The Art of

Compression

“THE ART OF MIXING” SERIES – BOOK 1

Before We Begin

If you enjoy this book and want to continue your journey of learning and discovery in the world of music production, there will be more ways to connect with me:

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As we dive into the pages of this book, I hope you will find it both informative and inspiring. The journey of mastering the art of mixing is ongoing, and I will be here to help you every step of the way.

The Art of Mixing Series

Explore the world of audio mixing with my series of eBooks, collectively known as "The Art of Mixing." Dive into the following four books to master the craft:

The Art of Compression: Learn the secrets of dynamic control and how to shape your sound with compression techniques.

The Art of EQ: Discover the art of equalization and how to sculpt audio frequencies for a polished and balanced mix.

The Art of Creating Depth: Uncover the techniques for adding depth and dimension to your mixes, creating a sonic landscape that captivates your audience.

Mixing Philosophy: Delve deeper into essential mindsets for creating truly great mixes and explore the importance of a well-oiled workflow.

TABLE OF CONTENT

Chapter 1

Different Types of Compressors and Tonal Characteristics

Chapter 2

knowing your Compressors (using compressors like a colour palette)

Chapter 3

Unlocking the Mystery: The Art of Setting Attack and Release Times on an Audio Compressor

Chapter 4

Working with compression, a few tricks and tips

Chapter 5

M/S (Middle & Sides) Compression

Chapter 6

My Personal Approach to Vocal Compression

Chapter 7

My Personal Approach to Live Drums

Chapter 8

Working with Compression – three additional examples

CHAPTER 9

The Magic of Multiband Compression: Bridging EQ and Dynamics

Chapter 10

“Compressing with your eyes”

about the author

I have been working as a Mix and Recording Engineer for the past 16 years. I started my career at Mayfair Studios (London), and later became the in-house Mix Engineer at Kensaltown Studios (the home of producer Martin Terefe). For seven years, I mixed most of Martin’s records and literally lived in that mix-room, in front of a beautiful old API console. I had the honour to work with artists such as Cat Stevens, Elton John, Jamie Cullum, Jason Mraz, Leslie Clio, A-ha, and the Latin duo Jesse & Joy (which would eventually win me two Grammys).

After the Kensaltown years I ran my own studio, Elephant Lane Studios, a place that I set up together with producer and songwriter Michael Bianco. Since 2015 I am based in Berlin, Germany, where I am continuing to mix records on a freelance basis.

The idea of this short book is to share some of the knowledge and experience that I have gathered over the past two decades, and to hopefully inspire aspiring engineers. I will be sharing lots of useful tips, as well as some of my personal views on compression.

Feel free to get in touch, and to share your opinions and thoughts. Hope you will find this book fruitful and enjoyable.

Also, don’t forget to follow me on YouTube, where I post fresh videos each week.

Channel name: Thomas Juth | Studio Tea Break

Thomas Juth – January 2023, Stockholm

Introduction (Passion for compression)

Why are compressors so fascinating, and why do so many people find them a mystery?

I often get the feeling that people are struggling when trying to understand compression, and that some engineers tend to make it more complicated than it really is. Also, with all the plugins around today and the overwhelming amount of choice, it can be even more confusing. Which compressor should you pick, and which one is “the best” for what you are trying to achieve?

However, after reading this book, all of this will hopefully be a lot clearer.

Compressors all do basically the same things - they duck the signal whenever the sound exceeds a set threshold - yet they are all so different. There are compressors that are used purely for controlling the volume of a signal (without affecting the character of the sound in any way), compressors that are just as much “colour-boxes” as level-controllers, and even compressors that I would use only for their character and colour (without even using them as compressors).

At the age of seven I was blown away by the compressed drum sound of The Beatles’ Come Together. A few years later, when my brother Fredrik and I started making our own recordings, we spent hours trying to replicate those drum sounds (especially Ringo’s drum sounds from the later Beatles albums). Later I figured out that a large part of the sound (apart from his playing) came from one specific compressor that they used at Abbey Road Studios - Fairchild 660. No other compressor can replace a Fairchild 660, and only a Fairchild sounds like a Fairchild. Apart from just compressing the signal, it also does something to the attack of the drums, and it seems to make cymbals sound larger than life.

So, as you will realize in this short book, learning ‘the art of compression’ is not only about being able to operate the controls of a compressor, but also about learning and understanding the characters and colours of different compressors. I always look at a collection of compressors (or other pieces of gear) as a colour palette, where each compressor (or EQ) represents a specific colour.

In this eBook, I assume you, the reader, already understand the basics of compression, so I won't cover them. Instead, what I want to focus on in this book is how to pick the right compressors for the right applications, and how to get the most out of a compressor. Having said that, I will also discuss some more basic concepts whenever necessary (for example in “Chapter 3 - Attack and Release Times: How they really affect your Mix”). In this eBook, I will also discuss things that one should avoid when working with compressors and share some techniques that will have a positive effect on your future mixes.

So, let’s get started. First, what is it that makes one compressor different from another, from a purely technical point of view? Let’s look at the main component inside any compressor.

Chapter 1:

Different Types of Compressors and Tonal Characteristics

In the world of audio electronics and compressors, topology refers to how the components and circuits are designed and put together. It's basically about how the inside of a device is set up, and this setup can significantly change how the device works and sounds. Understanding different compressor topologies is super important for audio engineers and producers, especially when mixing vocals. It gives insight into what a compressor might do and helps make better decisions when choosing tools to get the right sound.

As I mentioned before, a compressor isn't just about doing its main job, which is reducing the dynamic range of a sound. It also adds its own flavor or color to the sound. The type of compressor, its design, and the circuits inside all play a part in this. Let's dive deeper into compressors and look at the different kinds. And remember, even if you're working with digital compressors, many have settings that copy these classic designs. So, it's good stuff to know.

Note: This chapter is a starting point. I'd recommend diving deeper and trying out these different compressors yourself.

1. Vari-Mu Compressors

Example: Fairchild 660

Vari-Mu compressors use a variable-mu (or gain) tube to achieve compression. The term mu refers to the amplification factor of the tube. As the input level increases, the mu decreases, resulting in compression.

