By setting attack the online audio mixing services engineer defines the time during which a compressor achieves the maximum value of audio compression. Depending on creative tasks of a studio, there are two kinds of compression used – with aggressive settings (attack in the range of 80–200 microseconds) and fine compression in the range of 10–100 milliseconds. The lesser length of attack allows a compressor to respond to loudness changes faster, but in some cases it causes audible distortions. And if an evident sound overload wasn’t devised as a specific affordable mixing and mastering services technique, the attack should be enhanced to make the work of a compressor more unnoticeable. The source audio material also influences on the selection of a parameter, for instance, drums mixing requires a much faster attack so that the device will manage to respond to short explosive transients in time. It’s all less obvious for vocals and depends on both sources delivered to the studio and the audio engineer’s innovative take.
It’s here just the opposite. This is the time during which audio changes the complete compression state to the source uncompressed one. The value range also varies widely depending on the tasks set for the mixing mastering services studio and on an instrument which is being processed. To sum up, much shorter release time makes compression more unnoticeable and allows audio mixing engineers to achieve a larger reduction level without any audible distortions during mixing while longer release time gives larger sound density. When the value is excessive, pumping effect can appear – nevertheless, many studios use it as another technique to add the character and some aroma of vintage records to the sound.