Compression Tips and Tricks
Introduction
It’s clear that compression is one of the most essential tools for today’s producers. It helps boost punch, volume, and consistency in both instruments and vocals, often adding a pleasing ‘analog’ character to your sound.
With the power and affordability of modern virtual effects, keeping a collection of high-quality compressor plug-ins has never been easier. There are hundreds of options available, including popular choices like the Solid and VC series.
Knowing how a compressor works is one thing, but actually using it effectively is another. Sometimes, the best compression tips aren’t top-secret tricks. Understanding the basics, exploring different techniques, and knowing your end goal are more important than anything else.
Below, you’ll find 10 compression tips and tricks to help you shape your sounds just the way you want!
1. Set Release Times To Match The Song’s Rhythm
In a compressor, release time refers to how long it takes for the signal to fall below the threshold before the compressor stops compressing. Like attack time, it determines how gradually the compressor stops applying gain reduction. In other words, the compressor doesn’t just stop compressing instantly after a set time—it eases off the compression smoothly over a period.
Short release times allow the compressor to quickly return to zero gain reduction. By releasing just before the next transient peak arrives, you can reduce pumping and let the track breathe more naturally.
Keep in mind that the audio material itself has its own timing, so it’s a good idea to set the release time a bit shorter than the calculated value to compensate.
2. Compressing Delays and Reverb
Because reverb and delay are time-based effects, they naturally have a rhythmic quality. Whenever we set a reverb or delay, we want the tail to complement the feel of the recording. Getting the right feel isn’t just about choosing the tail length, but also about how it decays.
To fill the space between phrases, it can help to make the delay repeats clearly audible. Depending on the delay’s decay rate, you might hear the first echo clearly, but the second one will be quieter, and by the third, it might be almost gone.
You can extend the delay tail, but if you make it too long, the echoes might bleed into the next phrase. Using a compressor to even out the echoes can help make the delay stand out more.
3. Parallel Compression for Best Outcome
Parallel compression, often called ‘New York style’ compression, is a popular technique for making drums sound more powerful. It works by blending the original, unprocessed signal with a heavily compressed version, allowing you to combine the best qualities of both.
You can achieve this effect by using a compressor with a wet/dry mix control, or by sending your drum track to an auxiliary bus with a compressor plug-in. Start by setting a high compression ratio—at least 20:1—and lowering the threshold. Then, gradually reintroduce the dry signal using the mix knob or send control until you strike the right balance between punchy transients and solid, full-bodied sound.
4. Use Parallel Compression for Excitement
One of the best ways to use parallel compression is as follows. Parallel compression (also known as New York or Manhattan compression) involves sending an audio track to a send/return (aux bus) and then applying heavy compression only to the return channel.
You achieve a punchy sound by blending the compressed version with the original, unprocessed signal. This lets you add power and excitement without losing the natural dynamics of the dry track. To set this up, send your track (or group of tracks) to an auxiliary channel in your mixer (hardware or software).
On the return channel, use strong compression or limiting (low threshold, high ratio). As you practice parallel compression, experiment with different amounts to see what works best for your mix. This technique can add excitement and presence to many different tracks, helping you achieve the effect you want.
5. Don’t Just Compress
Even though this last point might seem to contradict everything we’ve discussed, it’s important to remember: you don’t need to compress every sound in your mix.
Many inexperienced producers make the mistake of thinking that compressing a track is always helpful, even if it’s just a little bit. But if you’re adding a compressor to a channel without a clear reason, you shouldn’t do it.
While compression is often used creatively these days, its main purpose is still to control volume levels. It was originally created as a way to automate what used to be done by manually adjusting the volume fader.
6. Mastering Low-End Punch
It’s really helpful to use sub-notes that aren’t as overpowering as those in the E0-G#0 range. By reducing the dynamics of your sub, you can actually make your hard-hitting electronic track sound bigger and more impactful.
To tighten up the relationship between your kick and sub below 150Hz, try compressing just this lower frequency range and then adding some make-up gain below 150Hz. This technique will give your mix more presence and consistent sub-energy. Powerful, full low-end is the foundation of electronic music.
Getting this right can be one of the most challenging parts of matching your mix to properly mixed reference tracks. Multiband compression is a great way to maintain a constant, full, and consistent sub-frequency.
7. It’s All in the Attack and Release
We recommend starting with an attack time of 30–40 ms, and then increasing it to 100 ms if needed. Keep in mind that you might not find the ideal attack time until you’ve properly set the release time. Also, incorrect release times usually won’t harm the percussive elements of your mix.
In general, using a compressor with a short attack time can negatively impact your music, as it allows the compressor to clamp down on and squash the transients. Transients are those quick bursts of sound that give music its punch. On the other hand, if the attack time is too long, too much audio will pass through before the compressor can react.
8. Frequency Focused Compression
When a voice is compressed, its sibilance can become more prominent, just as cymbals stand out more when they are compressed. Even though esses and cymbals have smaller physical amplitudes compared to the body of the vocal or the snare and kick in a drum kit, their brightness and sharpness make us perceive them as much more noticeable.
Our perception of sound isn’t just about dynamics. We pay attention to total amplitude, but that doesn’t fully explain how we actually hear and respond to different sounds. By making a compressor react more to certain frequency ranges, we can shape the way these elements come through. This technique has a distinct effect, especially on fast, transient-rich sounds.
Imagine a voice where every “i” vowel bursts forward with energy in the 1k to 2k frequency range. It’s similar to what you’d get with multiband compression, but without introducing any phase artifacts.
9. Know The Genre And General Mix Outline
The best way to use compression on audio is to consider the genre or style of music you’re mixing. This idea doesn’t just apply to compression—it goes for many other aspects of mixing as well.
Different genres generally have different expectations when it comes to compression levels. The sound and feel that listeners expect from certain genres are shaped by these standards. For example, an EDM track is usually mixed much differently than a country song, and both are different from the mix of a metal song.
With that in mind, you can choose to use more compression, less compression, or even no compression at all, depending on what’s typical for the genre. This standard applies whether you’re working on an individual track, a bus, or your entire mix bus.
10. Controlling Harsh High-End
Harsh high-end frequencies can easily ruin your mix, especially when you use impacts or elements with strong transients, like white noise effects or crashes and cymbals. These sounds often introduce piercing high frequencies that can quickly become a problem if not controlled.
Using multiband compression on the highs—either across your entire mix or just on specific high-end elements—can help tame these shrill transients. This technique allows you to reduce the intensity of unwanted high frequencies without dulling the whole track.
It can also be useful to experiment with processing just the side channels of your mix. High frequencies on the sides can become especially harsh, so targeting your treatment here may solve issues more effectively than applying it across the entire stereo field.
Conclusion
Compressors are among the most powerful and versatile tools in audio processing. While they come with a variety of parameters and possible settings, you can master a compressor with some practice.
Once you have a solid understanding of a few essential “starting points,” you’ll find it easier to make small adjustments that either enhance or reduce the effect of compression. Always remember to compress with intention and purpose.
There isn’t enough time to cover everything about compression right now. However, as you’re getting started, focus your attention on these foundational concepts.
By thoughtfully applying what you’ve learned, you’ll be well on your way to making sure your vocals fit perfectly in the mix—while still standing out and capturing the listener’s attention.
