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Mastering

Typical compressor attack times range from 30ms to 300ms, with 100ms being average. Shorter attack times soften transients while longer attack times let more of the percussive elements come through. Release times commonly range from 150ms to 250ms. A good starting point is an attack time of 100ms and a release time of 250ms. Common compression ratios are 1.5:1 or 2:1. Parallel compression can be used transparently or for tonalization and attitude. De-essing can target frequencies between 2kHz and 10kHz using fast attack and release times.

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63 views2 pages

Mastering

Typical compressor attack times range from 30ms to 300ms, with 100ms being average. Shorter attack times soften transients while longer attack times let more of the percussive elements come through. Release times commonly range from 150ms to 250ms. A good starting point is an attack time of 100ms and a release time of 250ms. Common compression ratios are 1.5:1 or 2:1. Parallel compression can be used transparently or for tonalization and attitude. De-essing can target frequencies between 2kHz and 10kHz using fast attack and release times.

Uploaded by

luca4aaron
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Typical compressor attack times in Mastering are from 30ms to

300ms, with an average of 100ms


How to set attack time: listen to percussive and transient quality.
Shorter attack times soften transients and produce a more closed
sound. Longer attack times let the music breathe and reveal more of
the percussive elements

Average release times are around 150ms - 250ms


Super fast release times are loud and aggressive, slow release
times are more gentle

A good starting point is:


Attack to 100ms
Release to 250ms
Then listen

Common compression ratios: 1.5:1 or 2:1


Promote punch and attitude: find the threshold using a very high
ratio (4:1) and fast release time (100ms), then adjust threshold until
gain reduction meter bounces. Then reduce ratio to very low (1.2:1)
and raise the release to about 250ms. Then fine tune

Trick to compress inaudibly: light ratio (1.01 to 1.1, low threshold (-


30 or -40 dBFS)
Another trick: parallel compression

Crest factor: ratio of RMS (average) and peak level

De-essing technique using a multi band compressor:


Between 2 and 10k. Try starting at 3k with very fast attack, fast
release, crest factor set to peak, narrow bandwith, maximum 1-2db
reduction

Refinements:
High-frequency equalisation post-compressor to alter perceived
level of snap (transients)

Upward Compression Technique


Take a source and mix the output of the compressor with it. Use a
time delay for the dry signal, matching the delay of the compressor.
Test if DAW has automatic delay compensation, adjust the parallel
compressor to a 1:1 ration and unity gain, and invert the polarity of
either half of the chain.

Transparent Parallel Compression (great for delicate acoustic


music)
Set threshold very low (-50 dBFS)
Attack Time: set as fast as possible
Ratio: 2.1 - 2.5 (2.5 better)
Release: medium length (250 - 350ms) when there’s lots of reverb up
to 500ms
Crest Factor: Peak
Make up: to taste. Try -15 - -5

Parallel Compression for Tonalization or Attitude


Threshold: in the middle of musical action -> up to 5-7 dB, often less
(1-3 dB)
Attach: set to medium (start with 125ms)
Ration 1:3 - 3:1
Release time: set to taste
Crest Factor: set to RMS
Make up: rarely past -6dB

Tonalization
Using a Multiband Compressor in parallel mode

A vocalist should neither be so low that she’s struggling to be heard,


nor so loud as to diminish the impact of the band. Get vocal up/down
mixes (by 1/2 dB)

Making stems:
*Multiple passes of the mix, with different elements muted

In a mix, often everything sounds too harsh at 3 kHz.


Glue Compressor on Master Buss can be used in Mixing (Kissing the
needle)

Fixing Snare in Mastering is easy, especially in the 1 - 2 kHz range:


Upward expansion with short attack time to give more impact, pull
back by using a compressor with short attack time.

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