Home > Blog > Audio Mixing
Compressor Cheat
Sheet | The Only
Guide You'll Ever
Need!
May 23, 2023 BY DAN SPENCER
Last Updated on June 7, 2023
If you've ever wondered how mix engineers achieve such a
well-balanced and smooth sound, the answer often lies in the
use of audio compression. This audio processing technique is an
integral part of music production that can significantly a!ect
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integral part of music production that can significantly a!ect
the clarity, consistency, and depth of the final mix.
In this blog post, we will cover what audio compression is, the
parameters that exist in a compressor, and provide you with a
compressor cheat sheet covering 11 di!erent instruments. So, if
you want to learn more about the world of compression in
music production, read on!
Table Of Contents [hide]
The History Of Audio Compression
Understanding Audio Compression
The Basics Of Compressor Settings
Compressor Cheat Sheet
Kick Drum
Snare Drum
Toms
Cymbals
Bass
Guitar
Piano
Organ
Synths
Strings
Vocals
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Vocals
4 Advanced Compression Techniques
Serial Compression
Upward Compression
Dynamic EQ
Sidechain Compression With EQ
Final Thoughts
Frequently Asked Questions (FAQs)
The History Of Audio Compression
Before diving into the technical aspects of audio compression,
it's fascinating to take a brief journey through its history. The
evolution of audio compression mirrors the broader
progression of music technology and production, and
understanding its origins can give us a deeper appreciation of
this crucial tool.
The roots of audio compression go back to the 1920s with the
advent of electrical recording. In those early days, sound
engineers started experimenting with manual volume control
to limit loud sounds and boost quieter ones. This was a
primitive form of compression, applied not with the twist of a
knob or a slider on a screen, but with careful, real-time
adjustments during the recording process.
The first patent for an automatic level control device,
essentially an early audio compressor, was filed by R.E. Dolby in
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essentially an early audio compressor, was filed by R.E. Dolby in
1936. This marked the start of automated audio compression.
However, these early compressors were limited in their
functionality and often added significant noise to the audio
signal.
The first major breakthrough came in the 1950s with the
development of the Universal Audio LA-2A and 1176, which are
classic hardware compressors still widely used and emulated
today. The LA-2A is a tube-driven, optical compressor known
for its smooth, musical compression, ideal for vocals and bass.
The 1176 is a FET (Field-E!ect Transistor) compressor, renowned
for its fast attack time and flexibility, suitable for a wide range
of sources.
The advent of digital technology in the 1970s and 80s
revolutionized audio compression yet again. Digital
compressors could provide a greater degree of precision and
control, making it possible to apply compression more
transparently and consistently. With the development of digital
audio workstations (DAWs) in the late 80s and 90s, software
emulations of classic hardware compressors became available,
putting these powerful tools at the fingertips of anyone with a
computer.
Today, audio compression is an integral part of music
production, whether it's applied subtly to control dynamics and
glue a mix together, or used creatively to shape the tone and
rhythm of a track. As technology continues to advance, new
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rhythm of a track. As technology continues to advance, new
forms and applications of compression continue to emerge,
pushing the boundaries of what's possible in music production.
Understanding Audio Compression
Audio
compression
is a method
used in
sound
recording
and mixing
for
controlling dynamic range of an audio signal. The dynamic
range is the di!erence between the loudest and the quietest
parts of an audio track. By reducing this range, compression
makes the soft sounds louder and the loud sounds softer,
creating a more balanced and controlled sound.
Audio compression isn't just about controlling volume. It's also
a creative tool that can shape the tone and character of an
instrument, enhance musicality, or glue di!erent elements of a
mix together. Its end goal is to make a piece of music sound
cohesive and professional.
No good mix in the history of music has existed without some
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No good mix in the history of music has existed without some
sort of compression.
Related Article: EQ Or Compression First? We Finally Put This
Question To Rest
The Basics Of Compressor Settings
A compressor works through several primary parameters:
Threshold, Ratio, Attack, Release, and Make-up Gain.
Threshold: The level at which compression starts. Sounds
above the threshold get compressed.
Ratio: Determines how much compression is applied once
the signal exceeds the threshold.
