MTM31.

Feature Compression

8/25/05

4:13 PM

Page 1

STUDIO TOOLS MASTERCLASS

T"E %&TI()TE G%IDE TO CO(PRESSION

PART 1 COMPRESSION ESSENTIALS

In the first instalment of a three-part series, Mark Cousins looks at the essentials of compression from buying your first compressor, to the principles of squashing sound.
ts hard to imagine a more fundamental tool to the success of recording than compression. 5ust mentioning the term will get most engineers excited 8 and in some cases, enthusiastic enough to part with up to :1<,=== for vintage classics like the @airchild 6B=, an adeCuate sum of money to eCuip an average proEect studioF It is a techniCue that weve come to rely on 8 from early corrective uses of compression propelled by the limitations of recording technology, through to the systematic abuse carried out today, with audio signals being crushed to the limits of their existence. Put simply, compression permeates every level of the recording process 8 from tracking, right through to mastering, and without it, the world would be a significantly Cuieter placeF However, for those of us without K< years of recording experience, compression is not the easiest subEect to get to grips with. Even the variety of models can be off-putting 8 NOA, opto, @ET and Nariable-Mu compressors, all seeming to produce the same principal results using identical parametersS threshold, ratio, attack and release. Buying a compressor is also eCually confusing, with sub-:1== models offering stereo operation and a diUUying array of features, compared to mono pro models seeming to offer fewer features for significantly more money. Hardest of all, though, is that fact that good compression sounds transparent 8 unlike every other tool an engineer uses WEX, reverb, delay and so onY, compression is the only process that, if used correctly, your listeners shouldnt be able to hear. To guide you through this maUe, weve put together a comprehensive series on the subEect. Over the next three issues, well be covering everything from the basics of buying, setting up and using a compressor, through to the advanced compression techniCues used by professionals in mixing and mastering.

One tool, many uses

In its simplest form, compression works by monitoring a given input and attenuating the gain whenever the input exceeds a given threshold. By turning down loud signals or peaks, a compressor enables the rest of the musical material Win other words, the Cuiet bitsY to be increased in level. This sCuashing is technically the restriction of the dynamic range, and is one of the driving forces behind what an engineer is expected to achieve as part of the production process. Having a dynamic range that is too wide could explain why your mix sounds more like a barrage of instruments than a tight, musically balanced track, or why your final OD sounds Cuieter than a commercial release. In both these cases, the right compression can go a long way to improving your results. Oompression works like an engineers guardian angel 8 carefully watching over the signal levels of the track in Cuestion and making appropriate dynamic adEustments. While tracking, compression can help ensure that a constant level is achieved during the recording 8 ideally, you want to avoid excessive peaks that would result in distortion and make sure nothing is significantly under-recorded. In a mix, compression augments your ability to control and balance a collection of instruments, so that even if the tracks levels vary significantly Was so often is the case with vocalsY, the compressor will hold the part in its respective place in the mix. @inally, in mastering, compression can help the mix to gel, as well as providing a perception of greater loudness, as is so often used in dance music.

Crossing the threshold

The two defining parameters of compression are threshold - the point at which compression begins 8 and ratio - the strength of compression applied. With a medium]soft ratio, such as KS1, a 1=dB

2IOGR)P"3
Mark Cousins works as a composer of production music for BMG Zomba. His work has been used on BBC, ITV, Channel 4 and Five.

MusicTech MAGAZINE October 2005 51

MTM31.Feature Compression

8/25/05

4:14 PM

Page 2

STUDIO TOOLS MASTERCLASS

COMPRESSION TIPS
VOCALS
Of all the instruments in a mix, vocals clearly benefit from compression the most. On the whole, you can afford to be quite heavy-handed with vocal compression were used to hearing hard ratios on a lot of recordings and the extra intensity can really push a vocal to the front of the mix. Try using a hard ratio (4:16:1), a quick attack (20ms) and a medium release (100ms), and pulling the threshold down to achieve as much as 12dB of gain reduction. For a smoother result suitable for ballads lower the ratio (2:12.5:1) and the threshold so that the compressor squashes a larger amount of the signal for longer.

