Using compression is a fine art: You can easily destroy your sound if you don’t carefully set the
compression parameters! For each purpose, specific settings are required. A good understand-
ing of each parameter’s effect, together with experience gained by using the compressor, will
allow you to achieve great results!
In addition to the above listed common applications there is room for your own experiments, so
feel free to use your compressor in a way not listed here.
1.1.1 Main Compression Parameters
Compression can be controlled by several parameters. The most important parameters are the
following:
▪ The threshold defines the audio level above which compression takes place. Below this
threshold level, the incoming signal is left untouched; above this threshold level, the gain
of the incoming signal is attenuated.
▪ You can choose how much attenuation is applied to the signal by defining an input/output
ratio. For example, when you select a ratio of 2:1, an input level that is 2 dB above the
threshold will create an output level that is only 1 dB above the threshold.
By setting an extreme compression ratio, you can practically prevent the signal from ex-
ceeding the threshold level. The compressor then acts as a limiter.
▪ Since the compression attenuates the higher levels of your input signal, most compressors
allow you to add a fixed make-up gain to the output in order to counterbalance the loss of
level.
1.1.2 Other Compression Parameters and Features
The compression process can be further tuned by using additional parameters and features.
Attack and Release
The attack time can define how long it takes for the compressor to come into full effect when
the threshold level is reached. For example, a longer attack time can be useful to retain the
attack transients on a percussive or plucked string instrument in order to only compress the
instrument sound coming after the transients. For this, you could also make use of parallel
compression (see below).
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