for example) and I had no idea how to get it. Thank you so much !

[@nichttuntun3364]

Thank you Dan. U-he Diva, Bazille, Zebra, Ace, Hive are all great but my absolute favorite from them still is Satin. I enjoyed a lot to step a little deeper into this amazing plugin. I'd be glad if some day you maybe do a video about Presswerk too :)

[@mechasartre3694]

your videos are ridiculously informative. edit: hip hop producers have never dialled anything back in our lives XD

[@tranceemerson8325]

Every Time Dan Worrall speaks: *My mind blown* edit: I was literally trying to find some way to tame my distortion on a filter I had in my reason rack just last night and I couldn't find a transparent enough distortion to properly overdrive my filter

[@autodidacticprofessor869]

They gave older recordings a nice "pump" that brought vocals out but in modern music, where the snare and kick are usually loudest, they don't quite sound as good. But if you want a great example of companders at work, "Band on the Run" by Paul McCartney had one prominently in its final mix process because of how worn the tape was from recording in a humid, hot studio in Africa. Very "pumpy" mixes but still musical.

[@shaft9000]

Comparing recordings from the early 70s with others through the middle and up to late 70s is like a time capsule of compression/expansion being used in more and more ways at once. One that caught my ear in this regard was Hawkwind's Levitation album from 1980. Heavy (yet rather transparent) compression of tape mixed to 2-ch digital master.

[@ts4gv]

interesting note, thanks

[@Studio987Rec]

EMI Studio, Lagos Nigeria '73 (Engineered by My Great Uncle - "ODION IRUOJE")

[@scamculture]

@@Studio987RecThats awesome

[@markseagraves5486]

Years on, still a great video! Companding is part of my Steely Dan simulator chain. Only problem is once engaged, it then takes 6 months just to dial in the hi-hats… Satin is great. Beyond this, I’ve managed to put together a very good take on the Dolby Cat 45 dialog smashers/unsmasher we used for film mixing. Thanks again, Dan.

[@Audiojunkk]

Always excited for more Worrall heat! Bomboclart! Best audio pro vids on KZbin! Thanks for your great work your videos are so interesting!

[@musicmwmusic]

That True Iron plugin is terrific. Thanks for this. Very informative. It would be nice if U-He released some mini plugins with just these processes. A simple compander plug would be amazing!

[@superkaboose1066]

you're knowledge is amazing, and your easy way of showing everything makes us plebs able to grasp stuff!!

[@marcchurch1245]

I don't like that blinking bypass button. At first I was like why the hell is Dan toggling the bypass so rapidly! I realized pretty quick but it still tripped me out every time. I've never seen a plugin do that.

[@joachimekermann8267]

Great tip! Satin helped me out a great deal when I was transfering analog recordings made using dbx noise reduction. Bypassing tape and EQ and just using the decoder made it possible to enjoy the recoding once again. Great plugin!

[@zicmanislord]

Thank you, Dan, for that demonstration. I often use Satin for Lo-Fi productions. But I didn't know all this incredible informations. Thank you very much for that. PS: Could you please enable English subtitles on your videos. I can understand some technical aspects better with subtitles. It's the difference between seeing and hearing when you're not fully bilingual. Thx. :)

[@eph_kni]

First! Thank you Dan! I’ve learned so much about dynamics, phase and eq thanks to you and your work

[@sameeruddin]

Wtf is a compander + satin + drum mixing tips ( 3 tutorials packaged in ine ) Dan you clarity in explaining things is profoundly unique.

[@DarrenAudioguy]

Bit pissed so will need to watch this again :P

[@morgendorffer3504]

12:43 Yes sir it is!

[@dantei.1194]

Like button compressed, a brick now, I’d say haha. Great vid as always, keep it up Dan!

[@CharlesFerraro]

Jealous that I didn’t think of dynamics as another sort of emphasis / de emphasis technique. Really smart.

[@tantaloss8682]

Doesn't Abbey Road Saturator have a compander built in as well?

[@ImmersiveAudioMixer]

Wow, that made my day, thanks a lot. I've been using this plugin for quite some time and never thought about that, that's excellent !

[@nibblrrr7124]

Ah yes, the "But Wait, There's More" school of dispensing audio wisdom.

