Compression in Use

This chapter builds on the compression concepts presented in the previous chapter, to enable the reader to apply more case-specific artistic compression. Gain reduction, timing, and how much dynamic range is processed are discussed. Instructions are given to ensure that the reader is correctly applying compression in controlled and predictable ways. Some example processing exercises are included. Aspects of compression particular to vocals, bass, and drums are presented, so that the reader can optimise processing for those sounds and is aware of potential pitfalls. Compression as a substitute for EQ is included. Limitations of compression are discussed, along with suggestions to ensure that compression is controlled and appropriate. The chapter identifies sounds that should (and should not) typically be compressed in a commercial music mix and explains the difference between fader automation and compression.