Dynamics Processing

Ratio determines how much the signal is reduced once it crosses threshold. 4:1 means for every 4dB above threshold, only 1dB comes out.

Attack is how quickly compression engages after signal crosses threshold. Fast attack catches transients. Slow attack lets transients through.

Release is how quickly compression lets go after signal drops below threshold. Too fast = pumping/breathing. Too slow = compression never recovers.

Compression reduces volume. Makeup gain restores it. This is why compression seems to make things louder—you're compressing then boosting back up.

Most compressors show gain reduction (GR). This tells you how much compression is occurring. Also watch input and output levels.

Different compressor designs have different characters. VCA, Opto, FET, and Vari-Mu each have a sound.

Limiters on the master bus allow you to increase perceived loudness by catching peaks and allowing average level to rise.

Digital samples can create peaks BETWEEN samples when converted to analog (inter-sample peaks). True peak limiters catch these.

Brickwall limiting means NOTHING exceeds the ceiling—infinite ratio, instant attack. Used at the very end of the chain.

Attack, hold, release, and range shape how the gate behaves. Getting these right is the difference between natural and choppy.

An expander is a gentler gate. Instead of muting, it increases dynamic range—quiet parts get quieter in proportion to how far below threshold.

Common use: Clean up bleed from snare into tom mics, hi-hat into snare mic, etc. Tightens up the drum sound.

Ducking makes one element get quieter when another plays. Classic use: Bass ducks under kick, music ducks under voiceover.

The rhythmic 'pumping' effect in EDM: Elements get crushed on every beat and swell back between beats. Obvious, dramatic, rhythmic.

You can EQ the sidechain signal to make compression frequency-dependent without using multiband compression.

The parallel bus is compressed HARD. Settings that would be too much on their own work because they're blended back.

Classic application: Drum bus parallel compression adds power and glue without losing transients. The 'big rock drum' sound.

Parallel works on anything where you want more sustain/body without losing dynamics: vocals, bass, guitars, full mix.

Multiband is powerful but often overkill. Best for specific frequency-dependent problems.

Each band needs individual attention. Don't just throw on a multiband preset—set each band intentionally.

Before reaching for multiband, consider simpler solutions that might work better.

Drums benefit from compression that shapes transients and adds body. Different approach for different drums.

Bass needs to be consistent—dynamics variation is less desirable than in melodic elements. Compress for evenness.

Gentle mix bus compression adds 'glue'—makes the mix feel like one unit instead of separate tracks.