The Tool Desk
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File compression and dynamic-range compression are different
File compression encodes audio data to reduce file size. Lossless formats preserve the encoded source data when decoded; lossy formats discard some information to achieve smaller files. Converting a WAV to MP3 is a file-encoding choice, not proof that a studio compressor was used.
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Dynamic-range compression is audio processing. A compressor reduces signal level when it rises above a threshold, narrowing the difference between louder and quieter moments. A compressor plugin does not, by itself, make the audio file smaller. iZotope contributor Chris Wainwright defines it as controlling dynamic range “by reducing its level when it rises above a specified threshold” in iZotope’s 2023 explanation.
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Repeated lossy exports
Each lossy encode discards information; a later conversion cannot recover what an earlier one removed. If the original is available, export every delivery copy from a lossless or uncompressed master rather than converting one lossy file into another. For example, make an MP3 and an AAC delivery copy separately from the master instead of making AAC from the MP3.
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Choosing by extension or bitrate alone
WAV and AIFF commonly contain uncompressed PCM audio; FLAC and ALAC are lossless formats; MP3 and AAC are lossy codecs. The file extension alone does not establish every encoding detail, so check the actual codec and settings. A smaller bitrate usually means a smaller lossy file, but the trade-off can include audible artifacts. Codec, source material, bitrate, and playback conditions all affect the result; there is no universal bitrate that guarantees transparency for every case.
Skipping a check of the encoded result
Lossy encoding can change peak levels and introduce artifacts. Listen to the actual file encoded for its intended destination, rather than assuming the source and encoded version will sound or peak identically. iZotope’s Ozone 8 Codec Preview documentation recommends about 1 to 1.5 dB of headroom when anticipating MP3 or AAC encoding. That is vendor guidance to reduce clipping risk, not a universal standard or a requirement for every workflow; see the Ozone 8 Codec Preview documentation.
Rank #2
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What to avoid when compressing dynamics
Adding a compressor without a specific problem to solve
Compression is not mandatory on every track or mix. Use it when you want to control a particular dynamic issue, such as uneven level, and compare the result with the compressor bypassed. Match perceived loudness as closely as practical: the louder version can seem better simply because it is louder, even when the processing has not improved the sound.
Using settings without listening for side effects
Ratio determines how much level is reduced above the threshold, while attack and release control how quickly gain reduction changes. Settings depend on the source and intended sound; no single preset works for every recording. Listen for lost transients, distortion, or pumping, especially with fast attack or release times or heavy gain reduction. Compression can make a performance more consistent, but applying it to a full mix affects the whole sound.
Rank #3
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Confusing a limiter with an ordinary compressor
A limiter belongs to the same broad family of dynamics control, but it is commonly used for peak control and generally uses a much higher ratio than ordinary compression. It is not simply interchangeable with a compressor; the right choice depends on whether the goal is broader level shaping or limiting peaks. The ITU-R report on dynamic-range processing discusses these techniques in the context of broadcast audio: ITU-R BS.2217-1.
Ignoring background noise
Reducing dynamic range and raising average level can make room tone, hiss, or other background noise more noticeable. Check quiet sections as well as loud ones, particularly when applying substantial gain reduction and makeup gain.
Rank #4
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How to choose and check the right approach
| Decision | What to compare | What to avoid |
|---|---|---|
| File delivery | Lossy versus lossless encoding, codec, bitrate and file size, destination compatibility, and the audible result after encoding. | Repeated lossy conversions, relying on the extension alone, or assuming the encoded peak will match the source. |
| Dynamics processing | The problem being addressed, gain reduction, transient preservation, pumping or distortion, noise audibility, and preference at similar perceived loudness. | Applying compression by habit, judging a louder version as automatically better, or choosing settings without checking their effect. |
A practical sequence is to preserve a lossless or uncompressed master; make a delivery encode in the codec and settings the destination requires; then listen to that encoded file. For dynamics work, identify the problem first, apply only enough processing to address it, and compare against bypass at similar loudness. These checks make the choice about the result you need, rather than treating one format or setting as universally best.
Quick Recap
Best Value
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