{"id":31066,"date":"2023-10-25T10:38:48","date_gmt":"2023-10-25T09:38:48","guid":{"rendered":"https:\/\/www.gear4music.com\/blog\/?p=31066"},"modified":"2023-11-09T14:31:37","modified_gmt":"2023-11-09T14:31:37","slug":"how-to-use-a-compressor","status":"publish","type":"post","link":"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/","title":{"rendered":"How to Use a Compressor on Your Recordings &#8211; The Ultimate Guide to Compression"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_84 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><a href=\"#\" class=\"ez-toc-pull-right ez-toc-btn ez-toc-btn-xs ez-toc-btn-default ez-toc-toggle\" aria-label=\"Toggle Table of Content\"><span class=\"ez-toc-js-icon-con\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/span><\/a><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 eztoc-toggle-hide-by-default' ><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#In_a_hurry\" >In a hurry?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#What_is_compression_and_why_should_I_use_it\" >What is compression, and why should I use it?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#How_to_use_a_compressor\" >How to use a compressor<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Threshold\" >Threshold<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Ratio\" >Ratio<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Attack\" >Attack<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Release\" >Release<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Makeup_Gain\" >Makeup Gain<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Get_started_with_compression\" >Get started with compression<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Things_to_consider_when_using_a_compressor\" >Things to consider when using a compressor<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Compression_techniques\" >Compression techniques<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Our_favourite_compressors\" >Our favourite compressors<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Warm_Audio_WA-1B\" >Warm Audio WA-1B<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#G4M_500_Series_Compressor\" >G4M 500 Series Compressor<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Baby_Audio_Parallel_Aggressor\" >Baby Audio Parallel Aggressor<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#FabFilter_Pro-C_2\" >FabFilter Pro-C 2<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Universal_Audio_UAFX_Max_Preamp_and_Dual_Compressor\" >Universal Audio UAFX Max Preamp and Dual Compressor<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#MXR_M102_Dyna_Comp\" >MXR M102 Dyna Comp<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#FAQs\" >FAQs<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#How_should_I_use_a_compressor\" >How should I use a compressor?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-21\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#What_are_the_5_basic_controls_of_a_compressor\" >What are the 5 basic controls of a compressor?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-22\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Should_I_use_a_compressor_on_everything\" >Should I use a compressor on everything?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-23\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#How_do_you_know_if_something_is_overcompressed\" >How do you know if something is overcompressed?<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-24\" href=\"https:\/\/www.gear4music.com\/blog\/how-to-use-a-compressor\/#Find_out_more\" >Find out more<\/a><\/li><\/ul><\/nav><\/div>\n<p>[et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.16&#8243; global_colors_info=&#8221;{}&#8221;][et_pb_row _builder_version=&#8221;4.16&#8243; background_size=&#8221;initial&#8221; background_position=&#8221;top_left&#8221; background_repeat=&#8221;repeat&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_text admin_label=&#8221;Intro&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>When it comes to getting the perfect sound, <strong><a href=\"https:\/\/www.gear4music.com\/Studio-Outboard\/Compressors\" target=\"_blank\" rel=\"noopener\">compression<\/a><\/strong> is a difficult topic to get your head around at first, but it\u2019s incredibly important to understand how it works and how to hear it. If you\u2019re performing, recording, mixing music, or even recording voiceover for videos or podcasting, compression is a key tool that you\u2019ll need to use.<\/p>\n<p>So, what is compression, what do the controls do, and how do we dial in a compressor to achieve the sound we want? Read on; we\u2019ll cover <strong>how to use a compressor on your recordings <\/strong>and more.<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;In a hurry?&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"In_a_hurry\"><\/span>In a hurry?<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li><b>Threshold:<\/b> Sets the level of volume at which signals activate the compressor<\/li>\n<li><b>Ratio:<\/b> Sets the amount of volume reduction that occurs over the compressor\u2019s threshold<\/li>\n<li><b>Attack Time:<\/b> How quickly the compressor reacts to signals that exceed the threshold<\/li>\n<li><b>Release Time:<\/b> How quickly the compressor stops reacting to signals once they go back under the threshold<\/li>\n<li><b>Knee:<\/b> Sets the aggression of a compressor by deciding whether the threshold activates at an exact volume or a wider volume range.<\/li>\n<li><b>Makeup Gain:<\/b> Adds volume back to your signal to compensate for the volume lost by compression<\/li>\n<\/ul>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;What is compression, and why should I use it?&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"What_is_compression_and_why_should_I_use_it\"><\/span>What is compression, and why should I use it?<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Compression is a vital tool for controlling the overall volume of an audio signal. The best way to think about it, and my go-to way of explaining it, is simply that it makes the loudest parts of a sound quieter and the quietest parts of a sound louder. This is really important when it comes to recording or audio post-production, like mixing or mastering, in order to achieve a more balanced, even signal.<\/p>\n<p>By catching the loudest part of a signal and reducing it in volume, we can prevent distortion and get punchier sounds. The initial hit of any sound is referred to as a transient, which is what compression often helps us to manage, as these can be a lot louder than the rest of the sound.<\/p>\n<p>Now, we need to establish what a compressor fundamentally does: it turns the volume of signals that exceed a specific level back down to below that level. Due to the way it impacts sounds by making them more consistent and how it can make the relationship between multiple sounds more balanced, compression is often referred to as \u201cglue\u201d.<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;How to use a compressor&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"How_to_use_a_compressor\"><\/span>How to use a compressor<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>So, how do we effectively use a compressor? By learning what its controls do. This helps us to conceptualise compression, hear it as we use it, and feel less intimidated by all the weird names and dials that a compressor can have. It took me years to feel like I truly understood and could properly hear what I was really doing when changing settings on a compressor, but hopefully, this guide will make things a little bit easier.<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"Threshold\"><\/span>Threshold<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-31275 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audio-Compressor-300x300.jpg\" alt=\"Warm Audio compressor\" width=\"300\" height=\"300\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audio-Compressor-300x300.jpg 300w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audio-Compressor-1024x1024.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audio-Compressor-600x600.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audio-Compressor-768x768.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audio-Compressor-1080x1080.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audio-Compressor-1280x1280.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audio-Compressor-980x980.