SUMMERY:
Compression is the process of controlling the dynamic range between the loudest and quietest parts of an audio signal. This is done by boosting the quieter signals and attenuating the louder signals. The controls you are given to set up a compressor are usually• Ratio – how much compression is applied. For example, if the compression ratio is set for 4:1, the input signal will have to cross the threshold by 4 dB for the output level to increase by 1dB.
• Attack – how quickly the compressor starts to work.
• Release – how soon after the signal dips below the threshold the compressor stops.
• Knee – sets how the compressor reacts to signals once the threshold is passed. Hard Knee settings mean it clamps the signal straight away, and Soft Knee means the compression kicks in more gently as the signal goes further past the threshold.
• Make-Up Gain – allows you to boost the compressed signal. As compression often attenuates the signal significantly.
• Output – allows you to boost or attenuate the level of the signal output from the compressor.
How Set Up a Compressor
1. Whether you’re using a hardware compressor or a plug-in, setting up a compressor works the same way. Throw a compressor up on the channel you want to compress.
2. First, start with the threshold and adjust it until the peaks in the signal are pushing over the threshold and triggering the compressor. If you realy want to slam down on something like a bass guitar or you want to make some drum room mics explode ,then it can work to make it push over the threshold all the time.
3. Set the Ratio to suit the material. I typically leave it at 4:1. Sometimes if I want to really crush some drum room mics I will go higher or use the "All buttons in mode" on my CLA-76 plugin.
4. The Ratio and Threshold work together. Adjust them together and see how they affect the output.
5. The attack and release controls shape how the compressor reacts. For example, a fast attack would be useful for a rapper or anything that has sudden peaks early in the signal or something like slap bass. Slower attack times suit mastering uses and buss compression or on a snare to let the transients come through.
6. The release control can really affect the sound of the compressor. Short release times cause the compressor to sound like it’s working hard, but long release times sound more natural. Long release times can also add so much character. Again this can sound great on drum room mics to enhance the sound of the room or make a snare ring out longer
7. Use the make-up gain or output control to bring the level back up. The best way to tell is to bypass the plugin and listen to how loud it is then bring it back on to see where the level is at then simply match them up.
8. Setting the hard/soft knee would depend on the material. Hard knee works well for drums, bass and percussive stuff. Soft knee is more transparent and better for vocals and some guitar parts. I tend to just leave this alone. For every rule about setting up compressors, there’s someone who has broken the rules and made a great sounding record, so experiment. Everybody likes to do things differently. Use your ears and do what sounds best to you.
My Top 3 Compressors
1.
"Inspired by two highly-desirable revisions of the famed mid-60s Class A line level limiting amplifier, both versions of the CLA-76 (“Blacky” and “Bluey”) offer the superfast attack (as quick as 50 microseconds!) that made the originals studio legends". I love this plugin. It sounds great on vocals and is my go-to for drum room mics .
2.
"Based on the renowned master buss center compressor of the SSL 4000 G console". When I throw this on the mix buss "at the end of a mix" it really makes the track i'm working on feel complete. Another great alternative to this is the Waves Renaissance Compressor.
3.
"The API 2500 is a versatile dynamics processor that lets you shape the punch and tone of mixes with absolute accuracy". Great on the drum buss, overheads and on just about everything!
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