ANATOMY OF A COMPRESSOR

THRESHOLD
GAIN REDUCTION METER
Determines the level that the compressor kicks in.
How much gain is being reduced by
the compressor. When the audio is louder than the threshold level, the compressor turns on.
The more gain is reduced, the harder The lower the threshold, the more the audio is compressed.
the compressor is working.
RATIO
Determines by how much the volume is reduced.
The higher the ratio, the more aggressive the compression.
-10
To read a ratio, flip the numbers around. For example, a ratio of 4:1 means
-5
-20
that for every 1dB that goes above the threshold, 1/4th of a dB comes out.

-30

-50 0 ATTACK TIME

Determines how quickly the compressor completely engages and
reduces the volume of the audio.
Faster attack times make an instrument thick and controlled.
Slower attack times make an instrument punchy and exciting. Unless
THRESHOLD RATIO MAKEUP GAIN you have a reason, this is usually preferred.
5 10
-30 -20 5 8
0 15

3 12
20
RELEASE TIME
-5
-40 -10
30
Determines how long it takes the compressor to completely disengage
-10
2
20
and return the audio to its normal level.
-15 40
-50 0
1 30
dB :1 dB
KNEE
Determines how aggressive the compression sounds.
KNEE ATTACK RELEASE
A “soft knee” (1.0) makes the compression more subtle.
20 50 100 200
0.4 0.6
80 500
A “hard knee” (0.0) makes the compression more obvious.
15 50

10 120 20 1K
0.2 0.8
5 160 10 2K MAKEUP GAIN
0 200 5 5K Increases the output level to compensate for the loss in volume due to
0 1.0
ms ms compression.
Use makeup gain to keep your instrument from getting quieter in the mix.