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audio-Compressor-480x480.jpg 480w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audio-Compressor.jpg 1500w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>Threshold is one of the most important first settings when dialling in a compressor. As we\u2019ve mentioned, compression turns down signals that exceed a certain limit. A compressor\u2019s threshold control is how we set that limit. Without a signal exceeding that limit, we won\u2019t get any compression.<\/p>\n<p>Usually measured in decibels, threshold settings can vary from -\u221e dB to 0 dB. At -\u221e, everything will be compressed, at 0 dB, nothing will be. So, to dial in the level of compression we want initially, most threshold settings will start at 0 and let us shift it backwards to taste.<\/p>\n<p>This lets us get as aggressive or subtle as we want and can be easily adjusted as we go for as much precision in our compression as we need.<\/p>\n<p>To see if your threshold is set the way you want it to be, check the VU meter or LED display on the compressor, and watch how it moves in response to the sound you\u2019re compressing. The further the meter moves, the more compression is being applied.<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"Ratio\"><\/span>Ratio<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p>The ratio determines the intensity of compression. We\u2019ve established that compressors run down the volume of a signal that exceeds a specific level back down to below that level. But by how much does it turn it down? That\u2019s what the ratio dictates.<\/p>\n<p>So, let\u2019s say, for example, you have a signal that exceeds the threshold you\u2019ve set by 5 dB. With a ratio of 2:1, the compressor will turn it down by 10 dB. For every decibel the signal exceeds your threshold by, the compressor will reduce it by two. This is a much more subtle ratio, but some can go as far as 25:1, or even \u221e:1! As such, the ratio can also determine how aggressive a compressor sounds.<\/p>\n<p>At first, you\u2019ll notice signals getting much quieter, but there\u2019s another control that\u2019ll balance this out.<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"Attack\"><\/span>Attack<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p>The attack settings control how quickly the compressor applies gain reduction after the input signal passes the threshold. This is key to how a compressor handles transients.<\/p>\n<p>Faster attack times will clamp down rapidly on transients, squashing them down quickly. Slower attack times will let more of the natural transient through, resulting in a punchy, dynamic sound. Getting the right attack is about balancing these two things.<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"Release\"><\/span>Release<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-31276 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Compressor-300x300.jpg\" alt=\"G4M 500 Series Compressor\" width=\"300\" height=\"300\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Compressor-300x300.jpg 300w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Compressor-1024x1024.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Compressor-600x600.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Compressor-768x768.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Compressor-1080x1080.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Compressor-1280x1280.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Compressor-980x980.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Compressor-480x480.jpg 480w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Compressor.jpg 1500w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>Release dictates how quickly the compressor recovers from applying its gain reduction, letting go of the transient to let the rest of the signal pass. This can be used to maintain a gentle squeeze throughout a whole sound or to quickly clamp down on the uneven parts of the signal.<\/p>\n<p>Faster release times will result in a quick and temporary gain reduction that recovers quickly.<\/p>\n<p>People will often say the release time dictates how much character of the compressor comes through. Release being set too fast makes a sound unnatural, resulting in a \u201cpumping\u201d effect. Too slow a release means that the compressor won\u2019t stop compressing, resulting in a flat sound.<\/p>\n<p>With attack, we talked a lot about transients. But to get release right, think about the parts of a sound that sustain, and listen to them closely as you adjust it.<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"Makeup_Gain\"><\/span>Makeup Gain<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p>Since compression makes a sound quieter, and before compression we\u2019ve probably already dialled in how loud we want the sound to be overall, makeup gain helps us compensate by boosting the output signal back to its original level.<\/p>\n<p>Since we\u2019ve reduced the loudest peaks of the sound, the rest of the overall signal can feel quieter than we initially thought or want it to be after compression. So, we use makeup gain to return it to its original levels.<\/p>\n<p>Sometimes, we get control over the input signal level, determining how hard we push the signal into the compressor on the way in, and a separate output level control. Sometimes we just get one of these and the other one\u2019s set automatically. Many digital compression plugins give us an automatic make-up setting, which will immediately get us to the level we were previously at.<\/p>\n<p>Use the levels shown by the meters on the compressor to inform you on what level to set this at, or you can always push the makeup gain harder.<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Get started with compression&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Get_started_with_compression\"><\/span>Get started with compression<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Now that you\u2019ve pulled up your compressor of choice and are looking to tweak a sound, where and how should you start? Compression can go either before or after EQ, depending on what you\u2019re trying to accomplish with it. I usually recommend <strong>using EQ both before and after<\/strong> as EQ changes how compressors react to a sound.<\/p>\n<p>EQing before compression is a good way of removing the information you don\u2019t want the compressor to bring up, but it\u2019s good to also have a way of correcting things if you notice new issues after compression.<\/p>\n<p>I\u2019d recommend beginning with a <strong>ratio of about 4:1<\/strong> as a very middle-of-the-road ratio. From here, set the <strong>attack to something fast-to-medium speed<\/strong>. This should let some of the initial crack of the transient through, without being too dynamic that it\u2019s loud or harsh. Set your <strong>release to a medium speed<\/strong>, something right down the middle should help you decide which way you want to adjust it later.<\/p>\n<p>Now, slowly bring your <strong>threshold back from 0<\/strong> until you start getting some compression. Try to get the <strong>gain reduction meter to around 4 \u2013 6 dB of gain<\/strong>. Once again, a moderate but noticeable setting, and usually about as much as you\u2019ll need. Then, adjust the <strong>makeup gain to wherever you have the gain reduction<\/strong>, or use the compressor\u2019s auto-gain feature to get the perfect balance.<\/p>\n<p>Here\u2019s where you need to start making your decisions. Too much transient? Speed up the attack. Not enough transient? Slow it down! If you\u2019re noticing audible pumping, it may be worth slowing down the release time. If the ratio feels too aggressive, back it off to taste, or maybe consider softening the knee if you have control over it.<\/p>\n<p>If you want to compress more of the signal, decrease the threshold. Similarly, if you\u2019re feeling like it\u2019s too much, back off that threshold to compress less. Then, adjust your makeup gain to hit your target levels if your amount of gain reduction has changed from your tweaks.<\/p>\n<p>Remember, you can also set your makeup gain to make the sound louder or quieter than it was before compression if you want to change where it sits in the mix. This is fine to do so long as you know that you\u2019re doing it and why!<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Things to consider when using a compressor&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Things_to_consider_when_using_a_compressor\"><\/span>Things to consider when using a compressor<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Compression brings up aspects of the sound you might not have noticed before. Breath sounds in a vocal, fret buzz on guitar or bass strings, amp noise from a guitar cabinet, bleed in drum mics, noise in samples&#8230; if you\u2019re noticing things you don\u2019t like in your recording jumping out suddenly, it might be a sign that you\u2019re compressing too much.