rise &'er t)e t)res)&*+ ,i** resu*t i. a 5+1 re+ucti&. i. gai.. 5s t)e rati& gets )ar+er 67:1 a.+ a:&'e; t)e a<&u.t &= gai. re+ucti&. i.creases> <a?i.g t)e c&<pressi&. <&re pr&.&u.ce+ a.+ easier t& +etect :A ear. Bit) rati&s &'er 20:1> t)e c&<press&r is tec).ica**A c*asse+ as a *i<iter> ,)ere:A a.A rise a:&'e t)e t)res)&*+ is <et ,it) c&rresp&.+i.g gai. re+ucti&.. E<p&rta.t*A> t)e :a*a.ce :et,ee. t)res)&*+ a.+ rati& )as a :ig e==ect &. t)e &'era** s&u.+ ac)ie'e+> a.+ i**ustrates t)e 'arietA &= appr&ac)es A&u ca. ta?e ,it) c&<pressi&.. F&u c&u*+> =&r eGa<p*e> create a Hspa.?i.gI c&<pressi&. t)at c*a<ps +&,. )ar+ &. eGcessi'e pea?s> &r ta?e a pr&gressi'e appr&ac) t)at ge.t*A pu**s t)e trac? i.t& *i.e. TrA a )ig) t)res)&*+ 6<aA:e K5+1;> a.+ a )ar+ rati& 65:1 a.+ a:&'e; =&r t)e H5<erica. r&c?I appr&ac) K t)e c&<press&r s)&u*+ aggressi'e*A Lu<p i. a.+ &ut &= c&<pressi&. i. resp&.se t& *&u+ sig.a*s. F&r a s&=ter> <&re c*assica* appr&ac)> use a *&,er t)res)&*+ a.+

Attack = 1ms Release = 60ms

0 dB -6 dB -12 dB

gain reduction

Attack = 40ms Release = 60ms

Increasing the attack time enables you to preserve important transient detail. The shaded area indicates the first 40 milliseconds of a typical snare sound.

FRO$ FO&R RE(ATI,E(- SI$/(E /ARA$ETERS, 1O$/RESSION OFFERS $-RIA3 /OSSIB(E TREAT$ENTS.
rati& :et,ee. 1.5:1 a.+ 3:1. F&u ca. ac)ie'e si<i*ar *e'e*s &= gai. re+ucti&.> :ut app*ie+ i. a <&re gra+uate+ ,aA.

On the attack
5.&t)er crucia* aspect &= a c&<press&rIs :e)a'i&ur is its resp&.si'e.ess. F&u <ig)t assu<e t)at A&uI+ ,a.t a =astOacti.g c&<press&r> &.e t)at reacts as Puic?*A as p&ssi:*e t& <&'e<e.ts a:&'e t)e t)res)&*+> :ut t)is is &=te. .&t t)e case. E= t)e c&<press&r ,&r?s t&& =ast>

A&uIre *i?e*A t& )ear t)e gai. re+ucti&. t&& c*ear*A> eit)er aggressi'e*A sPuas)i.g a. i.stru<e.tIs tra.sie.ts &r pr&+uci.g a. ug*A pu<pi.g s&u.+ as t)e c&<press&r =*ic?ers i. a.+ &ut &= gai. re+ucti&.. E. eGtre<e cases> especia**A &. *&,O=rePue.cA s&u.+s> a =astOacti.g c&<press&r ca. sPuas) i.+i'i+ua* cAc*es &= t)e ,a'es)ape> resu*ti.g i. u.p*easa.t +ist&rti&.. T& ta<e t)e c&<press&rIs resp&.se> itIs p&ssi:*e t& s*&, +&,. t)e attac? a.+ re*ease ti<es as ,e** as s,itc)i.g :et,ee. pea?O a.+ QMSO+etecti&. <&+es> ,)ic) e.a:*e A&u t& tai*&r )&, t)e c&<press&r <&.it&rs its i.put. E. t)e case &= attac? setti.gs> t)e ?eA is t& t)i.? i. re'erse: i= A&ur i.put )as a =ast attac? t)at .ee+s t& :e preser'e+> set t)e c&<press&r t& a s*&, setti.g 670<s &r a:&'e;. Bit) re*ease> A&u .ee+ t& stri?e a :a*a.ce :et,ee. t)e c&<press&r retur.i.g t& its .eutra* state 6&t)er,ise A&uI'e Lust tur.e+ +&,. t)e sig.a* *e'e*; a.+ t)e c&<press&r appeari.g t& Hpu<pI> ,it) aggressi'e <&'e<e.ts i. a.+ &ut &= c&<pressi&..

