How can you use a compressor to even out audio levels in a video?

Compressors really do work like magic. I'd suggest looking into the classic LA-2A and 1176 compressors. Both offer several plugin emulations that perform exceptionally well. The LA-2A, being an optical compressor, is user-friendly. Similarly, the 1176 is a classic compressor known for its great performance. There are plenty of tutorials available on how to use them effectively, making them excellent additions to any setup.

In the past I have experimented with various values and types of capacitors in line with the basic tone controls of musical instruments such as electric guitar or bass. At that time I didn’t think about the fact that the capacitors and their values were actually storing and releasing signal to produce different tonal effects.

For improved audio editing, I recommend exporting your audio to a Digital Audio Workstation (DAW) such as Logic Pro X for Mac users, Pro Tools, or any other preferred DAW. These platforms offer superior tools for audio editing and mixing. If you're editing audio for video on the go, watching tutorials on how plugins work and preparing audio for video is beneficial. It's important to remember the interdependence of fields: just as audio specialists need video producers, video production significantly benefits from skilled audio professionals.

A compressor does not necessarily impact volume, this would be more the function of a limiter - often a feature available on compressor devices, or full featured mixers.

I don't like to jump in but the answer is not correct. A limiter is used to stop audio peaks from overdriving, or limiting Audio signals in a path, usually at a ratio of greater than 8 to 20:1 referred to as a "Brick Wall" . (at 20:1 the input level would have to rise 20 dB above threshold to increase the output by only 1 dB). The compressor works much like a limiter, but usually with a much lower compression ratio, like 3:1 to 6:1, with a threshold point set to gently reduce the dynamic range, so to keep the vocal or instrument within a desired dynamic range, and then bring up the output level so to raise the content level without peaks, lifting the overall level while limiting the dynamic content (lower levels versus loudest peaks).

When adjusting compressors for audio dialogue, first listen to the audio to determine if compression is necessary. If you're handling audio editing without a professional audio engineer, it might indicate a lower budget, which often (but not always) means the audio might not be recorded with optimal quality. So, initially assess the audio. Does it sound professional and clear? Is the message effectively communicated? If the audio already sounds good, adding compression could potentially degrade its quality, especially if it was recorded on devices like an iPhone or a generic microphone, which often have built-in compression. Trust your instincts, aim for excellence, and don't hesitate to seek advice from audio experts.

The attack time and release time will determine how aggressive the compressor will sound. A fast attack will decrease transients and make the sound a little less bright, even making it sound dull, while the release time can squash content if too long, or make things sound like a pump. Allowing transients to pass also can make something sound louder than the actual content. Heavy compression with gain make-up, and fast release can raise breaths between words, making it very annoying to listen to. Always switch compressor in and out to see what you have changed. Usually, the engineer uses a comp-limiter for protection against clipping, but a good engineer can also use the comp-limiter as an artistic tool to manipulate voices for effect.

Navigating the audio-video realm requires skill. Just like an audio engineer needs a video editor, a video editor needs an audio expert. Imagine an audio specialist inexperienced in video colorizing work from a seasoned video professional. Adding compression to already mixed and mastered music can ruin it. For videos with songs, consider the music's source. When adding dialogue, use just a limiter on the master track to avoid saturation. Balance between dialogue and music is key. If unsure, especially in audio-video editing, seek expert advice for the best outcome.

1. Threshold: Set lower for sound effects to capture dynamics, higher for background noise to avoid triggering on the noise. 2. Ratio: Use a higher ratio for sound effects to prevent overpowering; a lower ratio keeps background noise subtle. 3. Attack and Release: Fast attack for sound effects to catch sudden sounds; longer release for background noise for smoothness. 4. Make-up Gain: Adjust to bring levels back up post-compression, but avoid overdoing it. 5. Monitor for Pumping/Breathing: Listen for unnatural sounds, a sign of over-compression. 6. Test in Mix: Ensure they fit well with the overall audio. Use compression to balance and control, maintaining the audio’s natural quality.