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It’s possible their compression settings were actually exaggerating the peaks instead of compressing them, and then they did nothing to control those peaks afterwards. This is a really common thing that can happen with a superficial use of compressors. Especially if you did averaged loudness-matching of the compressed signal with the uncompressed signal. It ends up being spikier than before compression. I would entirely believe a waveform with those added spikes would be more damaging than a controlled waveform that had been saturated or limited after compression. I don’t have access to the original publication, so I can’t check and find out.



Or in short (as every modern producer already knows): Put a limiter on that!

Actually, put a limiter everywhere - if you work in software, they're real cheap..


My Bitwig template: limiter on master track. My Renoise template: limiter on master track.

Now I have no fear of loading random presets.




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