Getting to know COMPRESSION

Setting up a compressor to achieve an effective result doesnt need years of experience, just an ability to read meters combined with some careful listening. The key to success is to pick a sensible starting point and work from there, adjusting and refining the process until you get the sound you require. Reset Start by nulling the compressor so that it is not producing compression. The threshold should be at its maximum setting (usually 0dB or +12dB on an analogue compressor), with ratio somewhere near your desired end result maybe 1.5:1 for soft compression, 2:1 for average compression and 6:1 or above for heavy compression. Attack and release should be positioned at their medium settings (40ms and 100ms respectively), as setting these too fast will make your initial compression too jumpy and extreme. If in doubt, most pots are calibrated so that 12 oclock is an agreeable, averaged setting. Alternatively, activate the auto setting, which will enable the compressor to match its response to the programme material. Basic settings Now, slowly bring down the threshold so that the compression begins to kick in. In most cases, youll want to apply between 36dB of gain reduction so that the dynamic range is reduced without the compression sounding noticeable. If you want the compression to manifest itself as an effect, you can afford to apply more gain reduction possibly up to 10dB, although remember that parameters such as attack and release will become increasingly important as gain reduction increases. As the process of compression turns down overall levels, youll need to make up the gain on its output increase the makeup or gain by an amount slightly less than your gain reduction (-3dB gain reduction resulting in a +2dB makeup). Refinements Using basic settings for the attack and release might be sufficient, but to improve the compression take a look at how it moves in and out of gain reduction. Increase the attack time if you hear the front of transients getting squashed and try to make the release sympathetic to the pulse of the track and envelope of the sound being compressed. As you make the refinements, make sure that you listen to the part in its position in the mix, as well as soloed. If the compression is right, the part will sit better and appear more audible when embedded with the other instrumentation.

Here are some reset values on a Focusrite Compounder. Threshold is at maximum and auto release is activated to create an averaged setting.

Bringing down threshold makes compression active. Decrease attack to refine the effect. The overall level has been made up to account for gain reduction.

52 October 2005 MusicTech MAGAZINE

MTM31.Feature Compression

8/25/05

4:15 PM

Page 3

Buying a compressor AFFORDABLE OPTIONS

If youre buying a compressor on a tight budget, you dont have to compromise much on quality. Affordable compressors can offer the same functionality as the more expensive options (if not more), although whether they have that sound is a contentious point youll still find many pro engineers holding onto their cherished UREI 1176s. As tempting as software compression might be, theres a lot to be said for having dedicated hardware compression as a front end to your computer. The sound, in many cases, will be better than software compression, and you get the opportunity to gently squash your input ahead of it being recorded. At the cheaper end of the scale are models like Behringers MDX2600 Composer Pro (92) and Alesis 3630 compressor (89). Both of these models are based on VCA compression, which offers efficient, controllable results, although their sound tends to appear more functional that flattering. Although cheaper compressors can do an excellent job with many instruments, you will find their sonic weaknesses somewhat more apparent in exposed tasks like bass and vocal compression. Spending a little more money could get you a lot more compression either in the form of an improved VCA design !" a %o'g) g'*+e- ./0*1a2 1om0%e""*on "1ena%*o" 5*22 )a6e ")o%.e% a..a17 .*me" .)an %e2ea"e .*me". 9'. 5)en eng*nee%" %e:e% .o ;6*n.age< 1om0%e""*on- .)e a..a17 .*me 5*22 =e 2onge% >100m" o% mo%eA- 5*.) %e2a.*6e2/ ")o%. %e2ea"e" >a%o'n+ 100m"A .o %eB1%ea.e .)e "o'n+ o: o0.*1a2 1om0%e""o%" '"e+ *n .)e 60". like Focusrites Platinum Compounder (299) and dbxs 166XL (247.91) or something with more character like the FMR Audios RNC1773 (199) or TL Audios 5060 (46) and 5021 (527). Although the RNC offers only mono operation, it does have a transparency and professional sound that youll rarely find in this price bracket. Both TL Audios compressors are valve-based, with the 5060 offering slightly fewer controls than the 5021, but benefiting from the inclusion of an integral preamp.
The Compounder offers cost-effective, VCA-based compression, with Focusrites renowned signal path. As with other VCA compressors, the Compounder also includes noise gate and limiter sections.

Feeling peaky
Pea7B an+ EMGB+e.e1.*on mo+e" +e:*ne )o5 .)e 1om0%e""o% mon*.o%" *." *n0'.. Hn 0ea7 mo+e- .)e 1om0%e""o% 2*".en" .o .)e a="o2'.e 2e6e2 o: *." *n0'. >*n12'+*ng :a". .%an"*en."A- a2.)o'g) /o'<22 ".*22 nee+ .o "e. a "'*.a=2/ :a". a..a17 .*me >0I10m"A. Hn EMG mo+e.)e 1om0%e""o% %e"0on+" .o an a6e%age+ "*gna2 2e6e2*gno%*ng "ma22 J'm0" *n 2e6e2 an+ *n".ea+ a1.*ng on 1on"*".en. mo6emen." o6e% an+ a=o6e .)e .)%e")o2+. Hn .)eo%/- EMG 1om0%e""*on o0e%a.e" *n a "*m*2a% 5a/
No compression OUTPUT

