Of all the processes used in modern music production, compression is perhaps the least understood. One reason is compression’s sonic results are often subtle and thus hard to hear—especially for budding engineers. Another hurdle is presented by the various and differing compressor control parameters; those, too, are typically subtle in their individual sonic effects, and they work together interactively, further complicating the stew. Then there’s the confusion that lies in the bewildering array of product types and models the engineer must choose from before even reaching for a control knob. For example, for a given application, should you select a VCA-based compressor or one controlled by an opto-electrical element? A solid-state or tube design (or a hybrid of the two)? Analog or digital compression? A hardware compressor or one that is software based? And so on.

With so many variables, it’s no wonder compressors and compression remain a mystery for many users. Yet, if you want to master the arts of recording and mixing, learning compression’s intricacies is imperative. After all, the production processes for most of today’s popular music forms—with the notable exceptions of classical and some jazz—rely heavily on compression. Simply put, if you’re not compressing properly, you’re not getting the best sounds possible.

This article will guide you through the maze of compressor options and explain practical compression applications in plain English. I’ll start with the basics of compression, citing examples of various production techniques and the theories behind them. I’ll also tell you which features to look for in a compressor and why they’re important. Finally, I will survey specific types and designs of compressors, describe some models, and offer opinions about which models do the best jobs on which instruments.

NEXT

Reprinted with permission from Magazine, February, 2001
© 2001, Intertec Publishing, A Primedia Company All Rights Reserved