analog compression on masteringIn the end, there are some recommendations from experienced mixing audio services engineers. The rules aren’t strict but if you use them, it will be a good scene starter in your development as an engineer. The only rule is keep experimenting!

– During recording and then mixing and mastering hip hop it’s more preferable to reduce dynamics stepwise, gradually at each stage than use excessive compression applied at once.

– It’s very important to choose a device for an exact task. For this reason, another device isn’t a whim but necessity for productive work of a mixing services  studio.

– Start with moderate compression (ratio 2:1–5:1; medium attack and release time). Achieve about 5 dB of gain reduction – now you can play with attack and release settings while watching the sound character changing. This practice is extremely helpful for a would-be audioengineer.

– Try dramatic compression on drums and an electric guitar. Some aggressive flattening often happens to literally liven up dull sounding of a raw record!

stem mixing with compressor– To add larger adhesion, compression of the whole track is practically always used during music mixing with compression. However, splashes of bass and low end elements of some instruments cause “pumping effect”. There is a multiband compressor to help engineers to avoid it. This compressor allows them to pick settings particularly for every frequency range.

– Crank up the ratio is a trick of which a lot of engineers are fond, use it and achieve 6–10 dB of gain reduction. Now the manipulations with attack and release time can be heard far better, and they let engineers select their exact values.

– And the key point! Your hearing is a chief referee! If a professional engineer has put the cap on rules, but you like the sounding of the song, it means he has done everything correctly.