3 Reasons to use Compression

Are you new to compression?
Have you yet to figure out what the fuss is all about?

If you’ve tried to use compression, but you haven’t been able to get the results you’re looking for, watch until the end of this video because you’ll learn 3 common reasons to use compression in a mix.

But first a quick word from the Sponsor of this video, DistroKid.

DistroKid makes music distribution fun and easy with unlimited uploads and artists keeping 100% of their royalties and earnings. 

Over A million artists rely on DistroKid to get their music into Spotify, Apple Music, YouTube, TikTok, Tidal, Instagram, and all the major streaming services.

Now Distrokid services are more accessible than ever with their new iOS app.

With the DistroKid App you can

• See your DistroKid Bank and Get notified when you’ve earned royalties & withdraw $ straight from the app
• Check your streaming stats from Spotify & Apple 
• Edit your account details to easily Add aor edit lyrics and song credits 

The DistroKid app is now available on iOS, go to the App Store to download it. 

1. Dynamic Control:

   Compression helps to control the dynamic range of audio signals by reducing the volume difference between loud and soft sections.

   Most compressors work by reducing louder sections of audio which exceed the threshold set by the user.

   Then, Make up gain is added to compensate for the gain reduction.

   This process evens out the overall level of a recording, which makes it sound more consistent, polished, and professional.

   
   EXAMPLE 1: Leveling a Vocal: most Lead Vocals are compressed to maintain consistent intelligibility of all lyrics/words.

   For voice I like to start with a 10ms attack, fast enough to grab the vocal but not quite enough to kill the transient. And a medium to slow release to draw out some sustain (Compression Envelope Video)

   Set the threshold so the compressor is only reducing the louder sections of audio and then add some makeup gain.

   Check against the bypassed signal to make sure you’re not just making the whole track louder.

   The voice should become more prominent, forward, and easier to understand without being louder in volume.

   This type of compression is called Leveling.

   Audio Leveling: Compression is used to level out the volume discrepancies within a recording. (Slower attack, longer release)

   Leveling brings the quieter parts of the audio closer in level to the louder parts, so that you get a more consistent and enjoyable listening experience.

   Quiet parts can be understood, and the loud parts don’t make you reach for the volume dial.

   This leveling effect is crucial in maintaining a consistent volume across different sections of a song or between multiple tracks in a mix.

2. Control Peaks and Transients:

   Compression helps to control excessive peaks and transients that can cause clipping or are otherwise way too loud for your mix.

   By reducing the level of sudden spikes in volume, compression allows you to increase the overall volume of a track without causing unwanted clipping/distortion. And what you end up with is a more consistent sound, without any sudden jumps in volume.

   Example 2: Evening out Kick Drum Transients

   For a song with a strong beat, a compressor with fast attack and release settings may be uses to ensure each Kick drum gets the same level of impact.

   Usually with a live drummer there are dynamic differences they may be inconsistent. (Energy levels between takes, not every hit is the same)

   For this example we’ll use an 1176 which has a set threshold.
   Begin by finding a section with the loudest hits

   To begin compressing, adjust the input gain to where the compressor is only reacting to the loudest transients.

   and then add some makeup gain. Remember to Check against the bypassed signal to make sure you’re not just making the whole track louder.

   This way every bass drum hit that isn’t a ghost note will be more consistent in volume so that each kick gets more or less the same amount of impact, Without having the kick randomly become an icepick in your ear drums.
   
   This type of compression is called peak limiting.
   
   It uses a combination of fast attack and release with a high ratio. A fast attack and high ratio work together to function as a limiter.
   
    

3. Tone Shaping:

   Compression can be used creatively to shape the tone of audio signals.
   By adjusting the attack and release settings, you can modify the envelope and character of a sound.

   For example, a fast attack time is gonna grab onto transients and easily even out the dynamics of a sound, the compressor will take a firm hold of the transient that may darken the tone of the drum.

   The release will determine how long the compressor is going to keep holding on once the loud transient has passed.

   With a fast release the compressor pumps back to full gain quickly, and with a slower release its gonna hold on longer and add some sustain to the sound as the needle slowly returns back to full volume.
   This slow release is responsible for what a lot of engineers call ‘glue’.

   And combining this slow release with a slow attack allows you to retain the punch of your transient, while also adding some sustain or glue to the overall sound.

   Example 3: Tone shaping a Snare Drum

   In this example we’ll be using an 1176 setup similar to example 2,
   but we will be focusing on how the tone of the drum changes with different attack and release settings

   FAST attack – darker, dull transient
   S L O W attack – brighter, full transient  
   Fast Release – Pumping
   S l o w Release – Glue, Sustain

   For this example I’m using a song with a strong back beat, I’m using a compressor with fast attack and release settings  to ensure each snare drum gets the same level of impact.

   Now just like the last example using a live drummer there are dynamic differences between each hit that we can even out with a compressor.

   Now For this example we’ll use an 1176
   I’m gonna start by finding a section with the loudest hits

   To begin compressing, adjust the input gain to where the compressor is reacting to the loudest transients. and then add some makeup gain.

   Remember to Check against the bypassed signal to make sure you’re not just making the whole track louder.

   Really focus on the attack here, we want the attack as fast as possible.

   Listen for what happens when the compressor reacts so quickly to the transient of the drum.
   The Fast attack is gonna bite down on that transient and containing those hits and making them sound a bit darker.

   This way every bass drum hit that isn’t a ghost note will be more consistent in volume so that each kick gets more or less the same amount of impact. Without having the kick randomly become an icepick in your ear drums.
   

These examples are here to get you started  but remember that the specific application and settings of compression will always depend on the audio source and your desired outcome.

Time and experimentation is often necessary to achieve your desired results.

Thank you for watching and I’ll see you in my next video, 3 reasons not to use compression!