Compression

Cheatsheet
 Compression Cheatsheet

Vocals

Think of attack time as a consonant-control knob. A slower attack will emphasize consonants,
making the vocalist sound like they’re spitting out the words more aggressively. Faster attack
times will shave off consonants, making the performance sound smoother and less aggressive.

Think of release time as a low-level detail control. A fast release will bring up the tail ends of
phrases, breaths, and quieter notes. This can make a performance sound more aggressive and
urgent. A slower release will preserve the natural character of the performance, leading to more
transparent dynamic control.

If the sound of the compressor kicking in is distracting, a soft knee can make it less noticeable.
Some compressors will give you the option to dial this in manually. Others, like the LA-2A,
feature a soft-knee that’s always on.

For more tips, ​read this article on vocal compression​.

Drums

Watch your attack time. A fast attack can destroy the punch and impact of drums. In most
cases, a slow attack is what you want.

A fast release will bring up room ambience. This can make the drums sound bigger.

Heavy compression can bring up cymbal noise on every track. If the cymbals are getting too
loud, dial back the compression and use drum samples to augment the performance. You can
compress the samples to get the punch you want, without bringing up any cymbal noise.

You can use parallel compression to make the drums sound thicker and denser, which can help
them sit better in a mix. For more details, ​watch this video on parallel compression​.

If you’re working with samples, don’t be afraid to leave them alone. They often sound great
as-is.
Bass

Optical compressors like the LA-2A and LA-3A often work well.

Watch your release time—if it’s too fast, you’ll add distortion. This isn’t always bad, however, as
it may help the bass cut through.

Don’t be afraid to compress heavily—modern mixes generally feature a rock-solid low end.

Guitars

Distorted guitars may not need any compression, as the distortion will often round off any
peaks. Don’t be afraid to leave them alone.

For acoustic guitars, two-stage compression often works well. Start with a limiter to reduce
short-term peaks, followed by a slower, gentler compressor with a soft knee to even out the
overall dynamics.

De-essing acoustic guitars can tame peaks and help them sit better in the mix.

In most cases, you’ll want to time the release so the compressor fully recovers before the next
strum.

Keys/Synths

Your approach should vary widely based on what you’re working with.

Compressing a piano with a slower release can add sustain.

Soft-knee compression generally works well on piano.

Before you reach for compression, try adjusting the velocity of your MIDI notes. If your parts are
programmed well, they often won’t need any compression.

For more mixing tips, visit ​BehindTheSpeakers.com​.

 9 Compression Mistakes You Don’t Know You’re Making

Grammy-winning mixer Bruce Swedien has a famous saying…

“Compression is for kids.”

Pssht.

The truth? Compression is ​crucial​. And if you want to craft a modern-sounding mix,
you’re gonna have to use it.

But conquering compression is tricky. There are hundreds of plugins to choose from, a
plethora of parameters to tweak, and dozens of things you can do with it.

With so many options, it’s easy to get overwhelmed. And it’s even easier to make
mistakes—which can turn any mix into a flat, lifeless pancake.

Yikes.

Avoid these nine pitfalls, however, and you’ll have nothing to worry about. Before long,
you’ll be compressing like a pro.

1. You’re Stuck In The Past

If I see another shootout comparing a dozen 1176

plugins, I might retire.

The 1176 was released 50 years ago.

Sure, it was great for its time. But are there no better tools
available today? Has ​no one​ improved upon this design
over the last 50 years?

No other industry romanticizes the past to such a great

degree. Publishers don’t do shootouts to find the best
version of the Guttenberg printing press. Sure, it was
great for its time. But today, we have the internet.
If you’re trying to find the best replica of an ancient compressor, you’re barking up the
wrong tree. Many modern compressors blow the classics out of the water. They’re more
versatile and sound better.

Are you looking for them?

2. Your Attack Time Is Too Fast

Fast attack times are seductive.

They cause compressors to clamp down quickly, which can make tracks sit evenly in a
mix with minimal fuss. For this reason, many mixers dial in fast attack times by default.

So what’s the problem?

Fast attack times ​destroy​ transients.

These are the short bursts of sound at the beginning of notes—the bright pluck of a pick
hitting a string, the thwack of a drumstick on a snare, the consonants in a vocal
performance. Transients add energy and life to music. Removing them can make a mix
sound flat and unexciting.

This is likely why Bruce Swedien avoids compression altogether. To him, the risk of
sacrificing the transients isn’t worth the benefits.

But there’s no need to throw the baby out with the bathwater. Instead of avoiding
compression, just slow the attack time down. This will cause the compressor to let the
transients pass through unharmed.

The result?

You’ll get all the benefits of compression, while retaining the punch and impact that
makes music compelling.

3. You Compress Without Context

When you’re tweaking a compressor, it can be hard to hear subtle changes.

To hone in on difficult decisions, many mixers solo the track they’re working on.
This makes changes easier to hear. Without the distraction of other tracks, you can be
more discerning. The right choices ​seem​ more obvious.

So what’s the problem?

The solo button removes the ​context​ you need to make good mixing decisions.

In solo, you’ll be guided towards choices that make tracks sound better ​on their own​.
But these decisions often don’t hold up in context. At best, they’ll need additional
tweaking. At worst, they’ll lead you down the wrong path.

For example, tracks often need a lot more compression than you’d ever apply in solo.
Excessive soloing can lead to under-compression, which can make tracks sound shaky
and unstable in a mix.

It doesn’t matter how a track sounds in solo. All that matters is how it fits within the rest
of your mix.