[@woganmusic778]

We just recently purchased some Dolby A cards with their Cat 360 units and oh boy, it is such a lovely effect. I used it onto tape encoding as part of the mastering process and decoding back into pro tools. I can’t wait to start using it on individual tracks soon too in a session. We also modded one card so we can individually bypass the 4 bands for some cool exciter effects. Great video, more engineers should know about this technique! Great watch as always :)

[@Zero-Sun]

Holy moly, thank you soo much for this excellent video. You got me totally excited about using this with Decapitator (I absolutely love this saturation plugin)

[@sukitta2]

I coudnt spot any difference of anything at all. I trust you tho.

[@ZackYouTube]

I randomly bought this Korg KEC-42 compander at a shop & I had no idea what it was supposed to do but this video helped a lot

[@markv2360]

Brilliant. Thank you, Dan!

[@helmanfrow]

4:00 There's a difference in sound? I swear I'm sitting here swapping between two different HD280s, ATHM40x, SHP9500 and iLoud MTMs and I'm struggling to hear anything significant between the compander modes. Maybe my ears are really and truly shot after 30 years of abuse.

[@helmanfrow]

Okay the differences are a lot more evident on the solo-ed drums.

[@RanaudioMusicTV]

This was nostalgic, Dolby tape machines, Cassette Decks and the Walkman-s type B trick! 😭 Awesome tutorial once again! Thank You Dan! 🍻

[@catsven1973]

Dan's tutorials and lessons sound for me like songs of a band that I love....each video is a new hit...thanks for being that special.

[@jackbailey4438]

uhx type II is my favortie, sounds incredibly smooth and spacious while maintaining optimal detail in the very high & very low end

[@Barncore]

By the way, the Audiority LDC2 appears to be a reveered compander plugin. I can't speak to its quality yet though, haven't demo'd it yet

[@caspermaster-com]

Just love your vids, instalike even tho i dont know what its gonna be about lol Also, Dan speaks in the tempo of the song, and usually a snare is exactly where he stops speaking :)

[@redbigapplefloppa302]

That piano sound you chose as the background music at the start is one of the best ones i've ever heard. Heavy yet filigree, a smooth shape with a deep reaching foundation

[@artysanmobile]

The music in this video is 👌🏽

[@Wayne_Robinson]

What an impressive variety of results that plugin can achieve! Added to my wish list.

[@highzsounds8498]

First subscription on YT....i have been using internet since dial-up modems...Thank You DAN.

[@jonnyidle]

In fact, you deserve my subscription. #subscribed

[@DanWorrall]

Thankyou for the support :)

[@jonnyidle]

Thank you so much. I own satin and new the basics of compansion from reading the manual, but that last trick sounded fantastic. And true iron as well. Been on my very short list of plugins to get for a while but haven't got round to it yet. Even with decapitator it gave a real deep, posh texture to the sound. Cant wait to experiment. Thanks again

[@bFooz]

As a simple solution for saturation inside a compander, there is BoostX by Initial audio (comb-filters when parallel though) and Antares Warm with its Omni tube. For something more (too much?) tweaky, there is Melda's MCompressor or MDynamics where you can design your own compressor in one instance and a mirror expander in another instance and use an emp-deemph technique.

[@alphanumeric1529]

Thanks bruv.

[@shaft9000]

Approached chronologically, the entire decade of the 1970s is an education into more and more compression/expansion/NR. It was the inevitable consequence of multitrack recording going from 2 to 16 tracks in the space of a decade. The higher the track count, the more gates and expansion is needed to manage the (potential) hiss&noise accumulation.

[@LongshotRecordsTV]

LOL I heard no difference! I don't know if its KZbin, my headphone or ears. Or is this guy messing with me!

[@izvarzone]

If u learn what compressor do, you know what listen to. Compander thingie, it compress high end more than low end.

[@coolscube5062]

@Dan worrall Hi there Just came across your KZbin Channel .. hoping to learn some Technics off tutorials like the way you dont rust quickly on to the next thing .

[@ToniMazzotti]

What about Waves Abbey Roads Saturaror with compander?

[@zairsantorriny3233]

this guy just makes you want to listen to what he says and do what he does!

[@tonygardner4077]

Ahhh Stereo TV =/= Nicam * Nearly Identical Companding Audio Mulpiplexer

[@cyrillec135]

Wowwww…. Back in the days when this plug in was released, I used Satin only a couple of time and decided to use another tape emulation with less options. This video is a gift, i will give another try soon as possible

[@davepugh7961]

I do not understand all of his tutorials, and do not have resources to try much of the techniques in them, but what I have tried works well enough to say this guy is brilliant. I would love to hear his thoughts on Kirchoff eq.