Sound: I am personally a big fan of the tone of vari-mu compressors when used in the right context, of course. They offer a silky, colored, rich tone. When driven hard, these compressors produce a thumping, almost pulsating quality, making them exceptional for drums. Experiment with a Fairchild 660 plugin on a drum kit, especially live drums, to experience its distinctive sound.

2. Zener Compressors/Limiters

Example: Neve 33609

Zener compressors use zener diodes to control the gain reduction. Zener diodes are a type of semiconductor device that has a specific breakdown voltage, beyond which they allow current to flow.

Sound: Zener compressors are often colored, and some models (for example, the Chandler TG Zener compressor) will give you a very aggressive tone. This compressor is my go-to for emphasizing the room ambience in vocals and imparting a more aggressive tone. However, on the other hand, you have the classic Neve 33609 that is a lot smoother and softer.

3. Optical Compressors

Example: Teletronix LA-2A

Optical compressors, as the name suggests, use a light-dependent resistor (LDR) and a light source to dictate the compression amount. As the input signal gets louder, the light shines brighter, causing the LDR to reduce its resistance and compress the signal.

Sound: The sound is smooth, gentle, and often transparent. I love optical compressors for any situation when I am looking for a more cuddly, smooth compression, which is round around the edges. They are known for their musical and soft-knee compression, making them a favorite for vocals, bass, and other melodic instruments. The LA-2A is a staple that every producer should consider having in their toolbox. It's always in my vocal chain.

4. FET (Field-Effect Transistor) Compressors

Example: UREI 1176

FET compressors use a field-effect transistor as the voltage-controlled variable resistor in the circuit. The FET acts rapidly to changes in the input signal, allowing for quick transient response.

Sound: The sound is punchy and clean. If there is one compressor that most people know, it is the famous UREI 1176 (available from almost every plugin manufacturer). It is a classic for a reason. It sounds amazing and is hard to replace. In a vocal context, the 1176 delivers a pronounced in-your-face quality, helping push the vocal forward in the mix. FET compressors are known for their fast attack and release times, making them ideal for drums, guitars, and other sources with quick transients.

5. Modern Transparent Compressors

Example: SSL G-Master Bus Compressor

Modern transparent compressors, often found in digital and some solid-state designs, prioritize clarity and precision over coloration. Their topologies vary, but the common goal is to shape dynamics without adding overt tonal changes.

Sound: The sound is clean, clear, and neutral. These compressors provide precision, making them ideal for applications that demand transparency, such as mix bus processing or mastering.

Conclusion

When mixing vocals—or any other element in a song—the choice of compressor can greatly impact the final sonic picture. Compressors, with their varied topologies, offer a spectrum of tonal colors to play with. As an engineer or producer, understanding these tools and their inherent tonal qualities can aid in making informed artistic decisions.

In the next part of the book, we'll dive deeper into the nuances of vocal mixing and how blending these compressors can craft a unique vocal sound, central to my personal approach to music production.

Chapter 2:

knowing your Compressors (using compressors like a colour palette)

The most important thing, and the first step to becoming a great engineer, is to know your tools and equipment. In other words, you need to know them so well that they almost become an extension of yourself, to the point where using them becomes second nature. After years of practice, your brain will simply do all this automatically. It is like when you learn a new language and you finally stop thinking about the grammar.

As a rule, before using a compressor while mixing or recording, ask yourself these two questions:

1. Why are you compressing this particular instrument/sound in the first place?

2. What do you want this compressor to add to this particular sound?

The answer will most likely be one of these five, or a combination of two or three of them: 1. To control the sound

2. To add some character to the sound

3. To reinforce the attack, or to make the sound appear smoother 4. To bring out the ambience or nuances of the sound, and make it more exciting 5. To make the sound more aggressive

After answering these questions, you can start deciding on which compressor to use (or which combination of compressors to use). Of course, knowing which compressor to reach for is only possible if you are known what type of “flavour” each compressor brings to the table. The only way you can know that is by experience and by experimentation. The more time you spend working with a selection of compressors, the quicker you will know how they sound.

Too many engineers simply put a compressor on every track, without thinking, and without having a vision in their minds first. Personally, I never add any plugin or piece of gear to any instrument unless it calls for it. I have even worked on mixes that almost didn’t require any treatment at all. They were just sounding amazing from the start and did not call for much treatment. At the end of the day, as an engineer, sometimes doing nothing will bring the best results.

Limit yourself

The first step to “learning your gear” is to limit the number of compressors (or other processors) that is used in a mix. Try this for the next few mixes you work on, and you will see what great benefits it will bring. Personally, when working on a mix, I generally end up using a maximum of 3-4 different types of compressors (often the ones mentioned in the list below). It took me many years to find out which my favourites are and which ones I simply can’t live without, and these are now an important part of my workflow and sound.

By limiting oneself to using fewer models of compressors (or any other type of processors) you will not only be forced to learn them better, but you will also speed up your workflow and even improve your creativity in the long run. Having access to too many different types of compressors will only slow you down and will put more focus on choosing which one to use, rather than the actual sound you are trying to achieve.

Once you know each compressor well and how it affects the sound, you can start blending the different colours together, to create more complex textures. This can be compared to a painter who is able to create infinite shades given only the five primary colours. If you see your studio as your own colour palette, with each compressor representing one specific colour, mixing will suddenly become much more straightforward and creative.

My Go-To Compressors (just as an example)

Here are four examples of some of my “go-to” compressors, and what I normally use them for (all of them also exist as plugins). These are of course only my own personal favourites, and I only share them to give you an example. Your goal should be to find out which ones you like and to design your own colour palette.

1. UREI 1176 (“bluestripe”)

The 1176 is one of my favorite compressors for vocals and bass. It can add a lot of punch to a sound (when used with slower attack times) and brings the lead vocal to the front of the mix (perfect for a more “in your face” sound). Apart from the hardware, I can also recommend trying The UAD and Waves emulations.

2. Chandler/EMI TG1

The TG1 is great for big/explosive drums, percussion, vocals and for more aggressive bass sounds. The TG1 is based on another 60’s design, known as diode bridge. This is also another great plugin from Waves, called the TG 12345 Channel Strip.

