How do you compress dialogue for different platforms and delivery formats?

2 How to set the threshold and ratio?

The threshold is the level above which the compression kicks in, and the ratio is the amount of compression applied to the signal that exceeds the threshold. For example, if you set the threshold at -20 dB and the ratio at 4:1, every 4 dB of signal above -20 dB will be reduced to 1 dB. The lower the threshold and the higher the ratio, the more compression you will get. To compress dialogue effectively, you need to adjust the threshold and ratio according to the loudness and dynamics of your dialogue, as well as the delivery format and platform. A good starting point is to set the threshold slightly below the average level of your dialogue, and the ratio between 2:1 and 6:1.

3 How to set the attack and release?

The attack is the time it takes for the compression to reach its full effect, and the release is the time it takes for the compression to return to normal after the signal drops below the threshold. The attack and release settings affect the responsiveness and smoothness of the compression, as well as the transients and tails of the dialogue. For dialogue compression, you want to use a fast attack and a fast or medium release, depending on the style and pace of your dialogue. A fast attack will catch the initial peaks and consonants of the dialogue, while a fast or medium release will prevent pumping and distortion. A good starting point is to set the attack between 1 and 10 ms, and the release between 50 and 200 ms.

4 How to compress dialogue for broadcast?

Broadcast audio has strict standards and regulations regarding the loudness and dynamic range of the dialogue. Generally, broadcast dialogue should have an average loudness of -24 LUFS (Loudness Units Full Scale) and a peak level of -2 dBTP (True Peak). To achieve this, you need to use a combination of compression and limiting on your dialogue tracks and buses. A common practice is to use a gentle compression with a low ratio (2:1 or 3:1) and a moderate threshold (-25 to -20 dB) on each dialogue track, followed by a more aggressive compression with a higher ratio (4:1 or 6:1) and a lower threshold (-30 to -25 dB) on the dialogue bus. Finally, you need to use a limiter with a ceiling of -2 dBTP on the master bus to prevent clipping and overs.

5 How to compress dialogue for streaming?

Streaming platforms such as Netflix, YouTube, Spotify, and Apple Podcasts have different loudness targets and dynamic range preferences for their audio content. For example, Netflix requires an average loudness of -27 LUFS and a dynamic range of 16 LU, while YouTube recommends an average loudness of -14 LUFS and a dynamic range of 12 LU. To compress dialogue for streaming, you need to measure the loudness and dynamic range of your dialogue with a metering plugin or a software tool, and adjust your compression settings accordingly. You can also use a loudness normalization plugin or a software tool to automatically match your dialogue to the desired loudness target of your streaming platform.

6 How to compress dialogue for gaming?

Gaming audio has different challenges and opportunities than other audiovisual media, as it has to adapt to the interactivity, variability, and immersion of the gameplay. Gaming dialogue should be clear, consistent, and expressive, as well as compatible with the sound design and music of the game. To compress dialogue for gaming, you need to consider the genre, style, and context of your game, as well as the platform and device of your audience. For example, if you are working on a cinematic game with realistic dialogue, you might want to use a subtle compression with a low ratio (2:1 or 3:1) and a high threshold (-15 to -10 dB) to preserve the natural dynamics and emotions of the dialogue. However, if you are working on a casual game with cartoonish dialogue, you might want to use a heavy compression with a high ratio (6:1 or 8:1) and a low threshold (-30 to -25 dB) to make the dialogue more punchy and exaggerated. In addition, you need to use a limiter with a ceiling of -0.5 dBTP or lower on your master bus to avoid clipping and distortion on various speakers and headphones.