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CheatSheet
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Definitions

Threshold​ - how loud the signal level must be before the compressor starts working.

Ratio​ - The amount of compression that is applied.

​ ​E.g., if the ratio is set for 4:1, the input
signal will have to cross the threshold by 4 dB for the output level to increase by 1 dB.

Attack​ - How quickly the compressor engages.

Release​ - How soon after the signal goes below the threshold the compressor stops
engaging.

Knee​ - Determines how the compressor responds to signals after the threshold has been
passed.

Hard Knee​ - engages and clamps the signal immediately

Soft Knee​ - Compression engages more gently as the signal goes further past the
threshold.

Make-Up Gain​ - Provides a boost to the gain, since compression can lower gain slightly.

Output​ - Enables you to boost or adjust the level of the signal output leaving the
compressor.

Chart Notes

● These are suggestions that can be helpful when mixing, but are by no means hard and
fast rules! Every situation and taste is different. Start with these and adjust!

● “Use your ears.” If something sounds good, go with it. Make use of reference tracks often.

● Really be deliberate with your compression choices.

Lighter Compression Table
(With threshold, no knee)

Instrument Threshold Attack Release Ratio

Vocal -8dB <1ms (Fast) ~40ms -btwn 1.5:1 &

2:1
-For really
bringing vocals
out try
between 4:1
and 6:1

Bass -4dB 40-50ms ~180ms -btwn 2.5:1 &

3:1

Acoustic Guitar -6dB ~150ms ~400ms -btwn 2:1 & 4:1

Electric Guitar -1dB 25-30ms 200ms -btwn 2:1 & 3:1

Kick -4dB 5-10ms 12-175 ms -btwn 4:1 & 6:1

Heavier Compression Table

(With a knee and auto release times.. set your own threshold)

Instrument Knee Attack Release Ratio

Vocal Soft <1ms (Fast) 0.5s/Auto -btwn 2:1 & 8:1

Bass Hard 2-10ms 0.5s/Auto -btwn 4:1 &

12:1

Acoustic Guitar Soft/Hard 5-10ms 0.5s/Auto -btwn 5:1 &

10:1

Electric Guitar Hard 2-5ms 0.5s/Auto 8:1

Kick Hard 1-5ms 0.2s/Auto -btwn 5:1 &

10:1
Additional Tips for Compression

● Be wary of over compressing things (especially vocals), unless the style of music
calls for it.

● Don’t kill transients. Attack times that are too short (especially on drums) can kill
transients​. You want those!

● Until you’re incredibly familiar with compression, use one compressor… work on
learning it inside and out.

● Set make up gain properly so that when you compress the audio stays the same
when you bypass the compressor. Don’t let loudness fool you into thinking it’s
automatically better.

● High ratios with high thresholds give a sound that hits harder (think “punch” and
“thump.”)

● Low ratios with lower thresholds will tend to offer up an effect that’s softer, adding
“warmth” “thickening” and “glue.”

● Avoid low threshold with high ratios unless you want a sound that is very squashed
and potentially devoid of any life.

● Important rule: ​If the gain reduction meter doesn’t return to zero several times
each bar, you are most likely over compressing.

● For an awesome pumping sound on a track, utilize a long attack time with a high
ratio and threshold.

● Using automatic settings can reduce negative “unnatural” compression effects but
can allow you to use too much compression without knowing it.