[@nj1255]

Love Satin... just wish I could afford it right now.

[@artysanmobile]

Thanks so much for this, Dan. I might have just found what I’ve needed for years to decode a dbx multitrack.

[@artysanmobile]

I made many records with Dolby SR. It was nearly miraculous the way it expanded the range of tape with no artifacts whatsoever. When I was using it on the 24 tracks, the machine seemed to disappear. I found myself mixing much more dramatically, using the console like a special fx tool. It’s a bit hard to explain why but I do recall digital machines did the same. The range let me get way more creative and many of my favorite records were SR all the way.

[@marcuskruse1]

Your videos are so informative. Thank you. I don't know if you are payed for this but you should be.

[@InXLsisDeo]

If you subscribe to him, you pay him :)

[@BrunoNeureiter]

@@InXLsisDeo not true but definitely helps

[@muziekkamer]

Super 😁 good song 🎶 GUY NOTTINGHAM - FADE AWAY , wy not on TIDAL?

[@tonyrapa-tonyrapa]

He did.... he answered the title of the of the video in the first minute. I hope you all stuck around for the rest of the video. I know I did.

[@AlexOnAudio]

DBX Type I emulation sounds so much better.

[@justingoers]

Whoa. I feel like this is going to be a game changer in me getting more lively sound out of drums machines and sequenced percussion parts. Thank you.

[@drrodopszin]

I wonder if there are other plugins that have this encoder-decoder thing, just 2 separate plugins, so I can cram my little saturators in between...?

[@ruadeil_zabelin]

I can't really hear any difference between none and A, the mod starts bringing in tiny changes, and from B its very different to me. Am I supposed to hear a bigger change between A and none?

[@akira-dh8jx]

I literally hear no difference, but I have pretty shit speakers xD I came here because I need to use a compandor for a bucket brigade delay circuit, where it's literally a necessary component without which it sounds more noisy, but in this case of perfect digital audio, the difference is negligible - perhaps because it's lacking that low dynamic range component such as an analog delay line in the middle. An ideal compander will produce the same output as the input if there's just a short between the compression and expansion part.

[@shanonkiyoshi4784]

OMG Thank you! I ALREADY love my SATIN plugin, but DAMN 🤯 ...I'm even MORE madly in love with it NOW 🤔 You've opened up an entire Arsenal of NEW WAYS to contour dynamics in my tracks 🤩 I've been a fan of your tutorials for a while, but this SERIOUSLY has made me look @ ALL my Plugins with NEW EYES. You are one Hell of a FIND against the Ceaseless Ocean of Bad/Mediocre/Just Dead Wrong sound design Instruction on KZbin. Respect! 😎👍⚡💥

[@alphanumeric1529]

I've learned a lot, even after recording/producing for 20+ years, from the You Tube Producer's Ball, as I call it. But boy... there is a lot of garbage at the Ball, more than a majority is garbage, so much parrotting of advice, much of which is bad! A lot. Still, these kids these days... if I had access to all this instruction (and all these tools) in my formative years, I might have actually been good! When I look back at how long I pressed on, not knowing anything... *facepalm* with no access to quality gear/sound... I am envious of these later generations. BUT STILL, that older music from the peak of the analog era... it still just sounds so much better than all of today's wizbangery, a lot of which actually leans towards painful... compared to that golden honey sound of The Day. I think it has more to do with soul/spirit/mindset, than tools though...

[@alphanumeric1529]

Oh, I got distracted in my historical recollections, I replied here to say that Dan is the master of the Ball. He is holding the veil aside for anyone who wants to peer into the workings of our contemporary tools, and in the observation of the machinations of how sound is processed in these plugins, understand better and more fundamentally (without getting into code) the base concepts of sound engineering with the benefits, then, of tips, tricks, and hard earned knowledge of how to exploit the capabilities of our plugin tools. What a don this Dan is.💯💜

[@24k-n6x]

hello everybody! I have Audiothing Type A which is a Dolby-A type enhancer that is used as an exciter. Does any body know how I can use it as a encoder and a decoder to do the same?

[@prod.password]

13:07 this trick only makes the whole video worth it. Amazing

[@BigStereoVR]

Hey Ensoniq heads: Dan just gave out the secret to their signal path.😉

[@toslinked]

ahh the great sound of dbx. always loved it although it’s less than perfect.

[@Barncore]

Definitely gonna experiment with this. Thanks!