<\/p>\n<p>Try backing off the threshold to fix this. You can also try correcting it with EQ, but this might not always work as intended.<\/p>\n<p>The main question is, does your recording sound better because of the compressor? Try bypassing it and switching it back in, and see what you prefer. Some sources, like electric guitar or samples and loops, might not need more compression as it\u2019s likely they\u2019re already getting some.<\/p>\n<p>If you\u2019re working on a mix, is the sound already compressed? Many engineers will already compress things like vocals and bass whilst recording, and compressing them further can make a song feel flat and lifeless, pushing a track into overcompression. Some things might just need a lighter touch, and some might not need any at all.<\/p>\n<p>For percussive sounds, especially things like shakers or drums, be wary of your attack times. Percussion relies on the transient to cut through a mix, and if you squash this too hard it can really flatten your drums.<\/p>\n<p>And don\u2019t be afraid to get aggressive with the threshold! For short, snappy sounds like these, a slower attack, and a medium-to-fast release may be better. Especially with dense tracks, catching a lot of your drums with the compressor can help them punch through the mix.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-31277 size-full\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Range-of-compressor-pedals.jpg\" alt=\"Range of compressor pedals\" width=\"1330\" height=\"665\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Range-of-compressor-pedals.jpg 1330w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Range-of-compressor-pedals-600x300.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Range-of-compressor-pedals-1024x512.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Range-of-compressor-pedals-768x384.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Range-of-compressor-pedals-1080x540.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Range-of-compressor-pedals-1280x640.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Range-of-compressor-pedals-980x490.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Range-of-compressor-pedals-480x240.jpg 480w\" sizes=\"auto, (max-width: 1330px) 100vw, 1330px\" \/><\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Compression techniques&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Compression_techniques\"><\/span>Compression techniques<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>There are three major styles of compression that can really bring your sound to life.<\/p>\n<p><strong>Serial compression<\/strong> uses multiple stages of compression to get a colourful and controlled sound. This is often used with vocals to get a nice upfront sound that sits on top of a mix. Try chaining a FET-style compressor with fairly fast settings and a high threshold that catches only the fast, big peaks on a vocal into a smooth optical-style compressor to bring out the body of the vocal.<\/p>\n<p>It\u2019s also good for subtle compression, letting you set multiple compressors doing much less. If you want transparent compression, serial compression chains are the way to go.<\/p>\n<p><strong>Parallel compression<\/strong> is a good way to make something punchy without being over-the-top. Some compressors will have a built-in wet\/dry blend control to do this. For others, you might need to set up on a bus or a separate track.<\/p>\n<p>To get good parallel compression, try some really extreme settings &#8211; fast attack, fast release, high ratio, hard knee, and a really low threshold &#8211; to smash a signal. Then, blend this slightly with the original track and it\u2019ll bring out a lot of extra definition. This is excellent on drums and is also extremely good on distorted guitars or metal vocals &#8211; especially if you throw a bit of saturation for more character!<\/p>\n<p><strong>Sidechain compression<\/strong> allows you to create manual ducking of signals. Particularly in busy mixes, sidechain controls will allow you to carve out space for other sounds. It can also be used for creative effects.<\/p>\n<p>Sidechain ducks a signal when the intended sidechain input is triggered. For example, you could duck the bass guitar when a kick drum hits, or duck guitars to make space for snares or vocals. You can also use this on reverbs, ducking a reverb send on a vocal when the main vocal comes back in for a naturally shifting echo.<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Our favourite compressors Warm Audio WA-1B&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; hover_enabled=&#8221;0&#8243; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221; sticky_enabled=&#8221;0&#8243;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Our_favourite_compressors\"><\/span>Our favourite compressors<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<h4><span class=\"ez-toc-section\" id=\"Warm_Audio_WA-1B\"><\/span>Warm Audio WA-1B<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-31280 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audo-WA-1B-300x300.jpg\" alt=\"Warm Audo WA-1B\" width=\"300\" height=\"300\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audo-WA-1B-300x300.jpg 300w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audo-WA-1B-1024x1024.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audo-WA-1B-600x600.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audo-WA-1B-768x768.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audo-WA-1B-1080x1080.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audo-WA-1B-1280x1280.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audo-WA-1B-980x980.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audo-WA-1B-480x480.jpg 480w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audo-WA-1B.jpg 1500w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>The <strong><a href=\"https:\/\/www.gear4music.com\/PA-DJ-and-Lighting\/Warm-Audio-WA-1B-Compressor\/5XRZ\" target=\"_blank\" rel=\"noopener\">Warm Audio WA-1B<\/a><\/strong> is a tube-based optical compressor that takes inspiration from a classic Scandinavian analog design.<\/p>\n<p>It&#8217;s full of personality thanks to its tube-based circuitry, providing a warm and smooth personality that complements its generally slower, less aggressive attack and release times.<\/p>\n<p>Perfect on vocals, bass, acoustic guitar, and piano, the WA-1B is a great way of warming up sources.<\/p>\n<p>But make no mistake, with its input and output transformers, up to 10:1 ratio, and vacuum tubes, it can also get aggressive.<\/p>\n<p>Setting the WA-1B apart is its variable controls; these let you either manually set attack and release, use a default setting that reflects its famed smoothness, or a combined setting, blending its default with your custom settings for a serial compression effect in a single unit.<\/p>\n<p>[\/et_pb_text][et_pb_button button_url=&#8221;https:\/\/www.gear4music.com\/PA-DJ-and-Lighting\/Warm-Audio-WA-1B-Compressor\/5XRZ&#8221; url_new_window=&#8221;on&#8221; button_text=&#8221;CHECK THE CURRENT PRICE&#8221; button_alignment=&#8221;center&#8221; admin_label=&#8221;NEW CTA Button&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;14px&#8221; button_text_color=&#8221;#FFFFFF&#8221; button_bg_color=&#8221;#0e95cf&#8221; button_border_width=&#8221;0px&#8221; button_border_color=&#8221;#0e95cf&#8221; button_font=&#8221;Arial|700|||||||&#8221; button_icon=&#8221;&#x35;||divi||400&#8243; button_icon_color=&#8221;#FFFFFF&#8221; custom_margin=&#8221;||||false|false&#8221; custom_padding=&#8221;10px|30px||30px|false|false&#8221; box_shadow_style=&#8221;preset6&#8243; box_shadow_blur=&#8221;2px&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_text admin_label=&#8221;G4M 500 Series Compressor&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"G4M_500_Series_Compressor\"><\/span>G4M 500 Series Compressor<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-31281 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Outboard-300x300.jpg\" alt=\"G4M 500 Series Outboard\" width=\"300\" height=\"300\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Outboard-300x300.jpg 300w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Outboard-1024x1024.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Outboard-600x600.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Outboard-768x768.