Attack: The speed at which compression begins after the
signal exceeds the threshold.
Release: The time it takes for the compressor to stop
compressing after the signal drops below the threshold.
Make-up Gain: Allows you to adjust the output level after
compression to match the original signal's perceived
loudness.
Finding the sweet spot for each parameter is key to successful
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Finding the sweet spot for each parameter is key to successful
compression. Remember that compressor settings aren't one-
size-fits-all; what works well in one mix might not work in
another. Now, let's discuss what you've all been waiting, my
compression cheat sheet!
Compressor Cheat Sheet
Note: These compression settings are starting points and may
need adjustments based on the specific recording.
Kick Drum
The kick drum sets the rhythm and drives the music forward.
Start with a (4:1) ratio, a medium-slow attack (30ms), a medium
release time (100ms), and adjust the Make-up Gain as needed.
Look for 1 to 3 dB of gain reduction. This will give you a punchy
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Look for 1 to 3 dB of gain reduction. This will give you a punchy
and controlled kick.
Snare Drum
The snare drum provides the backbeat and requires both punch
and sustain. Start with a medium ratio (4:1), a slow attack
(30ms), a fast release (45ms), and adjust the Make-up Gain as
needed. Try to achieve 2 to 3 dB of gain reduction. This will
preserve the snap of the snare while taming the peak levels.
Toms
Toms can add depth and excitement to a drum beat. A ratio of
(6:1), a slow attack (10ms), a fast release (50ms), and adjusted
Make-up Gain should provide a balance between resonance
and control. Anywhere between 3 to 6 dB of gain reduction is
ideal.
Cymbals
Cymbals add sparkle and sustain to the drum kit. They are often
captured through the overheads and room mics. It is not
always necessary to compress them, but if you want to try the
following. Set a slow attack (20ms), a fast release time (50ms),
and adjust the Make-up Gain as needed. This will let the initial
transients through and control the sustained sound. If you want
to add sustain to the cymbals do heavy compression of 10 dB
of gain reduction, otherwise, keep it minimal.
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Bass
A well-compressed bass guitar o!ers a consistent low-end
foundation. Start with a higher ratio of (6:1), a fast attack (7ms),
a slow release (600ms), and adjust the Make-up Gain as
needed. Look at achieving at least 6 dB of gain reduction. The
bass needs to be steady because it is the easiest instrument to
get lost in a mix.
Guitar
Whether acoustic or electric, the guitar often requires dynamic
control. A ratio of 4:1, a medium attack (5ms), a medium release
(200ms), and appropriate Make-up Gain can help to even out
the guitar and give it a stable place in the mix. I typically don't
compressor rhythmic electric guitars, but look at getting
around 3 dB of gain reduction on acoustics.
Piano
The piano can be dynamic and percussive, requiring careful
compression. Start with a moderate ratio (3:1), a fast attack
(2ms), a fast release time (50ms), and adjust the Make-up Gain
as needed. This will control the dynamic range while preserving
the piano's natural tone. If you are going after a natural sound,
then look for 1 to 3 dB of gain reduction. If the piano is in a
modern pop style song, then you might want 6 dB or more of
gain reduction.
Organ
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Organ
An organ provides a steady harmonic backdrop. A low ratio
(2:1), a slow attack (30ms), a fast release (100ms), and
appropriate Make-up Gain can preserve the organ's sustain
while keeping it from overpowering the mix. I don't typically
compressor organs.
Synths
Synths can vary greatly in their dynamics and tone. A good
starting point might be a ratio of (4:1), a medium attack (10ms),
a medium release (100ms), and suitable Make-up Gain. These
settings can help to maintain the character of the synth while
controlling its dynamics. I do minimal compression on synths
and shoot for a max of 6 dB of gain reduction.
Strings
Strings can add rich, sustained tones to a mix. A low ratio (2:1),
a slow attack (20ms), a slow release time (500ms), and an
adjusted Make-up Gain will allow the strings to breathe and
evolve naturally. Like synths, I don't do much compression on
strings and shoot for 3 dB or less of gain reduction.
