COMPRESSION

CHEAT SHEET
COMPRESSORS MADE EASY!

A 100% FREE GUIDE | WRITTEN BY JUSTIN ROGERS

Compression is one of the most important tools in the mixing engineer’s toolkit,
however, it’s often the most misunderstood.

The goal here is to break down the basic functions of a compressor in an easy-to-
understand way and cover some of the best practices for using compression in your
recordings.

Regardless if you are new to mixing or have been mixing for years, this Compression
Cheat Sheet will help you approach compressors with the right mindset.

Rather than just turning the knobs and hoping for the best (we've all done it), you’ll
know WHY you’re turning them and have a purpose for every adjustment made.

Let’s get started!

- Justin Rogers
Compression: The Key To Controlled Dynamics

A compressor helps to even out the loud and quiet parts of an audio track so that
they can all be heard clearly (similar to consistently adjusting a volume fader during
playback).

Compressors can also be used to make a performance feel tighter and punchier,
and can “glue” things together when used on a group or bus channel that has
multiple audio tracks feeding to it.

The 6 Controls of a Compressor

1. Threshold
2. Ratio
3. Attack
4. Release
5. Gain
6. Meters

1. Threshold

The level at which the compressor begins compressing the audio (AKA, when it
starts turning down the volume)

If you set the threshold to -10 dB, there will be no compression until the audio gets
LOUDER than -10 dB

TIP: Start with the threshold all the way up and slowly lower it while watching
the gain reduction meter. Doing this will allow you to hear and see how the
compression affects the audio. Typically, aiming for around 3 to 6 dB of gain
reduction on the loudest peaks is ideal.

2. Ratio

How much compression is applied (how much the compressor turns down the
volume)

Higher ratios mean more compression

2:1 ratio: For every 2 dB the audio goes over the threshold, it will only allow 1 dB
to pass through. 10 dB over the threshold only allows 5 dB to pass through.
 4:1 ratio: For every 4 dB the audio goes over the threshold, it will only allow 1 dB
to pass through (it’s compressing harder than 2:1).

This idea is the same for every ratio.

Example: There is a large crowd of people trying to enter a concert through one
door. The door is the “threshold” and concert security has set a 4:1 ratio. If 4 people
come through the door, they only allow 1 person to enter and the other 3 are
“squashed” back into the crowd. If 8 people come through the door, they only allow
2 people to enter and the other 6 are “squashed” back into the crowd.

TIP: A good ratio to start with is 4:1. Regardless of what ratio you are set at, the
most important thing to watch is the gain reduction meter to see how much
gain reduction is occurring. Both the ratio and threshold can affect this. As
mentioned earlier, aiming for 3 to 6 dB of gain reduction on the loudest peaks is
typically ideal.

3. Attack

The time it takes for the compressor to start compressing the audio once it crosses
over the threshold (gets louder than the threshold)

A short (or fast) attack time will apply compression faster.

A long (or slow) attack time will allow more of the initial sound to pass through
before it’s compressed.

4. Release

The time it takes for the compressor to stop compressing the audio after it drops
below the threshold (gets quieter than the threshold)

Too short of a release time may sound unnatural while too long of a release time
may keep the compressor engaged 100% of the time. Adjusting the release to find
the sweet spot between the two is key.

TIP 1 (Attack & Release): Placing the attack and release both in the middle is a
good place to start. You could also set both of these to their most extreme
settings to really hear what the compressor is doing, and then dial them back
until the audio sounds natural but controlled.

TIP 2 (Attack & Release): If the compressor has an Auto Attack/Release setting,
it can automatically set the most ideal attack & release times based on the
incoming audio.
5. Gain

The “Output” or “Makeup Gain” raises the overall level of the audio after
compression is applied.

Compressors essentially lower the volume of the audio based on the threshold and
ratio settings, so the end result will be quieter than the original.

If the final compressed result is 3 dB quieter than the original uncompressed audio,
you can add 3 dB of Makeup Gain to turn it back up.

6. Meters (Input Level, Output Level, Gain Reduction)

The Input Level meter shows how loud the audio is before compression. Be sure
you are not clipping here. Turn down the input level if you are clipping.

The Output Level meter shows how loud the audio is after compression. Be sure
you are not clipping here. Turn down the output or makeup gain level if you are
clipping.

The Gain Reduction meter shows how much gain reduction is occurring from the
compression.

Bonus Tips

Mix Bus Compression

Using some gentle compression on your mix bus (the final master channel that
everything is routed to) can help to glue your mix together and give it a full and
tight sound.

Use a slow attack and fast release to keep the mix sounding natural.

TIP: You only need a small amount of gain reduction to achieve this. Around 1
to 2 dB is often just fine, but it truly depends on the song. If I’m mixing a dense
modern rock song, I may aim for up to 3 dB of gain reduction on the mix bus.

Parallel Compression

Parallel compression uses extreme compression settings (with a lot of gain

This can be a great addition to drums, vocals, or anything that you want to stand
out without sounding over-compressed.

TIP: Start with the fader of the parallel compression track turned all the way
down, then slowly raise the fader until you get the desired blend. This doesn’t
have to be loud to get noticeable results.

Using Multiple Compressors

If you use a compressor “too hard” you can start to hear the sound of the
compressor working, which typically isn’t ideal unless being used for an effect. A
way to get that modern, in-your-face vocal sound without pushing the compressor
too hard is by using multiple compressors on the track.

After setting some natural-sounding compression settings for the vocal, duplicate
that compressor and use it again right after it (or in a different part of your plugin
chain if you feel fit).

The first compressor helps to even out the uncompressed vocal track while the
second is compressing the already compressed vocal. The result is an upfront sound
that doesn’t overwork a single compressor.

Using Presets

Most compressor plugins have presets for a wide variety of instruments and vocals.
These presets can be a great starting point to get you “in the ballpark” for
compressing your audio.

While these presets can often be very close to the ideal settings you may need, the
settings were dialed in with different instruments, recorded in a different room,
using a different microphone, with a different performer, etc.

If using a preset, the most important thing to pay attention to is the amount of gain
reduction occurring (adjust the threshold as needed). However, you still may have
to fine-tune the other settings to achieve the best sound for your specific audio
track.
Let's Recap:

A compressor helps to even out the loud and quiet parts of a track (like someone
with ninja-like reflexes riding a volume fader)

Adjust the threshold until you see 3 to 6 dB of gain reduction. Higher ratios mean
more compression, but the threshold ultimately determines home much gain
reduction is occurring. (They work hand-in-hand)

A medium attack with a medium release is a great starting point.

Adjust the makeup gain so that your audio is equally as loud as the uncompressed
version.

Watch your meters for the optimal amount of gain reduction. Be sure you aren’t
clipping on the input or output meters.

Some gentle compression on your mix bus can help to glue your mix together. Use
a slow attack and fast release to keep the mix sounding natural.

Parallel compression can give you a full, modern sound that retains the dynamic
feel of the source recording.

Using two compressors can give you an upfront vocal sound that avoids pushing a
single compressor too hard.

If using a plugin preset, dial in your threshold for the desired amount of gain
reduction, then fine-tune the other settings as needed.

That's it! You made it!

If you found this guide helpful, and you want more content that will help you develop
your skills throughout your home studio journey, visit the website below. My goal is to
take YOU From Zero To Studio.

-Justin Rogers
https://fromzerotostudio.com