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5 Types of Compressors and When To Use Them: by @deekeimixes
5 Types of Compressors and When To Use Them: by @deekeimixes
com
5 Types of Compressors
and When to Use Them
By @DeeKeiMixes
Thank you for downloading this guide! As a young mix engineer myself, I know the
goal of every engineer or producer is to create killer songs - songs that sound so
good they could be played on the radio, TV, or just about anywhere.
You probably have some experience and have already started mixing a few of your
own songs. You might even have a couple of clients you work with regularly. I hope
that this document can help you increase the quality of your mixes or at least
remind you of some basic techniques you can use when you feel like things are
getting too complicated.
In this brief guide, I’m going to walk you through the 5 types of compressors and
when to use them in order to make the best sounding mixes possible.
Even if you are not a full-time mix engineer, you will still want to learn and apply
these tips to grow your arsenal of techniques and become a more superior
engineer.
My promise to you is that after reading this guide, you’ll know exactly what kind of
compressors exist, how each one works, and how they are used (in a traditional
manner). Ready to get started? Let’s dive in.
Dee Kei Waddell
(Owner and Mix Engineer)
Store.DeeKeiMixes.com
1. Multiband Compression/Limiting
This is the one compression type that doesn’t fit in the same categories as the others
but I feel like it deserves a place on this list.
Multiband compression allows one to affect the dynamic range of multiple
frequency ranges independently of one another. Simply choose a frequency range,
and then set threshold, attack, and release like you would on a normal compressor.
The reason why this is so useful is because only the specific frequencies you set will
get compressed instead of compressing the entire frequency spectrum at once. The
idea of the multi-band compressor is to be as transparent as possible while taming
only the frequencies that need to be tamed.
I love multiband compressors but do not use them on every track. Sometimes the
transparency and lack of movement adds too little character. I recommend starting
with 3 bands with crossover points at 150hz and 2.5k just to get started. Move them
around and only use one band if you need to. Remember, you don't have to
compress everything all the time.
I will often use multiband compression on the master bus and on vocals. On the
master bus, I just use a little bit (maybe -1db of reduction per band) just to make sure
the compressor moves with the frequencies and is not compressing the entire track
when only one area needs to be managed. For vocals, I use multiband compression
because when the singer/rapper is performing quietly and close to the mic, the low
frequencies get emphasized. The opposite happens when the singer/rapper backs
up and starts to yell. In this way, I use multiband compression almost like an EQ; to
lower the volume of certain frequencies when they step out-of-line.
Recommended plugins:
2. F
ET Compression
FET (or Field Effect Transistor) compression came about when audio units started to
replace large tubes with smaller transistors. Usually FET compressors (like the
famous 1176) have stupid fast attack and release times. FETs themselves give the
affected signal a really punchy tone and sounds great across the board; whether it’s
used on drums, vocals or guitars.
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The quick nature of the FET compressors tend to make them a bit aggressive, so
they must be used intentionally. This aggressive type of compressor is amazing but
is not the best on everything. FET compressors also tend to be rich with a lush
distortion when driving the compressor. Sometimes I will use this type of
compressor for distortion alone, hardly compressing the signal at all!
How I Use Them:
I typically use a little 1176 (up to -3dbs of GR) on vocals. Also, this compression is a
favorite of mine to use on guitars (especially on funk style ‘chicken pickin') for the
slappy-ness and the nice saturation/distortion. You can also find me using them at
times on live drums, although the FET coloration can be a bit too aggressive at times
so use it wisely.
Recommended plugins:
3. Optical Compression
Optical Compressors (or Opto-Compressors) use a light source to control how much
gain reduction is applied. The speed of light is extremely fast, but an Opto
compressor is actually quite slow and smooth. Depending on the level of the signal,
an internal light bulb will start to glow lighter with the more signal it receives.
Because of this, an Opto compressor works off the average signal being received.
I love opto compressors because they are smooth. Because of their slower nature,
they tend to be a lot more natural sounding than other compression types. Because
they are slow, they are not very useful at taming sharp or fast transients. But then
again, that may be the reason why you choose to use one.
If you’ve ever seen a ‘Peak’ and ‘RMS’ option in your plugin, think of the opto
compressor as a compressor that reacts best to an RMS (root mean square) signal.
