In a previous post, I briefly explained the various parameters of a compressor—threshold, ratio, attack, and release, among others. However, simple concepts are not sufficient. In actual mixing or mastering situations, how should we properly adjust and apply these parameters?
Link to Understanding and Utilizing Compressors 1 document
In this post, we will delve deeply into how to appropriately use and apply compressor parameters in various situations. After reading this post, I recommend practicing using compressors by applying them directly to multiple audio samples to familiarize yourself with their operation.
Contents
Proper Use of Compressors
1. Understanding Dynamic Range
It is important to discern how much difference there is between the smallest and largest parts of the given audio track. To achieve the dynamic range you are aiming for, you need to figure out how many dB need to be reduced in Gain and made up. The ideal dynamic range for the given track can vary considerably depending on the genre or style. Therefore, it is recommended to analyze well-established songs of the genre you are applying to as references.
2. Choosing a Compressor and Setting Detector Type
The choice of a compressor significantly influences the overall direction of compressing. This is because many analog compressors have their characteristics, with different detector types and fixed Attack, Release, etc. It is crucial to choose a compressor that fits the situation. However, for those who are not familiar with handling compressors, it is recommended to use a standard digital compressor. This is because digital compressors have very objective and various parameters, allowing for free control depending on what is intended.
Link to Types of Compressors document
3. Setting the Ratio
The ratio can be considered one of the most important parameters of a compressor. The choice of ratio greatly influences the style of compressing, depending on the situation. When should a high ratio be selected, and when should a low ratio be chosen?
In a previous post, the ratio was explained as ‘the proportion to which compressing occurs.’ The answer lies here. When a high ratio is selected, strong compressing is applied to the gain reduction target I am aiming for. Therefore, it can effectively control fast and abrupt level changes, and the pumping of the sustain is strongly created, having a “thickening” effect.
So, in what situation should a low ratio be used? A low ratio, as the proportion of compressing is low, makes it challenging to expect the desired compressing effect just by applying compressing to the accurate gain reduction target. Therefore, a low ratio is often used in situations where compressing needs to be applied overall. From small parts to large parts, compressing is applied to the entire thing. This choice creates relatively natural and less sustain pumping.
4. Attack and Release
Choosing the attack and release times is also a very important part of compressing. If the attack is too fast, the peak of the audio track, i.e., the transient containing the most energy, can be lost. For instruments like drums or percussion, where the transient is very important, these factors must be considered when setting. Also, if the attack is too slow, you may miss the desired compressing effect, and the dynamic balance may be disrupted. There can be significant differences related to the attack depending on the detector type, so if the desired attack time is not being achieved, please check the detector type as well.
The release is related to the pumping of the audio track, meaning, it’s about how much the sustain is increased. The slower the time it takes to return to the original level after compressing, the more natural the tail will be created. However, depending on the music, a wide dynamic can sound less powerful.
A short release time will create stronger pumping, allowing for a much thicker and powerful sound. However, if such pumping is excessive, the dynamic can become too narrow, feeling stifling and unnatural. The choice of such release time can vary greatly depending on the genre or style of the song, so it is recommended to select an appropriate reference track for consultation.
5. Knee
Personally, I set it to Hard Knee except in special cases. This is because, with Soft Knee, Gain Reduction begins even before surpassing the set Threshold, which can exceed the desired Gain Reduction Target.
However, this characteristic can be useful when mimicking the variable Ratio feature of Vari-Mu compressors. Vari-Mu compressors operate with a lower ratio when the reduction value is low and a higher ratio when the reduction value is high. If you apply a soft knee at a high ratio, it operates at a lower ratio below the set threshold value.
6. Sidechain
Sidechaining can sometimes be a useful compressing solution. For instance, when compressing a drum bus, if it reacts too much to the kick alone, applying a high-pass filter to the internal sidechain can prevent this.
Using an external sidechain can be an effective approach to avoid masking with tracks in a similar frequency range.
Conclusion
This post has provided a detailed look at various compressor parameters and their applications, covering essential elements needed for compressor settings systematically.
Now, it is important to apply this knowledge to various audio samples and actual projects, understanding how these parameters operate and which settings are more effective in different situations through experience.
Remember also to analyze reference tracks of various genres and styles, and contemplate how to apply them to your work. Through this, you can develop more professional and delicate mixing and mastering abilities.
I hope this post aids you in your music production journey. Thank you.