Avoid the solo button while compressing. Force yourself to make decisions in context,
with the rest of the tracks playing. This can be difficult at first, but it will lead to better
compression decisions.

4. You Put It On Everything

I like ketchup. In fact, I like it a lot.

But some people ​love​ ketchup. And their

passion for ketchup extends beyond burgers
and fries.

They put it on ​everything​. Eggs, bacon, onion

rings…

Compression is not ketchup. Put in on every

track, and you’ll end up with a small, lifeless mix.

The secret?
Always have a reason for using it. And don’t be afraid to leave things alone. Many
tracks—including distorted guitars, drum samples, and virtual instruments—will sound
fine without it.

If it ain’t broke, don’t fix it.

5. You Monitor Too Loud

When you crank the speakers, it’s easy to hear everything. Tracks sound clear and
impactful. And you feel like a pro.

Turn the speakers down, however, and a lot of that detail will disappear. When the
singer dips into her lower register, she’ll get drowned out. That dynamic guitar part will
sound shaky and inconsistent. And suddenly, you don’t feel like a pro.

But you end up working a lot harder. And compressing ​a lot​ more.

This is a good thing. It will lead to a mix that sounds great at any volume.

Force yourself to mix at lower levels, and your mixes will improve.

6. You Use It As A Crutch

Rely on compression exclusively, and you’ll continually come up short. You may not
have to move any faders, but your tracks will often end up sounding flat and lifeless.

The trick?

Get 80 to 90 percent of the way there with compression. Tracks should sit evenly
without moving any faders. Then, flip on the automation and bring it home. Ride up the
words and phrases that get lost. Bring up any details that the compressor missed.

Even the best compressor won’t replace a fader. They’re both essential. Use them
together.

7. You Use Multiband Like It’s Going Out Of Style

Mastering engineer John Scrip has a nickname for multiband compression.

He calls it ​maul-the-band​ compression.

While many mixers use multiband compression liberally, I find it works best as a
problem-solving tool. I avoid it unless necessary, because it’s got some serious
downsides.

Splitting a track into multiple bands and processing them independently can create
artifacts and phase problems. And in most cases, single-band compression will do the
job just fine.

My advice? Try single-band first. And if you’re using a multiband compressor, have a
reason for it. More knobs don’t mean better results.

8. You Apply It All At Once

Ever hire a painter? The best painters apply several coats.

First, they cover the walls with primer. Then, they add a few coats of paint. And finally,
they touch up any areas they missed.

Compression works in the same way. For best

results, apply it in stages.

Many mixers try to do too much at the end of

the line. If they want a louder mix, they add
more compression and limiting to the mix bus.

The result?

A wimpy, distorted record.

Instead, compress in stages. Shave a few dB off tracks. Take a few more off your group
busses. And finish it off with some gentle mix bus compression.

This approach will yield more musical results. And the kicker? You’ll often be able to
achieve louder levels without distortion.
9. You Don’t Level-Match

Most compressors have a control called makeup gain, which allows you to turn the track
up after it’s been compressed.

This control can be dangerous. Add too much makeup gain, and your track will end up
louder than it was originally. This can make it difficult to determine whether the
compressor is actually making the track sound better.

Flip the bypass button in and out, and you’ll probably prefer the track with compression.
But is it ​really​ better, or just louder? It’s hard to know. In some cases, your compressor
might not be compressing at all. It may even be making things sound worse.

To avoid this trap, always adjust the makeup gain until there is no change in level when
you hit the bypass button. This is the only fair way to evaluate your decisions. Get this
right, and you’ll always make the correct call.
 My 5 Favorite Compressor Plugins

1. Slate’s FG-Grey (part of their Virtual Bus Compressors package)

Slate’s FG-Grey is a souped-up emulation of an SSL G-series bus compressor (perhaps the
most iconic mix bus compressor of all time). It’s got a bright, snappy sound that pairs well with
most modern genres. The added high-pass filter and mix knob can be a lifesaver.

2. Sonnox’s Oxford Dynamics

Sporting an algorithm originally designed by world-renowned engineer Paul Frindle (known for
creating the legendary SSL G-series bus compressor), the Oxford can nail nearly any
compression task with grace and musicality. It’s got an incredibly transparent sound that
enhances mixes without adding any color or tonal shift.
3. FabFilter’s Pro-C 2

Known for its gorgeous interface, flexible sidechain filtering, and wide variety of compression
styles, FabFilter’s Pro-C 2 is the compressor of choice for many modern mixers. While I don’t
find it to be as musical as the Oxford, its auto-release function can deliver better results on
tracks with complex dynamics (like acoustic piano).

4. McDSP’s 6030 Ultimate Compressor

The 6030 features 10 (yes…10!) compressor modules in a single interface. The modules range
from emulations of studio classics like the 1176 and LA-2A, to custom creations like the FRG
444 and iComp. The 1176 and LA-2A are spot on, and a bit more hi-fi than those in Waves’ CLA
Classic Compressors bundle. Also, nothing beats the Over EZ on drums.
5. UAD’s Fairchild 670

The Fairchild’s uber-slow release time can works wonders on downtempo ballads. It’s also got
an incredibly colored sound that will add heaps of character to any mix. This one’s a bit of a
one-trick pony, but when it works, there’s nothing like it.

For more mixing tips, visit ​BehindTheSpeakers.com​.

 I hope you enjoyed reading this PDF!

For more free mixing tips and tricks, check out my website, ​Behind The Speakers​.

The material in this PDF was adapted from several articles that I originally wrote for ​The
Pro Audio Files​.