3. UREI LA-2A and LA3A

Both the LA-2A and LA3A are two of my favorites for pianos, guitars and other acoustic instruments. The LA-2A is better for smooth and warm type compression and is also one of my go-to vocal compressors. The LA-3A has a snappier attack and sounds especially beautiful when used on upright pianos or acoustic guitars.

4. SSL G Bus Compressor

The SSL G Bus compressor has always been one of my favorites, especially for compressing the drum bus or the entire mix. Despite being an SSL compressor (SSL is a brand that is known for making very clean sounding gear) and being a relatively modern VCA design, it still has lots of character, grit and punch. It adds life and size to any drum kit and is one of those compressors that has its own unique sound.

Going back to the two questions I mentioned earlier, I might use one of these four compressors, depending on what the answer is. If I were, for example, looking to boost the ambiance of a track and to add lots of explosive excitement, I would by default go to my Chandler TG1. The TG1 is a truly unique compressor and I love what it adds to the sound. It somehow adds punch and more ambiance at the same time, never losing its high frequencies, even when pushed hard. If I were looking to add more attack, but combined with a more natural sound, I would normally reach for an 1176. However, I often end up using several compressors together (parallel compression), as the combination of different “colours” can sometimes give the most interesting results. Having said all this, not using any compression at all can sometimes give you the best result. It all depends on your vision and what you are trying to achieve.

Use compression as a “spice”

I always aim to respect the dynamic range of sounds as much as possible. I try to create mixes that have depth and warmth, while still making them sound exciting and “commercial”. When I really want to “squash” a sound, I do so but I never over-compress sounds just for the sake of it. In fact, I rarely use compression on the master bus anymore (though I occasionally use an API 2500 or an SSL G Bus Compressor, but only as a peak-limiter). Don’t get me wrong, I love compression, but I always try to use it in a tasteful way. Too much of it (and in the wrong way) will result in a lifeless sound that lacks both definition and punch.

Chapter 3:

Unlocking the Mystery: The Art of Setting Attack and Release Times on an Audio Compressor

When you dive into the world of audio compression, two terms that frequently surface are attack time and release time. But what do they really mean, and how do you set them just right to elevate your mix to the next level?

Let's break down how to get a handle on these two crucial settings and why. Contrary to popular belief, a slower attack time can add more punch to your sound. My goal is to show that even though many people think these two settings are hard to figure out, they are actually really easy to use.

Rethinking Terminology: Response and Recovery

Over the years, I've noticed that a big part of the confusion about these two compressor settings comes from the terminology that’s used. The words attack and release can be confusing and are often not self-explanatory for most beginners. I prefer to call them response time and recovery time. The term attack makes you think of something quick and immediate, while response suggests a more nuanced interaction with the incoming signal. Similarly, release implies letting go all at once, whereas recovery suggests a gradual return to the original state. The subtle difference in terminology helps you understand what these parameters do.

Even though I will refer to them as attack and release time, to avoid confusion, try to think of them as the time it takes for the compressor to respond and recover. Now, let’s look at a simple way of thinking while dialing in these two compressor settings.

Why Slower Can Be More Powerful: A Boxing Lesson

One common misconception among those who are new to mixing is that a faster attack time will give a punchier sound. I will explain why I don't agree with this and how it is the opposite. Of course, it depends on your definition of the word punch.

To me, a punchy sound is one that has a big part of its natural transients intact and emphasized. On the other hand, faster attack times can give other desired effects. For example, it can break up transients and give drums more of an aggressive and snappy tone. However, this kind of “snap” is generally a lot thinner and less fat in my ears. There are situations when that sound is exactly what you are looking for.

Before moving on, play with these settings, hear them for yourself, and use them to taste. It may seem counterintuitive, but a slower attack time allows the initial transients—those quick, high-energy peaks—to pass through before the compressor clamps down on the signal. That gives you a punchy sound because the leading edge of the sound remains untouched while the body of the sound gets compressed. It's as if the slower attack time lets the sound introduce itself before being shaped and molded by the compressor.

Think about a boxing match with Muhammad Ali. If Ali throws a punch and his opponent is quick to block or dodge, the power of Ali's punch isn't felt as much. But if the opponent is slow to react, that punch lands hard, and everyone in the room feels it. This is a lot like response time (or attack time) on a sound compressor. If the compressor reacts too quickly, it's like the opponent who dodges Ali's punch. The sound gets softened, and you lose some of its power. But if you set a slower response time, it's like the opponent who gets hit fully. You really feel the "punch" of the sound. So a slower response time can actually make your sounds feel more powerful while also retaining their natural glory, just like a punch that really lands. It's not about being fast; it's about timing it right to get the most impact.

Let's use another metaphor—the experience of savoring fine wine. If you sip and immediately swallow wine, you're missing out on the intricate flavors the winemaker has so carefully crafted. However, if you let the wine sit on your palate for just a moment longer before swallowing, the full spectrum of flavors comes to life. In the same way, a slower response time or attack time allows the complex elements of a sound to breathe and fully express themselves before the compressor begins its work.

Of course, sometimes you want this fast reaction time. Just like in boxing, there are times when dodging quickly is the right move. In mixing, dialing in a fast attack time can be important if you're trying to protect your system from fast peaks or if you're dealing with a signal that's too dynamic and needs taming. However, if you're looking for a sound that's punchier or richer, it's often better to back off on the attack time.

Room Acoustics and Recovery Time

What about recovery time—commonly known as release time? I work mostly with faster release times, although this is by no means a rule. It ensures that the compressor returns to base fast, not accidentally affecting the next incoming transient. A faster recovery time can also bring out more of the room acoustics in a sound. It allows the quieter, ambient sounds—the room sound—to come back into the mix more quickly after a loud sound has triggered the compressor. This quick recovery allows the room's natural reverb and atmosphere to be more audible, adding depth and dimension to the recording. There are, of course, exceptions when a slower release time is preferred.