Vocals
Vocals are often the most prominent element in a mix and
need careful compression. Honestly, they are so important that
I could write a whole article about a vocal compression cheat
sheet. With that being said, start with a moderate ratio (4:1), a
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sheet. With that being said, start with a moderate ratio (4:1), a
fast attack time (1ms), a fast release (50ms), and adjust the
Make-up Gain as needed. These settings will ensure a
consistent vocal level while retaining the singer's expressive
dynamics. I shoot for between 7 and 10 dB of gain reduction on
my first compressor in the chain.
NOTE: Vocals should be treated with not one compressor
but multiple in the signal chain. This is to ensure that no
over-compression occurs. Using dynamic compression
along with tonal compression can help shape the vocals
better within the mix.
Related Article: The 4 Steps To Properly Applying
Compression On Vocals
4 Advanced Compression
Techniques
While the standard use of audio compression is fundamental to
achieving a balanced and polished mix, there are also advanced
techniques that can further enhance your music production.
These techniques can open up new possibilities for shaping
your sound, adding depth and character to your mix, or solving
tricky mixing problems. Here are a few examples:
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tricky mixing problems. Here are a few examples:
Serial Compression
Serial compression involves using two or more compressors in
series (one after the other) on the same track. The idea here is
that each compressor does a little bit of work, rather than one
compressor doing all the heavy lifting. This can result in a more
transparent and natural-sounding compression. For instance,
you might use the first compressor with a high ratio to catch
and tame any loud peaks, and then a second compressor with a
lower ratio to gently smooth out the dynamics.
Upward Compression
While standard (downward) compression reduces the level of
loud sounds, upward compression increases the level of quiet
sounds. This can be useful for bringing out subtle details in a
performance without a!ecting the louder parts. Some
compressors have an upward compression feature, but you can
also approximate it by using parallel compression with a high
ratio and high make-up gain.
Check out my favorite upward compressor CLICK HERE
Dynamic EQ
Dynamic EQ is essentially a combination of EQ and
compression. It allows you to apply compression to a specific
frequency range, instead of the entire audio spectrum. This can
be incredibly useful when you need to control a problematic
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be incredibly useful when you need to control a problematic
frequency that only becomes an issue when it gets too loud.
For instance, if a vocal track gets harsh when the singer gets
loud, you could use a dynamic EQ to compress only the high
frequencies during those loud parts.
Sidechain Compression With EQ
Most producers are familiar with sidechain compression, where
the level of one track is reduced based on the level of another
track. But did you know you can also apply sidechain
compression to a specific frequency range? By using an EQ on
the sidechain input, you can make the compressor react only to
a certain range of frequencies from the sidechain track. This can
be used to create space in a mix by reducing the level of a
track only when it clashes with another track in a specific
frequency range.
Related Article: EQ Cheat Sheet | The Only Guide You'll Ever
Need!
Final Thoughts
Understanding and correctly using audio compression is crucial
in music production. It's both a technical process and an art
form that can drastically improve the quality of your mix. These
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in music production. It's both a technical process and an art
form that can drastically improve the quality of your mix. These
compressor settings are a starting point, a cheat sheet that you
can use in your projects. However, remember that every mix is
unique, and these settings will often need adjusting to suit the
specific requirements of your music.
The most important thing is to keep learning and
experimenting. Over time, you'll develop an instinct for how to
apply compression e!ectively to di!erent elements of your
mix. There's no 'correct' setting that works for every situation –
the right setting is the one that makes your mix sound the best
to your ears. So go forth, explore the power of compression,
and unlock a new level of control and creativity in your music
production.
If you found the information in this article useful, please
considering subscribing to our blog for more music production
tips, tricks and advice!
Frequently Asked Questions (FAQs)
Why is audio compression important in music
+
production?
Are the compressor settings the same for all
+
instruments?
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instruments?
Why do the Attack and Release settings vary for
+
di"erent instruments?
Is audio compression necessary for all music
+
productions?
How do I learn to use compression e"ectively? +
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Don't forget to share!
Audio Knowledge, Bass, Compression, Cymbals, Drums,
Guitar, How-To, Kick Drum, Organ, Piano, Ratio, Side-
Chain, Snare Drum, Strings, Synthesizer, Threshold,
Toms, Vocals
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Toms, Vocals
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