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Compression Cheatsheet

The document provides tips for applying compression across different instruments and vocals. It suggests using slower attack and release times for vocals and drums to control consonants and ambience. For bass, optical compressors and heavier compression are recommended. For guitars, distortion may negate need for compression and two-stage compression works for acoustic guitars. For keys, compression can add sustain while velocity adjustments may suffice.

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IKKVM MVKKI
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414 views

Compression Cheatsheet

The document provides tips for applying compression across different instruments and vocals. It suggests using slower attack and release times for vocals and drums to control consonants and ambience. For bass, optical compressors and heavier compression are recommended. For guitars, distortion may negate need for compression and two-stage compression works for acoustic guitars. For keys, compression can add sustain while velocity adjustments may suffice.

Uploaded by

IKKVM MVKKI
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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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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