A Simple Compression Strategy and When to Make Exceptions

I always aim for simplicity in mixing, especially with compression. For example, I tend to always start with a slower attack (response) time, together with a fast release (recovery) time. I then move away from there whenever needed and depending on the material. Most of the time, this combination will give me my desired outcome. It helps preserve the transients of instruments and vocals, giving a natural sound along with natural acoustics. It also ensures that the compressor returns to base fast enough to not affect the next incoming transient. In other words, it lets the initial sound shine through without cutting off vital information. However, there are situations when I make exceptions and would opt for a faster attack or a slower release time.

Faster Attack for Moving Transient Sounds Backward in the Mix: I use a faster attack time when I want to shift a transient sound backward in the mix or reduce its impact. By reducing the transient part of a sound, it will naturally appear to sound more distant.

Faster Attack for Transient Protection: In high-pressure situations like limiting, a faster attack time safeguards against sudden, loud transients.

Faster Attack for Room Emphasis: When I want to accentuate the room's acoustics in a recording, a fast attack time will reduce the transients and therefore make room sounds more apparent.

Slower Release for Low-End Emphasis: When working with low-end heavy sounds, I opt for a slower release time, letting the longer waveforms decay more naturally and avoiding unwanted distortion.

Slower Release for "Longer" Sounds: Slower release times also make more sense when working with sounds that have a very long sustain or that are not as percussive such as a bow, less percussive vocals, or an instrument that plays long notes.

Final Words

I enjoy playing around with both extremes of these parameters to see what fits best for a particular sound source. Sometimes a drum kit might require a slower response time to bring out the punch in the kick drum. Other times you may want to break up the transients on purpose to cause a more aggressive sound. It's all about being adventurous and willing to experiment. Remember, these are not rigid rules but guidelines to spur your creativity. The key lies in understanding how these parameters work and then twisting the knobs to serve your unique artistic vision.

Chapter 4:

Working with compression, a few tricks and tips

To achieve a more defined, punchy and tight compression, try these four tips:

Parallel Compression

As I mentioned earlier, I generally don't like over-compressing and squashing sounds when mixing, unless I am deliberately going for that type of sound. A good way to achieve a bigger sound (which is often the reason why engineers choose to "squash" audio), without killing all the transients and the punch, is by using 'parallel compression'. This is a great way to make sure that the original transients are still included in the mix.

This can easily be achieved in a DAW, by creating a duplicate of the original sound source, and by adding compression to the copy. The compressed signal can then be used as an extra “spice” and added to the original (and less processed) sound source. In fact, I often create two or three copies of some instruments and treat them all in different ways. This way of working (with layers) suddenly opens a lot of new possibilities and makes the mix-process a lot more creative. One thing one needs to look out for, though, is the phase-relationship between the two signals. But with the correct ‘delay compensation’ settings (if using a DAW) one should be safe.

Of course, another great way to ensure that your mix sounds natural and punchy is by using longer/slower attack times. Quicker attack times are good for bringing out the ambience of a sound, and to smoothen out the transients. However, they can easily kill transients and suck out the life of a mix. Longer attack times, on the other hand, will allow the transients to pass through, and give you a more natural sound.

Gain staging and working around the “Sweet Spot”

Many engineers are not aware of the fact that every piece of equipment has a “sweet spot”. This is the region in which the compressor sounds and operates the best, and where it generates the most pleasing sound. This also relates to keeping the proper gain staging: how much level one pushes into the device and how much one gets out of it. For example, if one looks at the controls of a UREI 1176 (this comes as a standard plugin in most DAW’s so it’s therefore a good example), one can see that the input and output knobs are labelled in steps of 3dB. If one places the input knob at around the 30 mark (10 o’clock) and the output knob around the 18 mark (2 o’clock), the compressor is now set to the so-called “unity gain”, or “0”. This means that the input amplifier is not adding anything, and the output amplifier is also set to a neutral position. When working with an 1176 this is always a good starting point, and I rarely ever drift too far away from it. Instead, if the input signal is too hot, it’s always better to bring down the output level of the previous device, (instead of bringing down the actual input knob of the 1176). This is all part of ensuring the right gain staging is kept through the audio path and ensuring that you stay around the “sweet spot”.

Finding the “sweet spot” for a specific piece of gear also takes time, experimentation, and critical listening. After working with the same equipment for many years, one will eventually learn how each device behaves and how to get the best out of it.

Feed the compressor with a healthy and even level

Before adding a compressor to any sound, I always even out the volume of the recorded file. I do this in ProTools, by using the “Clip Gain” option and by bringing up the smaller waves and lowering down the biggest ones, creating a more even sound wave. Let's say, for instance, that the lead vocal was recorded extremely quiet during the verses, and that the choruses were recorded extremely loud. A compressor added to this track would barely hit the threshold during the verses, and it would most likely over-compress the vocal during the choruses.

As discussed in the last section, I strongly believe that every piece of equipment has a point where it operates at its best, whether it is the input of a preamp or the input/gain reduction of a compressor. When using an 1176 on the lead vocal, for example, I always want to see the needle of the meter moving (on an average) between -4 and -7, and to quickly return close to 0 between the words. By simply boosting the volume of the quieter parts and trimming down the louder parts, before reaching the compressor, you will stay around the “sweet spot” all the time.

And by keeping the sound volume even, before the compressor, you will ensure your gain structure is healthy from the start.

Clean Compression

If you have ever tried compressing a sound that contains too much low-end or “boomy” frequencies, you have probably noticed that the compressed signal will end up sounding very sluggish and undefined. This is especially noticeable when compressing the master bus or a group of instruments.

Before adding a compressor, I always try to “clean up” the signal as much as possible. The basic idea is that a compressor is always going to work better and be “happier” if you feed it with a clean and healthy signal. The result will be a much more defined and tightly compressed sound.

A way to do this, without affecting the audio itself, is to filter the side-chain of the compressor. The side-chain is the circuit that controls the actual audio going through it. A cleaner side-chain signal will improve the way the compressor attacks the audio. This is great if you are, for example, compressing drums with lots of sub-bass. By filtering the side-chain the compressor will only react to the higher frequencies, which will result in a more tightly compressed sound. Not all compressors offer this option, but whenever I use my Emperical Labs’ ‘Distressor’ I make use of this filter.

