DIY Recording Guys · Vadim Kharaz and Benjamin Hull

66: Dynamics Part 2: How to Use a Compressor (and Why!)

April 28, 2021·1 hr 1 min·5 clips

Vadim shares UBK's secret: turn down the volume to hear transients better when setting compressor attack.

1. DIY Recording Guys, hosted by Vadim Karaz of Calm Frog Recording and Ben Hall of DreamLoud Studio, presents Part 2 of the dynamics series, focused on the practical mechanics of compressors. 2. Vadim and Ben are working recording engineers; Vadim is currently mixing a solo album for Jordanian guitarist Firas, and Ben is working on new material for his band Nafel. 3. The episode's central argument is that compressors should only be engaged when the engineer can articulate a specific reason — making something spikier, sustaining, controlling level, shaping space, or adding colour — and never by default. 4. Vadim describes a production decision framework from an online video: imagine your favorite mix engineer is sitting in the room and mentally explain every plug-in choice to them, because compressors are 'too cool, too accessible, and too fun to play around with' without purpose. 5. Ben introduces Part 2 as a deeper dive following Part 1 (episode 65), which established foundational definitions: dynamics, punchiness, sustain, macro and micro dynamics, and the four processor types. 6. A compressor recap begins with Ben's definition: when a signal crosses a threshold, the output is reduced by the ratio amount — at 2:1 ratio and a signal 1 dB above threshold, the output is only 0.5 dB louder instead of 1 dB louder. 7. Vadim maps the four compressor parameters to a robot assistant's four questions: threshold = when to start acting, ratio = how much to attenuate, attack = how fast to react, release = how fast to return the fader. 8. Ben frames attack and release as 'adjustable reaction time' — a slow attack means the robot is sluggish and lets sound through before grabbing it; a fast attack grabs it immediately. 9. The distinction between threshold and ratio is clarified: threshold determines how often the compressor acts (how many signals cross it), ratio determines how aggressively it acts when it does. 10. A worked example shows that a very low threshold with a gentle 2:1 ratio produces continuous compression on the whole signal, while a high threshold with a 10:1 ratio affects only the biggest peaks but clamps them hard — both can yield similar output but shape the sound differently. 11. Vadim plays four snare drum demonstrations with exaggerated settings: fast attack/slow release, fast attack/fast release, and slow attack/slow release, preceded by an uncompressed reference hit. 12. Fast attack/slow release on the snare 'sounds kind of hideous': the stick attack is smoothed, the compressor clamps the transient, and level-matching by 9.5 dB causes the decay to bloom into an unnatural sustain. 13. Fast attack/fast release removes the transient but produces no sustain bloom: both hosts agree it 'sounds boring' and accomplishes neither goal well. 14. Slow attack/slow release lets the initial transient through while clamping the rest of the signal — producing a sharp, whip-like crack — which Vadim says accentuates percussiveness but removes sustain. 15. Five reasons to reach for a compressor are catalogued: making something spikier (slow attack, appropriate release), adding sustain (fast attack, slow release with makeup gain), level control on dynamic performances, pulling sounds forward or back in the mix via attack time, and adding roundness or analogue harmonic colour. 16. A specific technique from compressor designer Gregory Scott (UBK) for setting attack time is detailed: set ratio to 10:1, bring threshold down until the compressor pumps on every hit, turn monitor volume down, then slowly increase attack until the transient pops through before dialling ratio back to a working value. 17. The rationale for the low-volume attack-setting trick is that transients are more perceptible at lower monitoring levels, possibly due to the Fletcher-Munson equal-loudness curves or natural ear compression at louder volumes. 18. Ben describes his own approach to setting release: listen to how the compressor's release interacts with the tempo of the song and adjust until the sustain feels natural with the meter, without necessarily targeting specific note values. 19. Home recording engineers who have used compressors by feel but want a framework for making deliberate parameter decisions — especially on drums and vocals — will find this episode immediately actionable. 20. Listeners already experienced with advanced compression techniques such as parallel compression, mid-side compression, or multiband compression will find the episode introductory and should look for later episodes in the series.

As heard by us

A clear, hands-on compressor lesson that makes attack, release, and level matching easier to hear.

DIY Recording Guys makes compressor talk feel like studio work instead of menu diving. Benjamin Hull and Vadim Karaz keep circling the practical question: what are attack and release actually doing to a sound?

Read the full review in PlayNext →

Why you'd press play

Want compressor settings explained in plain language before you touch the knobs?

Read the full recommendation in PlayNext →

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