Then you may start reducing threshold until audible compression turns up (the engineer’s trained hearing can easily snatch this subtle moment). After it has happened, you can begin to keep experimenting with attack and release time.
It’s difficult to give general recommendations as in your future practice you’ll come up against a wide variety of situations which are absolutely impossible to include into this article. Every experienced online mixing services engineer starts feeling in advance what settings are necessary. He can order numbers in the right way at once to achieve the exact term by matching in place then. But in fact we’re just learning so don’t be afraid of experimenting. Start with both large and small terms, notice how in this case the sound character is changing.
5. Compression extension
In summery everything mentioned above deals with most cases of musicians’ traditional expectations from their favorite mastering studios. Everybody understands the concept of the “right” sound on his own and it’s so controversial that you may happen to need to make quite the opposite. For example, a smash track to have the effect of the most pumped sound, to cut all the peaks and to squeeze almost all the dynamics in favor of mad loudness. Does it sound really weird? But in most studios it comes about exactly like that, for instance, when you work on EDM songs.
There are several techniques to get this aggressively compressed sound. Out of them parallel compression is widely spread. The method depends on equipment and plugins. You can turn the knob Wet/Dry up to the necessary proportion of a clear and compressed sound or copy tracks with a processing audio. Then one of the copies is being hard compressed and blended with a “dry” track in the necessary proportion.
Let’s touch one more moment related to master bus compressors. There are often compressors among them with an additional option M/S processing that allows online audio services engineers to process Mid and Side channels separately. Due to it the engineer can set the stereo picture of a track much more subtly. But I think we shouldn’t delve into this subject matter at this stage. It’s more logically to consider it in details in the next article.
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