One of the techniques and concepts I use a lot when mixing is something I refer to as “Q10:ing” (using Waves Q10 EQ). This is basically a form of ‘subtractive EQ’ with the purpose of cleaning up the sounds before reaching the compressor. This means, finding the frequencies that bother you and then dipping them. For this specific purpose, I always use a sharp “Q-value” and never cut the frequency more than 3dB. At this stage I will focus on dipping (cutting or lowering) frequencies that might badly affect the compressor (not only lower frequencies, but also higher ones). While lower frequencies will make the compressor operate more sluggishly, the problem with harsh and nasty upper harmonics is that the compressor will reinforce them further. So, by finding and dipping the worst ones before you hit the compressor, you will both get a tighter and smoother compressed sound.

Chapter 5:

M/S (Middle & Sides) Compression

Whenever I add compression to subgroups, several instruments together, I prefer to use M/S compression. This simply means that the compressor is configured so that it processes the sides (whatever is panned left and right) and middle (center channel) separately.

It took me several years to fully realize the benefits of using M/S style compression, and I wasn’t really sold on the concept until I tried the Elysia Alpha Mastering Compressor plugin. I don’t generally try out new plugins very often these days, but once in a while I bump into one that blows me away or even changes the way that I work.

The Elysia compressor introduced me to the world of M/S processing, and I still use it on almost every mix that I do. It sounds great and it is very flexible. A great M/S compressor must be very flexible and offer good control over both in terms time-constants and the sidechain. This allows you to fine-tune and have full control over how the compressor treats the sides and the middle. So, I would therefore not use a more vintage type compressor for this job, which tend to be a lot more simplistic and offer less control.

An even more dynamic and clean compression

One great benefit with M/S compression is that it allows you to dial in different compressor settings for the sides compared to the centre channel, including threshold, attack/release times as well as sidechain filter settings. This opens up a whole new world of possibilities, for both mixing and mastering.

There are times when people send me a pre-mixed stem, that have several elements grouped together. This can present a lot of challenges, especially if there are bass frequencies and percussive sounds involved. Using M/S compression can result in a much more open and dynamic sounding compression. Let’s imagine that you are compressing a stem which has percussive sounds panned in stereo, and a bass in the centre, all in one stem. For this purpose, I would dial in a faster attack and release time for the sides, and a slower compression with a high pass filter (side chain filter) for the centre channel. This removes the lowest sub frequencies from the compressor circuit. A normal stereo compressor would have caused the bass to drive the percussion or vice versa, resulting in a less clean sounding compression.

Using M/S compression for the stereo bus

One of my favourites uses of M/S style compression is for the stereo-bus (the entire mix).

For most mixes, the kick drum, snare drum and the lead vocal are panned to the centre, while keys, guitars and percussion tend to be panned out to the sides. If you add a “normal” compressor (with a normal stereo configuration) across the stereo-bus, the entire mix would most likely be controlled by the kick and snare. These are usually the loudest and punchiest elements in a mix, and the type of sounds that easiest trigger a compressor.

However, when using M/S compression across the stereo-bus, whatever is panned to the sides won’t be affected by the kick and the snare. You could even add an extra touch of compression to the centre section, while leaving the rest of the mix more dynamic. The result will be a much more open and dynamic sounding mix, especially if the drums are very low-end heavy.

As I discussed in the last section, it is important to not send too much low-end into the sidechain path of a compressor. This is even more important when you are compressing several instruments together, like in our example. M/S compression allows you filter the sidechains separately for the sides and the centre channel. So, if the kick drum is very low-end heavy, you can dial in a much more extreme filter setting for the centre channel, while keeping the sides of the mix more natural.

This gives a lot more flexibility when mixing and is a great tool when trying to avoid an over-compressed sound.

Chapter 6:

My Personal Approach to Vocal Compression

In my opinion, the most important element in a mix is the lead vocal. It might sound like a cliché, but if you get the vocal right, your mix is already halfway there. It’s a fact that most listeners (and not only engineers and music people) mostly pay attention to the lead vocal and the drums, and how well these two grabs one’s attention.

When working with a lead vocal, the most important part is of course that the singer has a great voice. However, if the vocal sound is also sonically compelling and interesting, there is an even bigger chance that the listener will feel emotionally moved by the performance. Also, more “in your face” vocal sounds will always translate better on low-level radio (if we are talking about mixing pop-vocals), and this has a huge impact on how the song will be received on radio.

Parallel magic

First, I want to highlight that this is not an approach or workflow that I came up with myself. It is hugely inspired by other industry professionals, the people I learned from. As you will notice, a large part of my way of working resembles the legendary mix engineer Michael Brauer. However, I have taken it, personalized it, and molded it into my own personal sound. That is the beauty of mixing. However much you are inspired by others, no one will ever be able to match your exact color combinations or your sonic vision. What I am about to teach you now is just a framework and a simple approach, which you can customize into a powerful tool.

First, let's get one thing straight. Compression helps manage the volume levels of vocals, so they fit well in the overall mix. At the risk of sounding repetitive, what makes compression interesting is that each compressor has its unique flavor. That’s why blending multiple types can make vocals sound fantastic. My approach to vocal compression is always based on a combination of several compressors used in a parallel configuration.

That means I send the original vocal to several destinations at once, all leading to a different compressor. I then take the output from each of these compressors and blend them back into one vocal signal. This is the opposite of sending a vocal into just one path where lots of compressors are connected in a serial daisy-chain fashion. This used to be my way of working until I discovered the magic of parallel compression. That is when you really start to mix like a painter.

Let’s Paint with Sound

Why use just one compressor when you can use many for a richer sound? By picking and choosing from different types, each with its specific strength, you can create vocals that are dynamic yet controlled. This approach—blending various compressors—opens up endless possibilities to craft a sound that's uniquely yours.

You can get the in-your-face sound of a UREI 1176 while also getting the gentle, warm tone of an LA-2A, and also get the “smack” from a dbx 160 or a Distressor, along with the excitement of a Chandler Zener limiter. You can get all these tones individually in a parallel fashion and then at the end cook them all together. You now have a very rich sounding vocal that contains all these different colors at once.