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Outboard-1080x1080.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Outboard-980x980.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Outboard-480x480.jpg 480w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Outboard.jpg 1200w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>The <strong><a href=\"https:\/\/www.gear4music.com\/PA-DJ-and-Lighting\/G4M-500-Series-Compressor\/51V4\" target=\"_blank\" rel=\"noopener\">G4M 500 Series Compressor<\/a><\/strong> is a compact and transparent compressor that\u2019s ideal for those just starting with outboard gear.<\/p>\n<p>Fitting into the compact 500 series format, this compressor doesn\u2019t have the same extensive controls as some larger units but still offers everything most people need to get functional compression quickly.<\/p>\n<p>Its variable ratio lets you go from a subtle 1:1 to a staggeringly aggressive 25:1, making it great for parallel compression, too.<\/p>\n<p>Its attack and release controls are fixed, but switchable between fast and slow modes to instantly dial in the flavour you want.<\/p>\n<p>Constantly variable gain and threshold controls make it responsive and easy to set up.<\/p>\n<p>Plus, a built-in high-pass filter at 100 Hz can cut out the low-end information from the compression, keeping your signal clean.<\/p>\n<p>[\/et_pb_text][et_pb_button button_url=&#8221;https:\/\/www.gear4music.com\/PA-DJ-and-Lighting\/G4M-500-Series-Compressor\/51V4&#8243; url_new_window=&#8221;on&#8221; button_text=&#8221;CHECK THE CURRENT PRICE&#8221; button_alignment=&#8221;center&#8221; admin_label=&#8221;NEW CTA Button&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;14px&#8221; button_text_color=&#8221;#FFFFFF&#8221; button_bg_color=&#8221;#0e95cf&#8221; button_border_width=&#8221;0px&#8221; button_border_color=&#8221;#0e95cf&#8221; button_font=&#8221;Arial|700|||||||&#8221; button_icon=&#8221;&#x35;||divi||400&#8243; button_icon_color=&#8221;#FFFFFF&#8221; custom_margin=&#8221;||||false|false&#8221; custom_padding=&#8221;10px|30px||30px|false|false&#8221; box_shadow_style=&#8221;preset6&#8243; box_shadow_blur=&#8221;2px&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_text admin_label=&#8221;Baby Audio Parallel Aggressor&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"Baby_Audio_Parallel_Aggressor\"><\/span>Baby Audio Parallel Aggressor<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-31282 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Baby-Audio-Parallel-Aggressor-300x300.jpg\" alt=\"Baby Audio Parallel Aggressor\" width=\"300\" height=\"300\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Baby-Audio-Parallel-Aggressor-300x300.jpg 300w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Baby-Audio-Parallel-Aggressor-1024x1024.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Baby-Audio-Parallel-Aggressor-600x600.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Baby-Audio-Parallel-Aggressor-768x768.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Baby-Audio-Parallel-Aggressor-1080x1080.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Baby-Audio-Parallel-Aggressor-980x980.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Baby-Audio-Parallel-Aggressor-480x480.jpg 480w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Baby-Audio-Parallel-Aggressor.jpg 1200w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>The <strong><a href=\"https:\/\/www.gear4music.com\/Recording-and-Computers\/Baby-Audio-Parallel-Aggressor\/46N6\" target=\"_blank\" rel=\"noopener\">Baby Audio Parallel Aggressor<\/a><\/strong> is a digital parallel compression plugin with two channels.<\/p>\n<p>Modelling its sound on a variety of classic analog units, the Parallel Aggressor captures the specific and sought-after sound of New York studios throughout the 1990s.<\/p>\n<p>Instantly parallel, this plugin allows you to adjust the level of two compression styles as well as a dry signal to taste.<\/p>\n<p>Parallel Aggressor\u2019s Heat engine adds saturation, whilst the Spank engine adds an aggressive compression algorithm.<\/p>\n<p>Its minimal interface and effective pre-dialled sound let you get the effect you want quickly and easily, with an output control or auto-gain feature to maintain your original balance.<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][et_pb_button button_url=&#8221;https:\/\/www.gear4music.com\/Recording-and-Computers\/Baby-Audio-Parallel-Aggressor\/46N6&#8243; url_new_window=&#8221;on&#8221; button_text=&#8221;CHECK THE CURRENT PRICE&#8221; button_alignment=&#8221;center&#8221; admin_label=&#8221;NEW CTA Button&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;14px&#8221; button_text_color=&#8221;#FFFFFF&#8221; button_bg_color=&#8221;#0e95cf&#8221; button_border_width=&#8221;0px&#8221; button_border_color=&#8221;#0e95cf&#8221; button_font=&#8221;Arial|700|||||||&#8221; button_icon=&#8221;&#x35;||divi||400&#8243; button_icon_color=&#8221;#FFFFFF&#8221; custom_margin=&#8221;||||false|false&#8221; custom_padding=&#8221;10px|30px||30px|false|false&#8221; box_shadow_style=&#8221;preset6&#8243; box_shadow_blur=&#8221;2px&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_text admin_label=&#8221;FabFilter Pro-C 2&#8243; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"FabFilter_Pro-C_2\"><\/span>FabFilter Pro-C 2<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p><strong><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-31283 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/FabFilter-Pro-C-2-300x300.jpg\" alt=\"FabFilter Pro-C 2\" width=\"300\" height=\"300\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/FabFilter-Pro-C-2-300x300.jpg 300w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/FabFilter-Pro-C-2-1024x1024.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/FabFilter-Pro-C-2-600x600.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/FabFilter-Pro-C-2-768x768.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/FabFilter-Pro-C-2-1080x1080.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/FabFilter-Pro-C-2-980x980.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/FabFilter-Pro-C-2-480x480.jpg 480w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/FabFilter-Pro-C-2.jpg 1200w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><a href=\"https:\/\/www.gear4music.com\/Recording-and-Computers\/FabFilter-Pro-C-2\/41UU\" target=\"_blank\" rel=\"noopener\">FabFilter\u2019s Pro-C 2<\/a><\/strong> is an incredibly versatile compression plugin with eight different styles and expansive controls.<\/p>\n<p>It also boasts flexible routing to achieve any compression effect you want.<\/p>\n<p>Taking full advantage of the flexibility of digital plugins, Pro-C 2 offers full control over threshold, ratio, attack, release, makeup gain, wet\/dry mix, knee, range, lookahead, and hold for heavily customised compression.<\/p>\n<p>Pro-C 2 can be operated in mono, stereo, or mid-side processing, making it great for unique and creative processing across any level of music production.<\/p>\n<p>From sound design to mixing and mastering, Pro-C 2 is one of the most flexible compressors available.<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][et_pb_button button_url=&#8221;https:\/\/www.gear4music.com\/Recording-and-Computers\/FabFilter-Pro-C-2\/41UU&#8221; url_new_window=&#8221;on&#8221; button_text=&#8221;CHECK THE CURRENT PRICE&#8221; button_alignment=&#8221;center&#8221; admin_label=&#8221;NEW CTA Button&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;14px&#8221; button_text_color=&#8221;#FFFFFF&#8221; button_bg_color=&#8221;#0e95cf&#8221; button_border_width=&#8221;0px&#8221; button_border_color=&#8221;#0e95cf&#8221; button_font=&#8221;Arial|700|||||||&#8221; button_icon=&#8221;&#x35;||divi||400&#8243; button_icon_color=&#8221;#FFFFFF&#8221; custom_margin=&#8221;||||false|false&#8221; custom_padding=&#8221;10px|30px||30px|false|false&#8221; box_shadow_style=&#8221;preset6&#8243; box_shadow_blur=&#8221;2px&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_text admin_label=&#8221;Universal Audio UAFX Max Preamp and Dual Compressor&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"Universal_Audio_UAFX_Max_Preamp_and_Dual_Compressor\"><\/span>Universal Audio UAFX Max Preamp and Dual Compressor<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-31284 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor-300x300.jpg\" alt=\"Universal Audio UAFX Max Preamp and Dual Compressor\" width=\"300\" height=\"300\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor-300x300.jpg 300w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor-1024x1024.