Compression Cheat Sheet

The Recording Solution

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 Threshold

The level at which the

compession kicks in: Like a
line in the sand. If no audio
crosses the line, no
compression will occur

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 Ratio

The ratio determines how

much the volume will be
reduced by. A 1:1 ratio will
have no compression or gain
reduction.

The higher the ratio, the more

compression or the more
gain reduction

The lower the ratio, the less 

compression or the less
Gain Reduction

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 Attack

Determines How Fast or slow

the compressor will kick in
and turn down the volume of the
audio source

Faster attack Less transients,

Slower attack more transients

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 Release

Determines How long the

compressor takes to disengage
or let go of the audio and let
it return to it's normal volume

For faster tempo songs, you may

need to set the release faster on
instruments in order to reset for
the next transient. Use your ears
and adjust

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 Gain (make up gain)

Increases the output level

Shows Gain Reduction (GR) of the compressed audio to make
in DBs up for the gain or volume that
was turned down by compression.
If you have 6dbs of gain reduction,
you can turn up the Gain 6dbs to
get the output volume back to it's
original level (input level)
You can compare input gain, 
and output gain and adjust output
to match input after compression

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 Knee

Tells the compressor how hard or

how gentle to clamp down on the
audio source.

Hard knee can be more noticeable

of an effect

Soft knee can be more gentle of an

affect. 

Use your ears

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 Compress For A Reason

1. Don't just compress because you think you need to. Think about why you want or need to compress. For example:
If your vocals are too dynamic, meaning there is a lot of loud and quiet parts and you want a more even performance.
Then you would use a compressor to even out the high volume and low volume of the vocal performance making it more
consistant.

Compression Tips
Stack compressors - "Serial Compression" - Using 2 or more compressors to do the work instead of just one. Break up the work
load. For example: Instead of having 1 compressor do 6dbs of gain reduction, have 2 compressors do 3dbs of gain redcution
each. More natural result

Parallel Compress: Set up a parallel compressor on the audio source to keep the original source as natural as possible. Blend
in the parallel track to fatten, add warmth, and to excite the orginal track. A little goes a long way

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 Common Compression Settings

Vocals : Medium to Slow Attack, Fast Release, use Serial Compression, use parallel compression,
lower ratios around 2:1.
You need to keep the vocal as consistent as possible in volume and always audible. You may need to
use volume automation along with compression for final result
Background vocals- Try a faster attack to tame the transients so there is nothing poking out taking
over the lead vocals. Release times can be fast. Same ratios as Lead. Parallel and serial compress

Drums: Medium to Slower attack to keep drums punchy and preserve the transients. If Drums are too dynamic and have
too much attack, move the attack time to be faster to catch the transients sooner. Set the release time depending on the
tempo and drumming pattern. A super fast drum performance will need a faster release to reset for the next hits. A
slower tempo can use a slower release. Use your ears . Higher ratios like 4:1 is a good starting point. Kick and snare need
to be very consistent. Use parallel compression. Also use parallel compression on the drum bus (master drum fader) and
blend in instead of over compressing the drums as a whole. Makes for a natural sound and keeps the cymbals from
pumping. May just paralell compress the Kick, snare, and toms and leave the cymbals out.

Bass Guitar - Needs to be consistent. Medium to Fast attack, but be careful on too fast of attack because it may cause
distortion. Adjust accordingly. Release depends on tempo and playing style. Set the release fast enough to reset for the
next transient. Super fast tempo faster release and slow tempo slow release. Play around with low and high ratios. You
can get away with higer ratios on bass. Use your ears and adjust to song. Serial compression. Parallel compession

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 Electric Guitars - Distorted guitars are already compressed, but you can compress them still to enhance the sound.
Listen for the style of playing. The cleaner the guitar the less compression it already has. The more distorted crunchy
the more it already has. If it is a very dynamic guitar you may want faster attacks to catch the peaks. Play around with
attack and release times. Low ratios to medium ratios. parallel compress, serial compress

Acoustic Guitars - No need for lots of compression. Will sound un-natural. Faster attack to tame transients, Slower
attack to let acoustic transients cut through mix more. Release depends on tempo and strum pattern. Low ratios like 2:1.

More Tips
You can start with presets on plugins. These are good starting points and then adjust them for you audio source. A
lot of times these presets can get you very close to what you need for the particular instrument. You will have to
adjust the thresholds and gain control to appropriate levels for your source.

Always use your ears and keep practicing!

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