[@fitzeflinger]

did you try this also in reverse? using an expander first and a compressor second? i imagine you could get an even more dynamic type of saturation this way, or a reverb that reacts stronger to loud signals and less to quiet ones!

[@justingoers]

Whoa. That’s a really. Really. Really cool idea. You’d need two instances of the plug-in because there’s no way to change the order.

[@fitzeflinger]

@@justingoers if you put another plugin in between you need two instances anyway, don't you? regardles if it is comp->exp or exp->comp

[@justingoers]

@@fitzeflinger OH! Yes. If you're going to have something in-between you'd need two instances no matter what.

[@BIG_PASTA]

I'm gonna try it out, cool idea! But, in regards to the reverb, isn't that kinda how it works already?

[@fitzeflinger]

​@@BIG_PASTA as far as i know most reverbs are static, meaning they apply the same amount of reverb to any signal level. i heard there are some dynamic reverb algorithms, but they are rare. maybe it's a stupid idea but i think it could be an interesting effect.

[@vjrei]

I didn't hear any difference and I am an audio engineer who graduated in 1994. I liked the song tho.

[@PatDaliki]

me: *barely hears a difference* Dan: Those differences are pretty significant to my ears. guess I won't make it into audio engineering lol

[@diggabledork]

Even if you can't hear a difference it is possible to learn how to listen and gain discernment. Perhaps your setup is making it more difficult, and don't forget that Dan is presumably listening before any lossy audio transcodes.

[@theinternetseekers2436]

Your videos are amazing the best audio demonstrations on youtube.

[@EdwinDekker71]

LDC2 compander? HoRNet CompExp?

[@fakshen1973]

With the Soundtoys in between, it went all Bonham.

[@jamjama9365]

Compander = (Comp)pressor + Ex(pander) The encoder compresses and the decoder expands

[@nickskywalker2568]

With True Iron in between the sound becomes 3D :-o

[@MichaelToddFutureTodd]

I'd never tried Satin as I was happy with Reelbus, but you've just persuaded me :)

[@MichaelToddFutureTodd]

Well, Reelbus sounds amazing inside Satin's compander!

[@InXLsisDeo]

Reelbus also has the compander too, no ? In any case, a number of Variety of Sound plugins also work like that, as well as Klanghelm MJUC.

[@MichaelToddFutureTodd]

@@InXLsisDeoReelbus models tape compression, but no compander. No companders from Klanghelm or Variety of sound either I'm afraid. But, SDRR my favourite saturation/distortion plugin is from Klanghelm and also sounds amazing in Satin's compander! :)

[@InXLsisDeo]

@@MichaelToddFutureTodd They have an input and output sound too, though. The input sound compresses and the output sound restores the level. Looks like a compander to me.

[@MichaelToddFutureTodd]

@@InXLsisDeo They have a makeup knob, which is really just a volume knob post compression, and automatic gain compensation which tries to match the compressed output level to that of the uncompressed output level so your hearing the effect of the compression rather then a volume change, essentially its just setting the makeup gain for you. But, it's not the same as an expander which increases the dynamic range, like the opposite of a compressor.

[@yossarian1633]

Decap style E ftw you know what's up.

[@davebullard]

I can't hear it! lolol. Lots to learn I suppose.

[@APaclin]

This is glorious!

[@Nantho_Valentine]

AudioThing has plug-ins for Type A and Type B encoding stage, but no decoder...

[@izvarzone]

yeah that's weird, why they didn't add decoder. I don't want everything sound bright af.

[@marcuskruse1]

What is your workflow for Satin? Is it on individual channels, individual busses, the mix buss and/or the master?

[@DanWorrall]

Yes ;)

[@DanWorrall]

Ok, so here's a better answer. If I want a mix to have a definite 70s/80s flavour then I might go to town and run linked instances of Satin on every channel. Actually more likely not quite every channel: all my kick mics will likely go to a kick bus with an instance, all my snare mics to another etc. as these would likely to have been bussed to one track when only 16 or 24 were available. Then I'll have another instance, often with different settings on the master bus, to emulate the 2 track recorder. Other times I might just slap one on the 2 bus to add some colour, without caring much if its an authentically tape style sound. If you want a multi track tape flavour without the CPU load of a full multi track setup, then a handful of instances on buses is the way forward. Or again, you can just colour your buses with Satins without bothering to link the settings or try to emulate an actual tape machine: its all good. Also I regularly use Satin as a tape delay, and occasionally for some authentic style flanging as well :)

[@marcuskruse1]

@@DanWorrall Thanks so much! Loving your tutorials :)

[@robfriedrich2822]

Is A type and B type Dolby and the both other ones dbx?

