Perhaps certain guitar strums don’t quite cut through. Maybe a snare punches through too loud and the rest gets buried right after. This can be good, but it means that certain elements in a track might not poke out the whole time, burying them in the mix. Some audio material tends to be very dynamic, meaning there is a large gap between the quiet parts and the loud parts of the sound. Compression reduces this, making it more even over time.īut why would you want to do something like that? Why Should I Use Compression? The dynamic range is simply the difference between the quiet and loud parts of a sound. This reduces what is known as the dynamic range of a sound.
How? It reacts to the incoming audio and turns it down when it gets too loud, and turns back up when it’s quiet again. While it can contribute, many producers overlook many other factors involved with mixing and production as a whole, like:Ĭompression is just volume changing over time, really fast. Unfortunately, compression often ends up becoming praised as the holy grail of a fat, full and loud mix. It’s a tool that can be used well, or poorly. In fact, it’s an important tool that I would place in the top 4 most crucial for mixing: Compression as a Toolįirst of all, it’s important to understand that like any audio effect, compression is simply a tool. Otherwise, you’ll make the same mistake I did: endlessly tweaking a compressor, hoping it would fix my crappy songs. Variable stereo linking and mid/side processing, with mid-only, side-only, M > S and S > M processing.Before we dive into the complexities and technicalities of how a compressor works, it’s important that you understand it from an overall perspective. Supports common Pro Tools hardware control surfaces Retina support on OS X and High DPI support on WindowsĬustom knee, variable from hard knee to a 72 dB soft knee (to enable saturation-like effects) Smooth lookahead (up to 20 ms), which can be enabled/disabled to ensure zero latency processing The loudness level complies with the Momentary mode of the EBU R128 / ITU-R 1770 standards Program-dependent attack and release curvesĪccurate, large level and gain change meters, with peak and loudness level visualization.
Side-chain EQ section, with customizable HP and LP filters, plus an additional freely adjustable filterįull Screen mode, offering a large level display and side-chain EQ controller
Mix setting, which scales the gain change from 0% to 200% Gorgeous Retina interface, with (optional) animated level knee displays and accurate peak/loudness metering Range setting, which limits the maximum applied gain change Eight different compression styles, of which five are new in version 2: Vocal, Mastering, Bus, Punch and Pumping
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