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.

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.

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