.o o'% ea%"< 0e%1e0.*on o: 2o'+ne"" an+ eK02a*n" 5)/ EMG 1om0%e""*on *" %e:e%%e+ .o a" =e*ng ;m'"*1a2<. Lo5e6e%- *n 1a"e" 5)e%e .)e 1om0%e""o% *" 5o%7*ng a" a "a:e./ ne.- 0ea7 mo+e o::e%" .)e mo". 2og*1a2 "o2'.*on. M*.) .)e 0o""*=2e eK1e0.*on o: .)e !2e"*" 3630mo". )a%+5a%e 1om0%e""o%" +on<. +*%e1.2/ "'00o%. 0ea7/EMG "5*.1)*ng- a2.)o'g) *n "o:.5a%e /o'<%e m'1) mo%e 2*7e2/ .o :*n+ .)*" :ea.'%e. Pn .)e 5)o2e0ea7 o0e%a.*on *" mo%e 1ommon2/ a""o1*a.e+ 5*.) 2*m*.e%"- 5)*2e EMG o0e%a.*on *" .)e 0%e:e%%e+ "/".em o: 2e6e2 +e.e1.*on on a 1om0%e""o%. Qe%.a*n2/ *n mo%e %e1en. /ea%" I an+ 5*.) a%.*"." 2*7e !'.e1)%e an+ GR'a%e0'")e% I .)e "o'n+ o: )ea6/ 0ea7 2*m*.*ng )a" =e1ome a mo%e +om*nan. :ea.'%e *n "ome m'"*1.

Endless possibilities
S%om :o'% %e2a.*6e2/ "*m02e 0a%ame.e%"- 1om0%e""*on o::e%" m/%*a+ 0o""*=2e .%ea.men." .)a. )a6e =e1ome *n.eg%a2 .o .)e 0%o1e"" o: %e1o%+*ng I an+ .)e "o'n+ o: 1)a%. "'11e"". !%%*6*ng a. .)e 0e%:e1. "e..*ng" 5*22 o:.en *n6o26e eK02o*.*ng .)e +e2*1a.e =a2an1e an+ *n.e%a1.*on o: .)e"e 0a%ame.e%" I 1)ang*ng .o a )a%+e% %a.*o- :o% eKam02e- 5on<. ne1e""a%*2/ 0%o+'1e a )ea6*e% 1om0%e""*on 'n2e"" .)%e")o2+- a..a17 an+ %e2ea"e a%e "*m*2a%2/ a+J'".e+. T)e mo%e /o' 2*".en an+ 0%a1.*"e .)e 0%o1e"" o: 1om0%e""*on- .)e =e..e% /o'% a00%oa1) 5*22 =e1ome. H: /o' 1an men.a22/ )ea% 6+9 o: ga*n %e+'1.*on o% "on*1a22/ *+en.*:/ .)e :*%". 30m" o: a g*6en "o'n+- .)en /o' 7no5 /o'<%e 5o%7*ng a2ong .)e %*g). 2*ne". M*.) .)e =a"*1 me1)an*1" o: 1om0%e""*on "a:e2/ 'n+e% /o'% =e2.- 5e<22 "oon =e mo6*ng on .o neK. mon.)<" mo%e +e.a*2e+ eK02o%a.*on o: .)e .e1)n*R'e" o: 1om0%e""*on 1ommon2/ '"e+ *n .%a17*ng an+ m*K*ng. U*6en .)e *n)e%en. :2eK*=*2*./ o: .)e 1om0%e""o% I an+ .)e %ange o: +e6*1e" a6a*2a=2e .o a002/ *. I 5e<22 *n6e".*ga.e "ome o: .)e =e". .e1)n*R'e" '"e+ =/ eng*nee%" .o+a/- a2ong"*+e .)e a++*.*ona2 :'n1.*on" an+ +e"*gn" o::e%e+ =/ .)e 2ea+*ng )a%+5a%e an+ "o:.5a%e 1om0%e""o%". MTM

INPUT Light compression Threshold -15 dB

Ratio 2:1

Although most compressors work with RMS level detection, the inclusion of a Peak Limiter positioned after the compressor enables you to catch any problem transients.

Heavy compression

Threshold -20 dB
Ratio 10:1

Fine-tuning the threshold and ratio has a big effect on the strength of compression produced. Lower thresholds and higher ratios produce more compression.

Limiting Compression

MusicTech MAGAZINE October 2005 53