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor-600x600.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor-768x768.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor-1080x1080.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor-1280x1280.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor-980x980.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor-480x480.jpg 480w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor.jpg 1500w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>The <strong><a href=\"https:\/\/www.gear4music.com\/Guitar-and-Bass\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor\/5J5D\" target=\"_blank\" rel=\"noopener\">Universal Audio Max<\/a><\/strong> is a preamp and dual compressor pedal that\u2019s ideal for both live and studio use.<\/p>\n<p>Aimed at guitarists and bassists, this pedal is well-suited to far more than meets the eye, as guitar pedals can also serve as a budget-friendly outboard for mixing in a studio space in a pinch!<\/p>\n<p>With a colourful preamp emulation inspired by UA\u2019s own 610 preamp, as well as two distinct compressor stages, this pedal can carry out serial compression or stereo processing.<\/p>\n<p>Its three compressor models emulate the classic Dyna Comp pedal, LA-2A, and 1176 from Universal Audio themselves. Full control over attack, release, and ratio makes it flexible and easy to use. It\u2019s also equipped with wireless control from a UAFX Control app for smartphones and tablets to store and load presets.<\/p>\n<p>If you want to glue a guitar or bass tone with a full band, or even fully process signals straight from your DAW, the UAFX Max is built to do it all.<\/p>\n<p>[\/et_pb_text][et_pb_button button_url=&#8221;https:\/\/www.gear4music.com\/Guitar-and-Bass\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor\/5J5D&#8221; url_new_window=&#8221;on&#8221; button_text=&#8221;CHECK THE CURRENT PRICE&#8221; button_alignment=&#8221;center&#8221; admin_label=&#8221;NEW CTA Button&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;14px&#8221; button_text_color=&#8221;#FFFFFF&#8221; button_bg_color=&#8221;#0e95cf&#8221; button_border_width=&#8221;0px&#8221; button_border_color=&#8221;#0e95cf&#8221; button_font=&#8221;Arial|700|||||||&#8221; button_icon=&#8221;&#x35;||divi||400&#8243; button_icon_color=&#8221;#FFFFFF&#8221; custom_margin=&#8221;||||false|false&#8221; custom_padding=&#8221;10px|30px||30px|false|false&#8221; box_shadow_style=&#8221;preset6&#8243; box_shadow_blur=&#8221;2px&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_text admin_label=&#8221;MXR M102 Dyna Comp&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"MXR_M102_Dyna_Comp\"><\/span>MXR M102 Dyna Comp<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-31294 size-medium alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/MXR-M102-Dyna-Comp-300x300.jpg\" alt=\"MXR M102 Dyna Comp\" width=\"300\" height=\"300\" srcset=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/MXR-M102-Dyna-Comp-300x300.jpg 300w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/MXR-M102-Dyna-Comp-1024x1024.jpg 1024w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/MXR-M102-Dyna-Comp-600x600.jpg 600w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/MXR-M102-Dyna-Comp-768x768.jpg 768w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/MXR-M102-Dyna-Comp-1080x1080.jpg 1080w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/MXR-M102-Dyna-Comp-1280x1280.jpg 1280w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/MXR-M102-Dyna-Comp-980x980.jpg 980w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/MXR-M102-Dyna-Comp-480x480.jpg 480w, https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/MXR-M102-Dyna-Comp.jpg 1500w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>The <strong><a href=\"https:\/\/www.gear4music.com\/Guitar-and-Bass\/MXR-M102-Dyna-Comp-Compressor\/K3N\" target=\"_blank\" rel=\"noopener\">MXR M102 Dyna Comp<\/a><\/strong> is a famed guitar compression pedal.<\/p>\n<p>In fact, it&#8217;s most well-known for its frequent use by David Gilmour.<\/p>\n<p>Its minimal interface is simple and easy to use, giving guitars a snappy attack and increased sustain that can really jump out of a mix or through PA speakers live.<\/p>\n<p>A great way to simplify achieving a more even and balanced guitar sound, the Dyna Comp sounds sharp and punchy, making it great for distorted rhythm tracks and guitar solos.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][et_pb_button button_url=&#8221;https:\/\/www.gear4music.com\/Guitar-and-Bass\/MXR-M102-Dyna-Comp-Compressor\/K3N&#8221; url_new_window=&#8221;on&#8221; button_text=&#8221;CHECK THE CURRENT PRICE&#8221; button_alignment=&#8221;center&#8221; admin_label=&#8221;NEW CTA Button&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;14px&#8221; button_text_color=&#8221;#FFFFFF&#8221; button_bg_color=&#8221;#0e95cf&#8221; button_border_width=&#8221;0px&#8221; button_border_color=&#8221;#0e95cf&#8221; button_font=&#8221;Arial|700|||||||&#8221; button_icon=&#8221;&#x35;||divi||400&#8243; button_icon_color=&#8221;#FFFFFF&#8221; custom_margin=&#8221;||||false|false&#8221; custom_padding=&#8221;10px|30px||30px|false|false&#8221; box_shadow_style=&#8221;preset6&#8243; box_shadow_blur=&#8221;2px&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_text admin_label=&#8221;FAQs&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"FAQs\"><\/span>FAQs<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<h4><span class=\"ez-toc-section\" id=\"How_should_I_use_a_compressor\"><\/span>How should I use a compressor?<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p>You should use a compressor to ensure a track is consistent in volume, making loud parts quieter and quiet parts louder. This can help balance sounds against each other for a smoother sound. Adjusting the threshold is important for this, letting us catch peaks without squashing too much.<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"What_are_the_5_basic_controls_of_a_compressor\"><\/span>What are the 5 basic controls of a compressor?<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p>The 5 main controls on a compressor are:<\/p>\n<ul>\n<li>Threshold<\/li>\n<li>Ratio<\/li>\n<li>Attack<\/li>\n<li>Release<\/li>\n<li>Makeup Gain<\/li>\n<\/ul>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"Should_I_use_a_compressor_on_everything\"><\/span>Should I use a compressor on everything?<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p>No, not everything needs to be compressed. Compression is a tool that can make things sound better, but using it too much can ruin the dynamics of your mix. Just ask yourself if the sound needs to be more even in volume before you apply compression.<\/p>\n<hr \/>\n<h4><span class=\"ez-toc-section\" id=\"How_do_you_know_if_something_is_overcompressed\"><\/span>How do you know if something is overcompressed?<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p>A sound is overcompressed if the volume is constant the whole way through. If quieter or less busy parts of a song are as loud as the busy, louder parts, you\u2019ve used too much compression. Often, it\u2019ll feel flat and hard to listen to, making your ears fatigued quickly.<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Find out more&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;20px||||false|false&#8221; border_width_top=&#8221;2px&#8221; border_color_top=&#8221;gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f&#8221; global_colors_info=&#8221;{%22gcid-45928375-1fd3-4d7e-b1f0-0adee316b54f%22:%91%22border_color_top%22%93}&#8221;]<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Find_out_more\"><\/span>Find out more<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>That was a lot of compression talk for one blog post &#8211; but I hope this article has helped you grasp compression a bit better. Whether you&#8217;re working with a plugin, pedal, or outboard gear, knowing what the different parameters do is crucial to understanding how a compressor works.<\/p>\n<p>If you&#8217;re looking to buy a compressor pedal specifically, why not take a look at our <strong><a href=\"https:\/\/www.gear4music.com\/blog\/best-compressor-pedals\/\" target=\"_blank\" rel=\"noopener\">favourite compressor pedals of this year<\/a><\/strong>? Or if you&#8217;re now wondering how to control the preamp in your studio, have a read of our <strong><a href=\"https:\/\/www.gear4music.com\/blog\/what-is-a-preamp\/\" target=\"_blank\" rel=\"noopener\">handy guide<\/a><\/strong>.<\/p>\n<p>Do you have any more tips? Let us know in the comments below!