Recording what is compression

This lesson shows you that step by step. Mixing through compression on your master fader mix buss is one of the quickest ways to create punch, thickness, and energy in your mix. In this lesson, I want to show you my exact settings for mix buss compression. Spoiler alert: they are subtle and the effect is subtle. How do some people get their drums to hit really hard in the mix and yet still sound natural?

The answer is parallel compression. By taking a copy of your drums or vocals, guitars, keys and compressing it aggressively, you can blend it back in with the original track for the perfect sound. What is Compression? Example: Vocal Track Compression The easiest way to explain this is through an example of a vocal track. This is done primarily with four tools, which are included on almost every compressor: Threshold — this sets the level at which every volume above the specified threshold is made softer.

Ratio — This is how much softer the volume of the source will be made. For example, if the ratio is set at , then for every 4 decibels dB the volume goes above the threshold, then the actual output level is a 1 dB greater than the input level.

If we set a fast attack, we'll ensure that any spikes or transients of the signal are fully compressed in an instant. A slower attack will allow these spikes and transients through, but the audio that follows will be compressed. We can use compression in a correctional manner or as a creative device.

The 'release' is the time that it takes for the compressor to stop once the audio signal has fallen below the threshold. A quick release is not something that we should aim for, as it can sound wholly unnatural - the audio signal can drop off very quickly. Therefore, a slower, gradual reduction will perhaps be more pleasing to the ear. Once the audio signal has been compressed, the overall volume of the track will be lower.

Make-up gain is applied to raise the all-around level of the track, so that it will sit naturally within the mix. Ultimately, the recording will have a smaller dynamic range and a more consistent volume. Now that we've learned a basic understanding of the general rules of compression, we can apply them to our recordings as two distinct tools.

We can use compression in a correctional manner to tame volume fluctuation, for example or a creative device to bring all the levels of a drum kit closer together, perhaps. As with most audio recording techniques, there are no correct or incorrect methods, only guidelines.

Guitar players, for instance, feel they should be able to achieve the effect with their fingers. Vocalists try to do the job of the compressor by moving closer and further away from the mic. Some mixing engineers will even automate the volume or literally try to ride the fader during tracking.

That's a sad situation, because it couldn't be easier once someone takes the time to show you. Sure, there's quite a few knobs for you to tinker with, but honestly most of them are set and forget. And once you have a grasp on what compressors do, then you also understand expanders, limiters, and noise gates! While other pieces of studio equipment are more important in terms of creating crystal clear recording quality, the compressor is the one piece that gets your songs closer to sounding like what you hear on professional releases than any other.

Yes, you can record without one. You can even mix without one. But you're wasting your time and hurting your results if you do.

So definitely get the idea that you don't need one out of your head and commit to learning about it right here and now with this easy to understand article An audio compressor tames the dynamic range of your signal so that there is less variance between the loudest portions and the quietest parts.

It also provides a way for you to control the manner in which it does this. That's it. It squishes your recorded signal so the loudest parts are 10x louder than the quietest instead of x louder. I made those numbers up but it illustrates the point. A studio compressor's job is to pull off this feat in a way that is pleasant for the listener.

Naturally a lot of people ask why we care about this. Dynamic range compression is important for many reasons. The main reason we're concerned about is that it helps us polish the audio in music, movies, and television in a way that is not only comfortable for the listener but also brings a greater sense of clarity.

This is because the quieter details are equally as important to intelligibility as the loud parts. An analog compressor does this job through manipulation of the electrical signal flowing through your cables, while a digital compressor performs the task through tweaking and changing the binary code of your digitized audio signal. The algorithms and electronic gadgetry aren't important, we'll leave that to the manufacturers.

But you'll definitely want to understand how to direct the compressor to do the job correctly, because it's not automatic! The compressor is meant to tame your audio signal's amplitude volume to more reasonable and consistent levels. But by how much? Where should it start compressing? How quickly should it react?

These are just some of the options you have available to you and your choices will vary depending on the source you send in. You won't compress a snare the same as a kick drum, let alone the same as a bass or vocals. Let's cover the four main functions.

They are:. Wrap your head around these and not only are you ready to use a compressor but you'll understand how a limiter, expander, and a noise gate works as well!

When it comes time to start compressing, you can tell the machine how quickly it should respond. I can fire into gear within as little as 0. Sometimes you want it to wait a second so that a certain nuanced detail can come through uncompressed, such as the initial crack of a snare drum.

The time has come for the compressor to stop doing its job and release its grip on your signal. Just like the attack, you can tell the compressor to stop immediately or you can instruct it to hang on for a little longer. Immediately, in this context, is as fast as one or two milliseconds and slowly can refer to as many as several seconds.

Sometimes too fast of a release can create a strange pumping feeling depending on the source material while too slow can create fade-outs that abruptly jump back to full volume. So all of this begs the question of "when does the compressor start compressing?