Audio Compression Basics

Compressors and limiters are music production tools used to reduce the span
between the softest and loudest parts of an audio signal. They allow you to
control levels, and when used properly, result in louder, more professional
sounding recordings.

Why Compress?

Compressors are one of the most important effects to understand when trying
to get recordings that sound professional and radio-ready. When used
properly, they can make your tracks sound punchy, balanced, and loud, while
also injecting coloration and tone.

But over-compressing can squeeze the life out of your recordings. So having a
good grasp of the basics will ensure that you are getting the most out of this
essential tool.

Audio Compression Explained

Whether you’re using a hardware compressor or a plug-in, there are a few
common controls that you should be familiar with.

Threshold

The threshold is the level at which the compression effect is engaged. For
example, if the threshold level is set at - 10 dB, only signal peaks that extend
above that level will be compressed
Knee

The knee refers to how the compressor transitions between non-compressed

and compressed states. Most compressors allow you to choose either a “soft”
or a “hard” knee. While some compressors allow you to select positions
between the two types of knees.

A soft knee allows for smoother and more gradual compression than a hard knee.
Attack Time

This refers to the time it takes for the signal to become fully compressed after
exceeding the threshold. Faster attack times are usually between 20 and 800
microseconds, while slower times generally range from 10 to 100 milliseconds.
Some compressors express this as slopes in dB per second, rather than
time.some basic tips if you’re not used to thinking about your sounds this way:
● A fast attack setting is good for controlling aggressive transients like
those of a picked bass guitar
● A slow attack time will let some of the sound’s transient through to keep
some punch and dynamics—this is often helpful for drums and samples
● A fast release can help create a sense of pressure and rhythmic action to
the sound
● A slow release can make the compressor’s action seem less pronounced
and more subtle

Release Time

You can think of release as the opposite of attack. It’s the time it takes for the
signal to go from the compressed state back to the original non-compressed
state.

Release times will be considerably longer than attack times, generally ranging
from 40‑60 ms to 2‑5 seconds. Like attack times, these can also be expressed
as slopes in dB per second.

Tip: Your release time should be set as short as possible, while avoiding the
"pumping" effect. This is a common mistake when compressing low-frequency
material such as electric bass and kick drums. If your release time is set too
short, you will hear the compressor cycling between active and inactive states,
resulting in a “breathing” effect.
This graphic illustrates how Attack and Release settings affect the waveform of an audio signal.

Ratio

Ratio specifies the amount of compression applied to the signal. This setting is
expressed in decibels. For example, a ratio of 2:1 indicates that a signal
exceeding the threshold by 2 dB will be attenuated down by 1 dB. A signal
exceeding the threshold by 8 dB will be attenuated down by 4 dB, etc. A ratio
of 1:1 represents “unity gain” — in other words, no attenuation.

A ratio of around 3:1 is considered moderate compression. 5:1 would be

considered medium compression. 8:1 starts getting into strong compression,
and 20:1 thru ∞:1 (infinity to one) would be considered “limiting” — an effect
that can be used to ensure that a signal essentially never exceeds the set
threshold.
This graphic illustrates how your compression ratio affects the output of your signal.

Output Gain

Although we perceive compressed signals as being louder, compression

actually results in overall lower output. This is where “output gain” or
“make-up gain” comes into play.

Output gain is used to “make up” for the attenuation achieved by the
compressor. Some compressors provide meters to visually indicate the total
attenuation in dB, allowing you to accurately apply the correct amount of
make-up gain.

Hardware compressors use either tube or solid-state components for their

output gain stage, which can further influence the amount of color and
character applied to your track.
Common Compressor Types
There are four common types of audio compressor:

1. Tube

Tube compressors have been around since the 1950s, and are known for
imparting warmth, color, and harmonics thanks to their tube gain stage. They
tend to have slower attack and release times, resulting in a more "vintage"
sound that can be difficult to achieve with other compressor types.

The UAD Fairchild Tube Limiter Collection is an authentic emulation of the most coveted tube
compressor/limiters in the world, a favorite of the Beatles and Motown.
2. Optical

Optical compressors employ a light element and an optical cell. As the

amplitude of the signal increases, the light element emits more light, causing
the optical cell to attenuate the amplitude of the output signal.

Perfect for nearly any source, the Teletronix LA-2A is a revered optical compressor that uses a tube
for its make-up gain.

3. FET

FET or “Field Effect Transistor” compressors emulate tube sound, but with
transistor circuits. They are fast, clean, and reliable — perfect for punching up
drums, vocals, bass, guitars, and more.

The very first FET compressor, the 1176 has been used by everyone from Led Zeppelin to Michael
Jackson
4. VCA

Fast and punchy VCA compressors run the gamut. From the Rolls-Royce
compression of the SSL G Bus or E, to the hot-rod attitude of the legendary
dbx 160, this category of solid-state compressors can add unrelenting
character to drums, guitars, and the mix bus.

The SSL G Bus and E Series are modern VCA compressors that are known for their transparency and
flexibility.
Compression Tips & Techniques

Here are four tips to get you up and running with compression. Applying these
techniques will put you on the path to more professional sounding recordings,
and give you confidence when using this powerful, but often misused tool.

Don’t overcompress: Rather than using excessive compression at just one

point, apply compression modestly at multiple stages throughout the
recording, mixing, and mastering process.

Choose the right tool: Try using compressors with slower attack and release
characteristics on mellower sources, such as vocals. Faster FET and VCA
compressors tend to work well on louder sources, such as drums and
percussion.

Experiment to learn your limits: Try using dramatic compression as an effect.

For example, it can sound really interesting to use a compressor to “squish” a
clean guitar track, or clamp down on a snare drum to make it stand out.

Keep it simple: Use caution when experimenting with compression on your

entire mix. Focus on individual tracks and subgroups first, before exploring
more complex techniques with multiband compressors and limiters.