<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=&#8221;1_2,1_2&#8243; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;1_2&#8243; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_button button_url=&#8221;https:\/\/www.gear4music.com\/Studio-Outboard\/Compressors&#8221; url_new_window=&#8221;on&#8221; button_text=&#8221;SHOP AUDIO COMPRESSORS&#8221; button_alignment=&#8221;center&#8221; admin_label=&#8221;NEW CTA Button&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;14px&#8221; button_text_color=&#8221;#FFFFFF&#8221; button_bg_color=&#8221;#0e95cf&#8221; button_border_width=&#8221;0px&#8221; button_border_color=&#8221;#0e95cf&#8221; button_font=&#8221;Arial|700|||||||&#8221; button_icon=&#8221;&#x35;||divi||400&#8243; button_icon_color=&#8221;#FFFFFF&#8221; custom_margin=&#8221;||||false|false&#8221; custom_padding=&#8221;10px|30px||30px|false|false&#8221; box_shadow_style=&#8221;preset6&#8243; box_shadow_blur=&#8221;2px&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][\/et_pb_column][et_pb_column type=&#8221;1_2&#8243; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_button button_url=&#8221;https:\/\/www.gear4music.com\/blog\/category\/studio-production\/studio-guides\/&#8221; url_new_window=&#8221;on&#8221; button_text=&#8221;READ MORE STUDIO GUIDES&#8221; button_alignment=&#8221;center&#8221; admin_label=&#8221;NEW CTA Button&#8221; _builder_version=&#8221;4.17.4&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;14px&#8221; button_text_color=&#8221;#FFFFFF&#8221; button_bg_color=&#8221;#0e95cf&#8221; button_border_width=&#8221;0px&#8221; button_border_color=&#8221;#0e95cf&#8221; button_font=&#8221;Arial|700|||||||&#8221; button_icon=&#8221;&#x35;||divi||400&#8243; button_icon_color=&#8221;#FFFFFF&#8221; custom_margin=&#8221;||||false|false&#8221; custom_padding=&#8221;10px|30px||30px|false|false&#8221; box_shadow_style=&#8221;preset6&#8243; box_shadow_blur=&#8221;2px&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>When it comes to getting the perfect sound, compression is a difficult topic to get your head around at first, but it\u2019s incredibly important to understand how it works and how to hear it. If you\u2019re performing, recording, mixing music, or even recording voiceover for videos or podcasting, compression is a key tool that you\u2019ll need to use. So, what is compression, what do the controls do, and how do we dial in a compressor to achieve the sound we want? Read on; we\u2019ll cover how to use a compressor on your recordings and more.<\/p>\n","protected":false},"author":13,"featured_media":31273,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"<p>When it comes to getting the perfect sound, compression is a difficult topic to get your head around at first, but it\u2019s incredibly important to understand how it works and how to hear it. If you\u2019re performing, recording, mixing music, or even recording voiceover for videos or podcasting, compression is a key tool that you\u2019ll need to use.<\/p><p>So, what is compression, what do the controls do, and how do we dial in a compressor to achieve the sound we want? Read on; we\u2019ll cover <strong>how to use a compressor on your recordings <\/strong>and more.<\/p><hr \/><h3>In a hurry?<\/h3><ul><li><b>Threshold:<\/b> Sets the level of volume at which signals activate the compressor<\/li><li><b>Ratio:<\/b> Sets the amount of volume reduction that occurs over the compressor\u2019s threshold<\/li><li><b>Attack Time:<\/b> How quickly the compressor reacts to signals that exceed the threshold<\/li><li><b>Release Time:<\/b> How quickly the compressor stops reacting to signals once they go back under the threshold<\/li><li><b>Knee:<\/b> Sets the aggression of a compressor by deciding whether the threshold activates at an exact volume or a wider volume range.<\/li><li><b>Makeup Gain:<\/b> Adds volume back to your signal to compensate for the volume lost by compression<\/li><\/ul><hr \/><h3>What is compression, and why should I use it?<\/h3><p>Compression is a vital tool for controlling the overall volume of an audio signal. The best way to think about it, and my go-to way of explaining it, is simply that it makes the loudest parts of a sound quieter and the quietest parts of a sound louder. This is really important when it comes to recording or audio post-production, like mixing or mastering, in order to achieve a more balanced, even signal.<\/p><p>By catching the loudest part of a signal and reducing it in volume, we can prevent distortion and get punchier sounds. The initial hit of any sound is referred to as a transient, which is what compression often helps us to manage, as these can be a lot louder than the rest of the sound.<\/p><p>Now, we need to establish what a compressor fundamentally does: it turns the volume of signals that exceed a specific level back down to below that level. Due to the way it impacts sounds by making them more consistent and how it can make the relationship between multiple sounds more balanced, compression is often referred to as \u201cglue\u201d.<\/p><hr \/><h3>How to use a compressor<\/h3><p>So, how do we effectively use a compressor? By learning what its controls do. This helps us to conceptualise compression, hear it as we use it, and feel less intimidated by all the weird names and dials that a compressor can have. It took me years to feel like I truly understood and could properly hear what I was really doing when changing settings on a compressor, but hopefully, this guide will make things a little bit easier.<\/p><hr \/><h4>Threshold<\/h4><p><img class=\"size-medium wp-image-31275 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audio-Compressor-300x300.jpg\" alt=\"Warm Audio compressor\" width=\"300\" height=\"300\" \/>Threshold is one of the most important first settings when dialling in a compressor. As we\u2019ve mentioned, compression turns down signals that exceed a certain limit. A compressor\u2019s threshold control is how we set that limit. Without a signal exceeding that limit, we won\u2019t get any compression.<\/p><p>Usually measured in decibels, threshold settings can vary from -\u221e dB to 0 dB. At -\u221e, everything will be compressed, at 0 dB, nothing will be. So, to dial in the level of compression we want initially, most threshold settings will start at 0 and let us shift it backwards to taste.<\/p><p>This lets us get as aggressive or subtle as we want and can be easily adjusted as we go for as much precision in our compression as we need.<\/p><p>To see if your threshold is set the way you want it to be, check the VU meter or LED display on the compressor, and watch how it moves in response to the sound you\u2019re compressing. The further the meter moves, the more compression is being applied.<\/p><hr \/><h4>Ratio<\/h4><p>The ratio determines the intensity of compression. We\u2019ve established that compressors run down the volume of a signal that exceeds a specific level back down to below that level. But by how much does it turn it down? That\u2019s what the ratio dictates.<\/p><p>So, let\u2019s say, for example, you have a signal that exceeds the threshold you\u2019ve set by 5 dB. With a ratio of 2:1, the compressor will turn it down by 10 dB. For every decibel the signal exceeds your threshold by, the compressor will reduce it by two. This is a much more subtle ratio, but some can go as far as 25:1, or even \u221e:1! As such, the ratio can also determine how aggressive a compressor sounds.<\/p><p>At first, you\u2019ll notice signals getting much quieter, but there\u2019s another control that\u2019ll balance this out.<\/p><hr \/><h4>Attack<\/h4><p>The attack settings control how quickly the compressor applies gain reduction after the input signal passes the threshold. This is key to how a compressor handles transients.<\/p><p>Faster attack times will clamp down rapidly on transients, squashing them down quickly. Slower attack times will let more of the natural transient through, resulting in a punchy, dynamic sound. Getting the right attack is about balancing these two things.<\/p><hr \/><h4>Release<\/h4><p><img class=\"size-medium wp-image-31276 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Compressor-300x300.jpg\" alt=\"G4M 500 Series Compressor\" width=\"300\" height=\"300\" \/>Release dictates how quickly the compressor recovers from applying its gain reduction, letting go of the transient to let the rest of the signal pass. This can be used to maintain a gentle squeeze throughout a whole sound or to quickly clamp down on the uneven parts of the signal.<\/p><p>Faster release times will result in a quick and temporary gain reduction that recovers quickly.