![]() If you use this method then you'll need to get the piston dish/dome CC. You can also use hand held calipers, but I've not had too much luck with that. This way will also take into account the piston top.The second way is to use a dial indicator, and measure the different between the deck and the piston top. I don't use water, it may rust the bores if you don't wipe it all out, etc. I've used ATF as the liquid, its a fairly runny oil with lots of detergent. Use a smal piece of plexiglass to cover the opening, so you know when the liquid reaches the exact top. Then use the same burret and measure the volume to fill to the deck. Personally I've used vasoline and wipe a small amount around the gap between the piston and wall. Neon101 wrote:To figure out the volume inthe block there are a few ways of doing this.First is to rotate the piston to Top Dead Center (TDC). Do the conversion, and the 0.050 mm is WAY too thin. One small correction, the HG compressed height is NOT 0.050 mm. That's usually a number that the piston mfg can give you. The second way is to use a dial indicator, and measure the different between the deck and the piston top. ![]() This way will also take into account the piston top. It is important to experiment with different ratio settings to get the best results.To figure out the volume inthe block there are a few ways of doing this.įirst is to rotate the piston to Top Dead Center (TDC). In general, the ratio should be adjusted based on the specific requirements of the audio recording and the desired sound. However, it is important to be mindful of the amount of compression used, as excessive compression can result in a loss of musicality, character, and energy in the audio. This can be useful in musical genres such as pop and hip-hop, where a more compressed and controlled sound is desired. This means that the output signal will be reduced by a factor of 6 compared to the input signal, creating a significant reduction in the dynamic range of the audio.Ħ:1 compression is similar to 4:1 compression in that it is used for heavy compression and is often used to control the overall volume level of an audio recording, reducing the difference between quiet and loud parts. In a 6:1 compression ratio setting, for every 6 dB that the input signal exceeds the set threshold level, the output will be only 1 dB above the threshold. The correct ratio depends on the type of audio recording and the desired effect.įor example, pop music and hip-hop often benefit from high compression ratios, while classical, jazz, and acoustic music often benefit from low compression ratios. It is commonly used for controlling the overall volume level of an audio recording, reducing the difference between quiet and loud parts.Ī low ratio setting will result in a natural and transparent sound, while a higher ratio will result in a more compressed and controlled sound. On the other hand, a high compression ratio (4:1 or more) is used for heavy compression, which results in a significant reduction in the dynamic range. It is commonly used for tonal compression, ensuring that no sound exceeds a certain level or causes distortion. The lower the ratio, the less the reduction in volume, and vice versa.Ī low ratio (1.5:1 or 3:1) is used for light compression, which results in a subtle reduction in the dynamic range of an audio signal. ![]() This helps make the loud parts more controlled and brings up the quieter details, resulting in a more balanced and polished sound. For example, a compression ratio of 4:1 means that for every 4 decibels the audio goes above the threshold, it will be squeezed down to 1 decibel.
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