No it isn't, flux does the equivalent in audio engineering of just turning the volume down while applying a broad "tilt" eq that gently and broadly cuts high frequencies.

I get really frustrated that people always respond this way, the difference between a compressor and a volume knob + eq is that the compressor dynamically responds to inputs whereas a basic volume knob and equalizer do not dynamically respond to inputs but rather apply the same effect equally to all of the audio sent through it... this is one of the first things you learn in audio engineering and production and yet it is a total alien concept in computer displays even though everyone is constantly gouging their eyes out because we don't have a way to place a limiter on how drastically contrast can change on a computer monitor.

Think of it this way, you can manually make a volume knob into a compressor by sitting there and turning it up and down on a track as you listen, this is what all those faders are for on mixing boards in studios, so that an audio engineer can go through a track and slightly adjust volume levels on each track throughout the span of the track in order to create a balanced mix.

The reason compressors were invented is it is tedious to do this to every little part of an audio track for every audio track and that a general algorithmic/analog circuit can be set up to only begin turning the volume knob down when the input signal gets above a certain loudness threshold (however that is measured by the compressor design) and to return turn the volume knob back to its original position once the signal drops below a certain loudness threshold.

The specific family of compressor designs that are most relevant to computer displays are called in audio engineering "transient designers" (most often used to tame the intense transient energy from sibbilants or plosives in vocal tracks, think sh sounds and p or b sounds) as they allow you to shape how much the signal can change in overall energy over a unit of time. You can reduce the punch inherent to most sounds that happen at their beginning or increase it, with computer displays a similar tool would allow you to limit how quickly the computer screen could change overall brightness (perhaps applied on a local and global scale).

https://www.soundonsound.com/...

https://www.kvraudio.com/...

there are quite a few ways to use more granular targeting. for example, we have specific url patterns that get challenged if certain headers have certain values and are missing others, while other urls won't get challenged.

it would be trivial for them to not DDoS and yet they keep doing it.

if they were calling Lemmy APIs directly they would significantly reduce the load they bring to our service. if they were speaking ActivityPub they could even get the content delivered to their front door directly via federation.

they don't care that they DDoS websites. they don't care about optimizing for how certain types of websites are built, to reduce impact on third parties. the only language they speak is DDoS.

they intentionally spoof legitimate browser user agents and cycle through massive ranges of IP addresses. they have enormous pools of IPv4 addresses available that allow them to only use each IP for a couple of requests before cycling to the next one, which is yet another way they evade detection, as they are bypassing any rate limits we have configured that way.