<\/p><p>People will often say the release time dictates how much character of the compressor comes through. Release being set too fast makes a sound unnatural, resulting in a \u201cpumping\u201d effect. Too slow a release means that the compressor won\u2019t stop compressing, resulting in a flat sound.<\/p><p>With attack, we talked a lot about transients. But to get release right, think about the parts of a sound that sustain, and listen to them closely as you adjust it.<\/p><hr \/><h4>Makeup Gain<\/h4><p>Since compression makes a sound quieter, and before compression we\u2019ve probably already dialled in how loud we want the sound to be overall, makeup gain helps us compensate by boosting the output signal back to its original level.<\/p><p>Since we\u2019ve reduced the loudest peaks of the sound, the rest of the overall signal can feel quieter than we initially thought or want it to be after compression. So, we use makeup gain to return it to its original levels.<\/p><p>Sometimes, we get control over the input signal level, determining how hard we push the signal into the compressor on the way in, and a separate output level control. Sometimes we just get one of these and the other one\u2019s set automatically. Many digital compression plugins give us an automatic make-up setting, which will immediately get us to the level we were previously at.<\/p><p>Use the levels shown by the meters on the compressor to inform you on what level to set this at, or you can always push the makeup gain harder.<\/p><hr \/><h3>Get started with compression<\/h3><p>Now that you\u2019ve pulled up your compressor of choice and are looking to tweak a sound, where and how should you start? Compression can go either before or after EQ, depending on what you\u2019re trying to accomplish with it. I usually recommend <strong>using EQ both before and after<\/strong> as EQ changes how compressors react to a sound.<\/p><p>EQing before compression is a good way of removing the information you don\u2019t want the compressor to bring up, but it\u2019s good to also have a way of correcting things if you notice new issues after compression.<\/p><p>I\u2019d recommend beginning with a <strong>ratio of about 4:1<\/strong> as a very middle-of-the-road ratio. From here, set the <strong>attack to something fast-to-medium speed<\/strong>. This should let some of the initial crack of the transient through, without being too dynamic that it\u2019s loud or harsh. Set your <strong>release to a medium speed<\/strong>, something right down the middle should help you decide which way you want to adjust it later.<\/p><p>Now, slowly bring your <strong>threshold back from 0<\/strong> until you start getting some compression. Try to get the <strong>gain reduction meter to around 4 \u2013 6 dB of gain<\/strong>. Once again, a moderate but noticeable setting, and usually about as much as you\u2019ll need. Then, adjust the <strong>makeup gain to wherever you have the gain reduction<\/strong>, or use the compressor\u2019s auto-gain feature to get the perfect balance.<\/p><p>Here\u2019s where you need to start making your decisions. Too much transient? Speed up the attack. Not enough transient? Slow it down! If you\u2019re noticing audible pumping, it may be worth slowing down the release time. If the ratio feels too aggressive, back it off to taste, or maybe consider softening the knee if you have control over it.<\/p><p>If you want to compress more of the signal, decrease the threshold. Similarly, if you\u2019re feeling like it\u2019s too much, back off that threshold to compress less. Then, adjust your makeup gain to hit your target levels if your amount of gain reduction has changed from your tweaks.<\/p><p>Remember, you can also set your makeup gain to make the sound louder or quieter than it was before compression if you want to change where it sits in the mix. This is fine to do so long as you know that you\u2019re doing it and why!<\/p><hr \/><h3>Things to consider when using a compressor<\/h3><p>Compression brings up aspects of the sound you might not have noticed before. Breath sounds in a vocal, fret buzz on guitar or bass strings, amp noise from a guitar cabinet, bleed in drum mics, noise in samples... if you\u2019re noticing things you don\u2019t like in your recording jumping out suddenly, it might be a sign that you\u2019re compressing too much.<\/p><p>Try backing off the threshold to fix this. You can also try correcting it with EQ, but this might not always work as intended.<\/p><p>The main question is, does your recording sound better because of the compressor? Try bypassing it and switching it back in, and see what you prefer. Some sources, like electric guitar or samples and loops, might not need more compression as it\u2019s likely they\u2019re already getting some.<\/p><p>If you\u2019re working on a mix, is the sound already compressed? Many engineers will already compress things like vocals and bass whilst recording, and compressing them further can make a song feel flat and lifeless, pushing a track into overcompression. Some things might just need a lighter touch, and some might not need any at all.<\/p><p>For percussive sounds, especially things like shakers or drums, be wary of your attack times. Percussion relies on the transient to cut through a mix, and if you squash this too hard it can really flatten your drums.<\/p><p>And don\u2019t be afraid to get aggressive with the threshold! For short, snappy sounds like these, a slower attack, and a medium-to-fast release may be better. Especially with dense tracks, catching a lot of your drums with the compressor can help them punch through the mix.<\/p><p><img class=\"aligncenter wp-image-31277 size-full\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Range-of-compressor-pedals.jpg\" alt=\"Range of compressor pedals\" width=\"1330\" height=\"665\" \/><\/p><hr \/><h3>Compression techniques<\/h3><p>There are three major styles of compression that can really bring your sound to life.<\/p><p><strong>Serial compression<\/strong> uses multiple stages of compression to get a colourful and controlled sound. This is often used with vocals to get a nice upfront sound that sits on top of a mix. Try chaining a FET-style compressor with fairly fast settings and a high threshold that catches only the fast, big peaks on a vocal into a smooth optical-style compressor to bring out the body of the vocal.<\/p><p>It\u2019s also good for subtle compression, letting you set multiple compressors doing much less. If you want transparent compression, serial compression chains are the way to go.<\/p><p><strong>Parallel compression<\/strong> is a good way to make something punchy without being over-the-top. Some compressors will have a built-in wet\/dry blend control to do this. For others, you might need to set up on a bus or a separate track.<\/p><p>To get good parallel compression, try some really extreme settings - fast attack, fast release, high ratio, hard knee, and a really low threshold - to smash a signal. Then, blend this slightly with the original track and it\u2019ll bring out a lot of extra definition. This is excellent on drums and is also extremely good on distorted guitars or metal vocals - especially if you throw a bit of saturation for more character!<\/p><p><strong>Sidechain compression<\/strong> allows you to create manual ducking of signals. Particularly in busy mixes, sidechain controls will allow you to carve out space for other sounds. It can also be used for creative effects.<\/p><p>Sidechain ducks a signal when the intended sidechain input is triggered. For example, you could duck the bass guitar when a kick drum hits, or duck guitars to make space for snares or vocals. You can also use this on reverbs, ducking a reverb send on a vocal when the main vocal comes back in for a naturally shifting echo.<\/p><hr \/><h3>Our favourite compressors<\/h3><h4>Warm Audo WA-1B<\/h4><p><img class=\"size-medium wp-image-31280 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Warm-Audo-WA-1B-300x300.jpg\" alt=\"Warm Audo WA-1B\" width=\"300\" height=\"300\" \/>The <strong><a href=\"https:\/\/www.gear4music.com\/PA-DJ-and-Lighting\/Warm-Audio-WA-1B-Compressor\/5XRZ\" target=\"_blank\" rel=\"noopener\">Warm Audio WA-1B<\/a><\/strong> is a tube-based optical compressor that takes inspiration from a classic Scandinavian analog design.<\/p><p>It's full of personality thanks to its tube-based circuitry, providing a warm and smooth personality that complements its generally slower, less aggressive attack and release times.<\/p><p>Perfect on vocals, bass, acoustic guitar, and piano, the WA-1B is a great way of warming up sources.