When reading about this approach one day in a magazine in an interview with Michael Brauer, it just blew me away. It made so much sense. After that day, I set out to find my own color combinations. The beautiful part of this approach is that you can also include the original, uncompressed vocal in there. This will make sure you maintain the natural dynamics of the vocal while also getting the compressed tones. This mindset can be expanded to every part of your mix chain. You suddenly find yourself on a new, exciting journey through sound.

MY GO-TO VOCAL COMPRESSORS

Here's a closer look at my personal toolbox and how I achieve a warm, punchy, rich, exciting, yet dynamic vocal sound. Remember, the vital thing here is the concept and method, not necessarily the exact tools I use. The compressors I mention are merely examples of what works for me and reflect my personal sound. It's also worth mentioning that these preferences change over time.

Creating Gentle Warmth
Regardless of the compressor model, I always incorporate a warm and cuddly compressor into my vocal chain to provide that gentle tone. I've mentioned the LA-2A before, and indeed, it consistently finds a spot in my chain.

Adding Richness and Depth
For adding richness to vocals, it's hard to surpass a vari-mu compressor. With it, you're harnessing the sound of a dozen tubes (also known as valves). Occasionally, I also turn to the Universal Audio 176, another classic warm and rich vari-mu style compressor. The choice depends on the context, the song, and the genre. The difference between them is nuanced and truly must be experienced.

Adding Punch and Edge
When you want your vocals to command attention and move to the forefront of the mix, the UREI 1176 is a no-brainer. That said, I'm a huge fan of the Empirical Labs Distressor. Designed to emulate various compressors, the Distressor can replicate what the 1176 does and adds a nice pop sheen to vocals. My choice between these two often rests on the song's style.

Adding That Extra Spark
Another gem in my arsenal is the Zener Limiter from Chandler. It can make vocals dramatically stand out, akin to fireworks in a mix. It's invaluable when you aim to add urgency and palpable energy to the vocals, or even to accentuate the ambience in a vocal recording. The dbx 160 is another excellent compressor for this purpose. While distinct from the Chandler Zener Limiter, it imparts its own unique spark and urgency. Moreover, it emphasizes the highs in vocals in a very appealing and seamless manner, marking its status as a top-tier pop compressor. Often, I find myself using both in my vocal chain.

The Craft of Combining

How do you harness the potential of all these compressors? Enter blending. Your choice of compressor mix should align with the song's requirements. Some tracks might demand vocals that are smooth and warm, while others cry out for more bite. The objective is to experiment until you sculpt a vocal tone that seamlessly dovetails with the song.

Summing It Up

Blending different types of compressors gives you more control over your vocal sound. From punchy to warm, from edgy to explosive, each compressor plays a pivotal role in tailoring your vocals. By mastering this mixing technique, you can elevate your vocals from good to sensational.

In essence, this is a guide on leveraging multiple compressors to let your vocals truly resonate. The magic lies in the blend. By judiciously selecting and synergizing your tools, you can achieve spectacular outcomes.

Chapter 7:

My Personal Approach to Live Drums

How different engineers go about compressing drums is of course (like most other aspects of mixing) down to personal taste. My general philosophy is to always respect the original transients of the drum kit, even when I work on a song that calls for a very compressed drum sound. I would say that I am always going for a more natural sound when mixing in general, even when I use heavy processing. This is always done by using parallel processing, and by always including a copy of the dry/original sound source in the blend. However, other engineers will have a totally different view of this. As always, mixing is something personal and something that can’t be generalized. There are no rules when mixing and whatever floats your boat is correct.

I personally tend to treat the drums as a whole, rather than working too much on the separate drum tracks. I therefore rarely use inserts on individual tracks. But I know a lot of other mix engineers who work in the complete opposite way. To me a drum kit is one sound, one instrument, and not separate sound sources. I think this comes from growing up with older records, and the type of drums sounds that people achieved in the 70’s.

So rather than using compressors as inserts on individual drums I tend to use a lot parallel compression. I often make duplicates of individual drum tracks, compress these and then blend them in with the dry signal. This allows me to add lots of compression to individual drums, without losing the natural sound of the drums. Of course, if the dry snare is extremely dynamic, I will still add a limiter or a gentle compression to it. I will then blend this in with the compressed version of the snare. In the same way, I love playing with the overhead tracks and I often treat them with parallel compression (often very heavy compression as well), only to add another dimension to the drum kit. In other words, I love using compression as a spice, rather than totally re-shaping sounds. Mixing drums is a lot like cooking and adding spices to a dish. One needs to constantly monitor how much one is adding and be careful with not over-doing it. Luckily, when mixing drums one can easily back off on the spices, while this is not the case when cooking. Too much compression on drums can easily result in a lifeless and small sound, when the aim was to make the drums bigger and punchier.

I normally add a compressor across the whole drum bus, preferably an SSL G compressor, as well as creating a parallel drum bus. For the main drum bus, where my SSL compressor usually sits, I will just add a very light compression. The parallel drum bus will receive lots of heavy compression, often a Fairchild 660/670 or an EMI TG1, with the aim to create an explosive and aggressive copy of the drums. As with the lead vocal, I will then blend these two together, and try to find a nice blend. So just to clarify, there will be parallel compression added both to individual drums and the overall drum bus. Sometimes in a very subtle manner and sometimes more aggressively, all depending on the song and style.

A lot of people would, as a default, use compression on kick or snare drums, in order to achieve more punch and attack. This is of course a very useful technique that often creates great results. However, in my opinion, using an SPL Transient Designer can often give even better results. The transient Designer was originally a hardware unit, designed to alter the attack and release of a signal (but without affecting its dynamic range in the same way as compressor would.) Today there are a few emulations of the Transient Designer out there, and I use the UAD version in almost every mix I do.

Mixing electronic drums is, of course, a whole different beast when compared to working with live/acoustic drums. In my opinion, the Transient Designer is almost always superior to compression when working with samples and programmed drums. Adding just a little bit of attack to a kick or snare, will often make it pop out of the mix and add the right type of punch. Compressing electronic drums can often make them sound more lifeless and alter the punch in a bad way. It’s important to remember that in electronic music, the samples are often “mixed” and processed a bit already, and carefully chosen by the Producer. So as a Mix Engineer I don’t want to alter them too much and lose their original vibe.