[@mattgilbert7347]

I always hated Dolby in consumer-grade cassette decks. It just muffled everything.

[@EgoShredder]

According to KZbinr Techmoan, this was down to badly aligned tape decks ruining the Dolby B effectiveness.

[@TallerdelSebaRehbein]

Amazing and very interesting, thanks for share!

[@coolscube5062]

Wow Did i hear the word "Dolby A/ B" no one mentions Dolby anymore ....>>>

[@izvarzone]

it was one of missing part of that 80's sound to me. Everyone talk about tape'n'stuff, but dolby is important too!

[@sionnachs_workshop]

Damn that's a real nice trick with the two instances

[@MrMikomi]

Sorry what in a nutshell is the use case for this plugin either with or without the compander? Ppl here are talking about rescuing old tape recordings from 1972! I don't have any such recordings to rescue so is this plugin of any more use than a chocolate teapot? At least I could eat the teapot.

[@DanWorrall]

It makes pretty much anything sound better

[@nickmarkham3743]

I have to say, I'm sort of doubting my ears after this one. :P I couldn't really hear any major differences between the companders when you were auditioning them over the full mix in the beginning. You said it was a significant difference, but for me it was rather subtle. (although I haven't been working on that mix like you have) There were certainly modes I liked better than others, but none of them sounded blatantly inappropriate or offensive to me. Am I missing something profound and obvious?

[@DanWorrall]

A few things to say here: first of all you're right that when you've been working on a mix or a master you're tuned in to notice differences much more acutely. You also need to be listening on a system that can recreate the details well enough. A phone or tablet speaker isn't going to cut it! But also: subtle does not necesarily mean insignificant. The difference between a rough mix and a polished final mix is rarely one magic trick or process, its an accumulation of a thousand little subtle changes that all add up to become a night and day difference (hopefully). So a change can be significant because it takes you a few extra steps on your journey, and those might be the final steps you need to reach your destination. Here's some pointers in case you decide to try again: listen out mostly for the change in the high frequencies when I use the A types. The ride cymbal gets brighter and glossier, and there's more "air". When I switch to the B type listen for a dulling of high frequencies, and softening of the snare. This is the closest to "inappropriate and offensive" to my ears. Uhx type I has a slightly mid scooped character, and is darker than the A types. Uhx type II: fat bass guitar! Enough that I would probably compensate by nudging the fader down on the bass channel...

[@nickmarkham3743]

Oh wow. I actually got everything except the bass guitar, even on the first run through. :) (says a lot about my home monitoring. :P ) Everything you said about significance and subtlety not being mutually exclusive makes sense. Very reassuring. :) Thank you, Dan. I appreciate this.

[@DarkSideofSynth]

Speechless...

[@zazyczech]

I grew up in the 90's with a cassette in my hand and I have to say that this video enriched me a lot. Although I didn't enjoy it much at first. But the ending is amazing!!! I have to try it. Thanks for the inspiration!

[@Hermiel]

Could not a crude compander be fashioned from a common multiband compressor and a multiband expander with complementary settings? ReaXcomp, f'rinstance?

[@DanWorrall]

It would be difficult to match them as well as proper companding. But arguably if you're putting distortion in between it doesn't really matter as this will change the expansion anyway. If you're building this setup manually however you could experiment with sidechains: try driving the expander sidechain with the original un modified signal for example.

[@Hermiel]

@@DanWorrall I'm going to mess with this. Will report back.

[@Valleedbrume]

I haven’t seen many demos on a compander.Nice.

[@ex0696]

Dan The Audio Emperor

[@kadmondrago]

Sweet baby Jesus, this is pure gold! :) Much love for sharing the knowledge!

[@JuergenFrey]

"How cool is that?!" Indeed - thank you very much for this deep and helpful insight in Satin!

[@tristanawild380]

Companding also lends the E-mu Emulator II its lovely sampling characteristics.

[@0e0]

Roland s-series samplers too like the s770 and s760 they also do emphasis de-emphasis (which Dan covers in another video)

[@richardtoth7240]

But does it djent?

[@unclemick-synths]

I used to work for STC and one of the trainers used to drive me nuts by saying "companding" and "decompanding". He was a nice guy and digital telecoms systems were on the way in so I didn't labour the point.