The RMS signal is basically the average of the signal coming through and not the
“peaks”.
Opto compressors can add an element of saturation/color as well. For example, the
LA-2a is a very popular opto compressor that uses tubes. These tubes add nice
harmonic saturation depending on the plugin that models the unit (yes, each type of
UAD LA-2a has different attack/release times and each one adds different
harmonics).
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I use these on almost everything. Vocals, horns, synths, keys, etc. Anything that
doesn’t have super fast transients. Sometimes I use them on drums too. When using
them on drums, they tend to be a lot smoother and can add a really cool sound.
Always make sure to use your ears!
Recommended plugins:
Any LA-2a emulation (UAD, Slate, Waves, etc), Softube’s Tube Tech CL-1b, Waves R
Compressor (way underrated imo), Shadow Hills Mastering compressor (opto
section)
4. VCA Compression
A ‘Voltage Controlled Amplifier’ tends to offer some of the most aggressive gain
reduction. They also typically allow the most amount of control in both attack and
release times. VCA compressors use an attenuator to reduce the volume when it’s
fed a certain level of voltage.
VCAs can be much more aggressive like the FET compressor even though the attack
times of VCAs tend to be much slower than FET compressors. The SSL G Bus
compressor is one of the more famous versions of a VCA compressor and is often
used as inspiration or emulation of other VCA plugins (although that style is not the
only one available).
How I Use Them:
I typically use a VCA style compressor on any kind of bus (master bus, beat, drums,
etc). I use them to tame a general section with very VERY light compression
(typically less than -2 dbs of GR) at various attack and release times (try 30ms attack -
fastest release or 5ms attack - medium fast release). I know that the automatic
release time of the SSL type VCAs are popular, but for some reason, I just don’t use it
although it is usually a very smooth option. Alway test the various attack and release
times to figure out what works best for you.
Recommended plugins:
Any SSL emulation (UAD, Waves, Plugin Alliance, the free one from Acustica Audio
‘TAN’), API 2500, Neve 33609, Vertigo VSC-2, Shadow Hills Mastering Compressor
(discrete section)
Store.DeeKeiMixes.com
5. Vari-Mu Compression
A variable Mu (or tube) compressor is one of the oldest types of compressor.
A simple way of thinking about a Variable Mu is that the more gain reduction, the
higher the compression ratio becomes. This type of compression relies on the tubes
themselves to control the gain reduction and therefore the process tends to be
wayyy smooth.
Because of the less aggressive characterizing of a Vari-Mu compressor, it is suited to
situations where you need to smooth out an entire track rather than transients.
Similar to an opto compressor, but much smoother.
These types of compressors can add a bit of harmonic saturation or color to your mix.
Usually they offer a “warm” sound and often engineers use them as color boxes with
little to no compression actually happening.
The slower attack times on a Vari-Mu compressor can really help ‘glue’ your track
together which can create a much more balanced and smooth mix compared to a
VCA compressor. They won’t be very good at catching transients in a mix with heavy
snare, kicks, or percussion.
How I Use Them:
I typically use Vari-Mu Compressors on the master bus of classical music or film
music. I don’t typically use them on hip-hop or pop tracks, as they are not fast
enough, but I wouldn’t say that I never use them on those types of tracks. I also
sometimes use them like an opto on various non percussive instruments like synths,
some guitars, some keys, or vocals.
Recommended plugins:
UAD Manley Vari-Mu (my fav), any UAD Fairchild 670 emulation (I personally don’t
like the waves one), the Slate one, I know Klanghelm has a free one but I have never
used it
Store.DeeKeiMixes.com
Final Thoughts
I think most new engineers and producers will not be able to hear compression very
much at first but that’s ok! Just remember that you should never compress anything
just because someone told you to. They are tools that change sound in a way that is
not always “better”. Remember to alway compare the sound with and without
compression and determine what sounds best on your own.
Compression is definitely fun to play with but is often overused. If you want to
practice on some real sessions and tracks with some step by step instruction, check
out store.deekeimixes.com and look through my online courses. Through videos, I
can show you exactly how I use compressors and what I am hearing.
Remember to always trust your ears. Don’t be afraid to try something that is not
“traditionally accepted”. You may find a new technique that is more interesting or
fits your song better!