Chapter 8:

Working with Compression – three additional examples

In this chapter I will take a closer look at how I would normally compress an acoustic piano, ‘room mics’ and the master-bus (the entire mix). It will also give me an opportunity to discuss my go-to compressors in more depth, which I presented in the beginning of the book.

Acoustic piano

I am including acoustic piano here as it is an acoustic instrument that is still widely used in modern pop productions (and even electronic music).

Although a lot of producers these days use midi pianos, I personally prefer to work with acoustic pianos. From a Mix Engineers perspective, it’s of course a lot easier to make a well recorded acoustic piano sound great than a programmed midi piano. I often find them a bit dull and lifeless, and it’s difficult to really make them shine in a mix.

As I mentioned in the beginning of the book, I am a big fan of the LA-3A compressor. I have always loved how it affects the timbre of a piano. What makes the LA-3A unique is how it seems to smoothen the attack and reinforce it at the same time. This helps the piano cut through the mix. It is almost as if the compressor naturally boosts some midrange frequencies as well, especially when used for heavy compression.

Having said that, I have two different go-to compressors for compressing piano, depending on what type of sound I am looking for. If a mix is calling for a cleaner sound and more transparent compression, the LA-3A would be a bit too snappy and colored. So, for this type of sound I prefer a more modern and transparent compressor, or even something like the classic Neve 33609.

For music where the attack of the piano is more important and where the piano is more of a rhythm instrument, which is often the case in pop or rock music, the LA-3A is hard to beat. It somehow pushes the sound forward in the mix, in a similar way that the UREI 1176 pushes vocals forward.

Thanks to the fact that the LA-3A (like most old classic compressors) only has two controls on the front, it is very easy to operate. In fact, you only have a “volume” and a “peak reduction” knob, together with a fixed threshold and fixed time constants (attack and release times). Some might think that having a fixed ‘attack’ and ‘release time’ is a problem, but it has never been an issue for me. Whatever they did when designing the LA-3A just works beautifully every time. Like with any other piece of audio equipment, try to set the input signal so that it doesn’t clip the input amplifier, and then decide how much gain reduction you want. I normally aim for a gain reduction around -3dB.

Compressing ‘Room Mics’

I am a big fan of recording things with “room mics” and then squashing them to bits, for added excitement and size. Whenever someone sends me a song to mix, and he/she asks me for a big and trashy drum sound, it is always the ‘room mics’ I focus on first. As we have seen before, the right type of compression can boost and reinforce the acoustics and atmosphere of a room.

A lot of pop productions use handclaps or percussion to add more excitement to a track, and often they are recorded with a single ‘room mic’. When I was working at Kensaltown, one of the tricks Martin Terefe (the Producer) often used was recording a crowd of people cheering and clapping their hands. The aim was to create a party vibe behind the track. As a Mix Engineer, one can really take advantage of such tracks, and compress them in a way so that the whole mix sounds more exciting.

As I have mentioned earlier in this book, the EMI TG1 (or the EMI TG12345 plugin by Waves) is an excellent tool for creating an explosive sound and adding excitement to a track. Try running your ‘room mics’ through a TG compressor, and you will be surprised what an impact it will have on the whole mix (even when just blended in a little bit). Two other favorites for this application is the Emperical Labs Distressor set to “Nuke mode” and the Alan Smart C2 compressor. Both of them can provide a very explosive kind of compression, that will make any ‘room mic’ sound massive and exciting. Unfortunately, the C2 does not exist as a plugin yet.

Compressing the overall mix

A topic that always seems to divide Engineers, is whether one should compress the master-bus (2 bus) or not. Some people use several compressors across the master-bus, while some prefer to leave that up to the Mastering Engineer. As I mentioned earlier in the book, I rarely use much compression on the stereo bus myself, and if I do it is often M/S type compression. However, there are situations when I would reach for a normal stereo compressor as well.

The main reason for adding a compressor across the whole mix is to glue the mix together, and to tame a mix which is too dynamic. One has to be really careful though, as too much of it can easily result in a mix that sounds flat and 2-dimensional. When using a master-bus compressor it is important to do it carefully and always keep an eye on the gain-reduction meter. Always make sure that it is either the kick or snare drum that is “driving” the compressor. If, for example, the lead vocal or the bass is controlling the compressor you risk ending up with very ugly pumping effects and artifacts. It is also very important to always engage the side-chain switch (which most stereo-bus compressors have). This ensures that the compressor is fed with a signal which is free from sub-frequencies and will give you a much cleaner and tighter compression.

My go-to compressors for this would be:

API 2500

Manley Vari-mu

A pair of Emperical Labs Distressor’s.

All three compressors can be found as plugins, and I really recommend checking them out. While the Manley Vari-mu is a very soft and subtle compressor, the API 2500 can sound harder and more aggressive (great for rock or Hip-Hop tracks). A pair of Distressor’s across the whole mix can really add a pumping feel and push it together, if that is desired. These are simply three different flavors, and I will pick one of them depending on what sound I’m after.

How hard you should compress a mix totally depends on the song and the vision you have for the mix. Personally, I usually aim for a maximum gain reduction of 1 or 2 dB, and sometimes even less. Any more than this will alter the mix too much in a negative way, unless you are really going for a heavily compressed sound. It’s also important to keep in mind that once you send your mix to mastering, the Mastering Engineer will add compression and limiting as well. So, I often try to look ahead, and leave maximum space for the Mastering Engineer to do his thing.

CHAPTER 9:

The Magic of Multiband Compression: Bridging EQ and Dynamics

In the world of mixing and music production, there are tools that stand as pillars of everything we do. Among them are EQs and compressors. But what if you could blend the characteristic traits of both into a single, powerful tool?

Welcome to the world of multiband compression, sometimes also called dynamic EQs. Over the years, multiband compression has become an integral part of the way I work and has taken over many of the tasks traditional compressors used to do. First, let’s look at the basics. What are multiband compressors?

The Basics: How Does a Multiband Compressor Work?