<\/p><p>But make no mistake, with its input and output transformers, up to 10:1 ratio, and vacuum tubes, it can also get aggressive.<\/p><p>Setting the WA-1B apart is its variable controls; these let you either manually set attack and release, use a default setting that reflects its famed smoothness, or a combined setting, blending its default with your custom settings for a serial compression effect in a single unit.<\/p><hr \/><h4>G4M 500 Series Compressor<\/h4><p><img class=\"size-medium wp-image-31281 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/G4M-500-Series-Outboard-300x300.jpg\" alt=\"G4M 500 Series Outboard\" width=\"300\" height=\"300\" \/>The <strong><a href=\"https:\/\/www.gear4music.com\/PA-DJ-and-Lighting\/G4M-500-Series-Compressor\/51V4\" target=\"_blank\" rel=\"noopener\">G4M 500 Series Compressor<\/a><\/strong> is a compact and transparent compressor that\u2019s ideal for those just starting with outboard gear.<\/p><p>Fitting into the compact 500 series format, this compressor doesn\u2019t have the same extensive controls as some larger units but still offers everything most people need to get functional compression quickly.<\/p><p>Its variable ratio lets you go from a subtle 1:1 to a staggeringly aggressive 25:1, making it great for parallel compression, too.<\/p><p>Its attack and release controls are fixed, but switchable between fast and slow modes to instantly dial in the flavour you want.<\/p><p>Constantly variable gain and threshold controls make it responsive and easy to set up.<\/p><p>Plus, a built-in high-pass filter at 100 Hz can cut out the low-end information from the compression, keeping your signal clean.<\/p><hr \/><h4>Baby Audio Parallel Aggressor<\/h4><p><img class=\"size-medium wp-image-31282 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Baby-Audio-Parallel-Aggressor-300x300.jpg\" alt=\"Baby Audio Parallel Aggressor\" width=\"300\" height=\"300\" \/>The <strong><a href=\"https:\/\/www.gear4music.com\/Recording-and-Computers\/Baby-Audio-Parallel-Aggressor\/46N6\" target=\"_blank\" rel=\"noopener\">Baby Audio Parallel Aggressor<\/a><\/strong> is a digital parallel compression plugin with two channels.<\/p><p>Modelling its sound on a variety of classic analog units, the Parallel Aggressor captures the specific and sought-after sound of New York studios throughout the 1990s.<\/p><p>Instantly parallel, this plugin allows you to adjust the level of two compression styles as well as a dry signal to taste.<\/p><p>Parallel Aggressor\u2019s Heat engine adds saturation, whilst the Spank engine adds an aggressive compression algorithm.<\/p><p>Its minimal interface and effective pre-dialled sound let you get the effect you want quickly and easily, with an output control or auto-gain feature to maintain your original balance.<\/p><hr \/><h4>FabFilter Pro-C 2<\/h4><p><strong><img class=\"size-medium wp-image-31283 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/FabFilter-Pro-C-2-300x300.jpg\" alt=\"FabFilter Pro-C 2\" width=\"300\" height=\"300\" \/><a href=\"https:\/\/www.gear4music.com\/Recording-and-Computers\/FabFilter-Pro-C-2\/41UU\" target=\"_blank\" rel=\"noopener\">FabFilter\u2019s Pro-C 2<\/a><\/strong> is an incredibly versatile compression plugin with eight different styles and expansive controls.<\/p><p>It also boasts flexible routing to achieve any compression effect you want.<\/p><p>Taking full advantage of the flexibility of digital plugins, Pro-C 2 offers full control over threshold, ratio, attack, release, makeup gain, wet\/dry mix, knee, range, lookahead, and hold for heavily customised compression.<\/p><p>Pro-C 2 can be operated in mono, stereo, or mid-side processing, making it great for unique and creative processing across any level of music production.<\/p><p>From sound design to mixing and mastering, Pro-C 2 is one of the most flexible compressors available.<\/p><hr \/><h4>Universal Audio UAFX Max Preamp and Dual Compressor<\/h4><p><img class=\"size-medium wp-image-31284 alignright\" src=\"https:\/\/storage.googleapis.com\/stateless-blog-g4m-co-uk\/2023\/10\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor-300x300.jpg\" alt=\"Universal Audio UAFX Max Preamp and Dual Compressor\" width=\"300\" height=\"300\" \/>The <strong><a href=\"https:\/\/www.gear4music.com\/Guitar-and-Bass\/Universal-Audio-UAFX-Max-Preamp-and-Dual-Compressor\/5J5D\" target=\"_blank\" rel=\"noopener\">Universal Audio Max<\/a><\/strong> is a preamp and dual compressor pedal that\u2019s ideal for both live and studio use.<\/p><p>Aimed at guitarists and bassists, this pedal is well-suited to far more than meets the eye, as guitar pedals can also serve as a budget-friendly outboard for mixing in a studio space in a pinch!<\/p><p>With a colourful preamp emulation inspired by UA\u2019s own 610 preamp, as well as two distinct compressor stages, this pedal can carry out serial compression or stereo processing.<\/p><p>Its three compressor models emulate the classic Dyna Comp pedal, LA-2A, and 1176 from Universal Audio themselves. Full control over attack, release, and ratio makes it flexible and easy to use. It\u2019s also equipped with wireless control from a UAFX Control app for smartphones and tablets to store and load presets.<\/p><p>If you want to glue a guitar or bass tone with a full band, or even fully process signals straight from your DAW, the UAFX Max is built to do it all.<\/p><hr \/><h4>MXR M102 Dyna Comp<\/h4><p>The <strong><a href=\"https:\/\/www.gear4music.com\/Guitar-and-Bass\/MXR-M102-Dyna-Comp-Compressor\/K3N\" target=\"_blank\" rel=\"noopener\">MXR M102 Dyna Comp<\/a><\/strong> is a famed guitar compression pedal, most well-known for its frequent use by David Gilmour.<\/p><p>Its minimal interface is simple and easy to use, giving guitars a snappy attack and increased sustain that can really jump out of a mix or through PA speakers live. A great way to simplify achieving a more even and balanced guitar sound, the Dyna Comp sounds sharp and punchy, making it great for distorted rhythm tracks and guitar solos.<\/p><hr \/><h3>FAQs<\/h3><h4>How should I use a compressor?<\/h4><p>You should use a compressor to ensure a track is consistent in volume, making loud parts quieter and quiet parts louder. This can help balance sounds against each other for a smoother sound. Adjusting the threshold is important for this, letting us catch peaks without squashing too much.<\/p><hr \/><h4>What are the 5 basic controls of a compressor?<\/h4><p>The 5 main controls on a compressor are:<\/p><ul><li>Threshold<\/li><li>Ratio<\/li><li>Attack<\/li><li>Release<\/li><li>Makeup Gain<\/li><\/ul><hr \/><h4>Should I use a compressor on everything?<\/h4><p>No, not everything needs to be compressed. Compression is a tool that can make things sound better, but using it too much can ruin the dynamics of your mix. Just ask yourself if the sound needs to be more even in volume before you apply compression.<\/p><hr \/><h4>How do you know if something is overcompressed?<\/h4><p>A sound is overcompressed if the volume is constant the whole way through. If quieter or less busy parts of a song are as loud as the busy, louder parts, you\u2019ve used too much compression. Often, it\u2019ll feel flat and hard to listen to, making your ears fatigued quickly.<\/p><hr \/><h3>Find out more<\/h3><p>That was a lot of compression talk for one blog post - but I hope this article has helped you grasp compression a bit better. Whether you're working with a plugin, pedal, or outboard gear, knowing what the different parameters do is crucial to understanding how a compressor works.<\/p><p>If you're looking to buy a compressor pedal specifically, why not take a look at our <strong><a href=\"https:\/\/www.gear4music.com\/blog\/best-compressor-pedals\/\" target=\"_blank\" rel=\"noopener\">favourite compressor pedals of this year<\/a><\/strong>? Or if you're now wondering how to control the preamp in your studio, have a read of our <strong><a href=\"https:\/\/www.gear4music.com\/blog\/what-is-a-preamp\/\" target=\"_blank\" rel=\"noopener\">handy guide<\/a><\/strong>.<\/p><p>Do you have any more tips? Let us know in the comments below!<\/p>","_et_gb_content_width":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[247,121],"tags":[290,104],"class_list":["post-31066","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-studio-guides","category-studio-production","tag-guide","tag-studio-production"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>How to Use a Compressor on Your Recordings | Gear4music<\/title>\n<meta name=\"description\" content=\"It&#039;s a key tool in the studio, but what is compression, and what do the controls do? 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