Imagine your song as a multilayered cake with each layer representing a frequency band. Multiband compression essentially lets you apply different compression settings to each of these layers, or frequency bands. It first splits the incoming signal into various frequency bands using crossover filters and then compresses them individually. Finally, it sums them back into a single audio output. With modern plugins, you can use multiband compressors to visually analyze the activity in different parts of a sound.

At a fundamental level, both equalizers and compressors are tools for volume control. However, they function in slightly different spheres. An EQ allows for targeted volume adjustments of specific frequency ranges. On the other hand, a standard compressor deals with the overall dynamics of a mix, based on amplitude. The brilliance of a multiband compressor is that it lets you compress specific frequency ranges differently, essentially blending the functionalities of EQ and compression.

For someone who places great importance on maintaining the natural dynamics in a mix, multiband compressors are the perfect tool. I love compressing only certain parts of a sound while leaving other frequency ranges dynamic. This technique is incredibly useful, especially when mixing lead vocals, which I will delve into more deeply in the next part of this book.

The Importance of Multiband Compression

Multiband compression addresses issues in a mix that neither a regular compressor nor an EQ can tackle alone. Below are some examples.

Balancing dynamics within frequency ranges: Suppose the bass frequencies in a mix are overpowering only at certain moments. A multiband compressor can tame just those instances without affecting the bass's overall presence.

Harshness control: Often, some frequency areas such as the high-mids might get too harsh when other elements combine. A multiband compressor can be set to only act when that harshness crosses a threshold.

Enhancing clarity: By subtly compressing certain frequency bands, you can ensure every element in a mix has its space, leading to a clearer mix.

Practical Application and Experimentation

While it's tempting to start with presets—and indeed they offer a good starting point—they can also hurt your learning progress. Just as training wheels can prevent a new cyclist from truly mastering balance, presets can hinder a sound engineer's deep understanding of a tool. Overreliance on them might limit your ability to craft unique sounds or troubleshoot mixing issues. More importantly, it can skip the critical step in mixing—reflecting on the why behind each decision.

Presets are made for general situations and might not cater to the unique requirements of your mix. Instead, open a multiband compressor (such as the FabFilter's MB, which is a personal favorite) and play with the parameters. Understand how each tweak impacts the sound. Also, while you should focus on listening, also make use of the visual representation of the audio. This can help you know where you should divide your frequency bands. I like dividing the mix into four distinct parts and then applying the necessary dynamic control to each of them. Perhaps one band should be left dynamic, as I mentioned before.

A word of advice: less is often more. Whether you're using a regular compressor or a multiband one, aim for subtle changes. Just massaging the mix and aiming for a dB or two of gain reduction is often enough.

Advanced Tip

Mid-Side Processing: Some multiband compressors allow for mid-side processing. That lets you compress the center (mid) and sides of your stereo image differently. It can be an excellent tool for ensuring clarity in the central elements such as vocals while giving space to the stereo components.

Attack and Release Times: Different frequency bands have different wavelengths. Tailoring your attack and release times based on the frequency range can yield more musical results. For instance, lower frequencies usually require longer rather than higher release times.

Chapter 10:

“Compressing with your eyes”

In this last chapter I want to address a really important aspect of working with compression, as well as mixing in general. Even though the majority of mixing should be done with our ears, a lot of people forget to also include their eyes at times.

When working with analogue equipment this is a lot easier, as you are constantly surrounded by your compressors (and other outboard gear). This means that you can easier keep an eye on how each compressor is working. It almost becomes second nature and something you do unconsciously. By keeping an eye on the gain reduction meter of your compressors you might notice how specific elements of your mix are being compressing too hard. Perhaps your vocal compressor is working too hard in one section of the song, or you might notice how the meter starts moving in a sluggish way. This has helped me so many times and has led me to issues within the mix. When working in the box, using only plugins, it can be harder to naturally keep an eye on your compressors. In order to check on how one is behaving you would first have to open that plugin, and then close it again. This can of course be solved by working multiple screens, even though you can only fit so many plugins at once. Having said this, it is also sometimes important to do the complete opposite, switch all your screens off and only mix with the ears.

Another thing that I learnt from spending hours watching the gain reduction meter (this relates only to VU meters) move. I realised how they move in different ways depending on the material and frequency content. For example, when compressing a bass or another low-end heavy signal, the gain reduction meter will naturally move slower. Really sub-heavy sound sources might even cause the VU meter to stay down for long. So, if you send an entire mix into a stereo-bus compressor, try to pay attention to how the gain reduction meter moves. If the meter moves in a sluggish way, you are probably sending too much low-end into the gain reduction circuit of the compressor. Alternatively, this could also indicate that the bass is simply too loud in the mix. This will result in the entire mix sounding sluggish and not “tight”. In a perfect world, you want to see the stereo bus compressor move with the snare and the kick, with quick movements, and not staying down too long in between. Also, if you suddenly see your stereo-bus compressor move down in a more aggressive way and then stay down for long, it probably means that your mix is too sub-heavy.

So, next time you work on a mix, pay attention to how your compressors move and behave (especially if you are using a compressor across the entire mix), and compare it to what you hear.

I hope to see you in the next eBook – The Art of Equalization (Part 2 in the “The Art of Mixing” Series).

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The Art of Mixing Series

Explore the world of audio mixing with my series of eBooks, collectively known as "The Art of Mixing." Dive into the following four books to master the craft:

The Art of Compression: Learn the secrets of dynamic control and how to shape your sound with compression techniques.

The Art of EQ: Discover the art of equalization and how to sculpt audio frequencies for a polished and balanced mix.

The Art of Creating Depth: Uncover the techniques for adding depth and dimension to your mixes, creating a sonic landscape that captivates your audience.

Mixing Philosophy: Delve deeper into essential mindsets for creating truly great mixes and explore the importance of a well-oiled workflow.

Thank You!

Before you go, I would like to say, “thank you” for purchasing this eBook, and for reading it all the way to the end. I hope you enjoyed it!

I would really appreciate if you could take a minute or two and leave a review for this book on Amazon. Your feedback is very important and will help me continue writing more books.

I would also like to thank my brother Fredrik Juth, for proofreading and for great teamwork.