Raise your hand if you have trouble hearing compression. The challenge isn’t always knowing what to listen for. You may not have a clear idea of the problem you’re trying to solve.
If you had a headache and you took some aspirin, you’d have no trouble telling if it was working. There’s a lot of disinformation about what compression does and doesn’t do. It’s not a magic cure, and the prescription comes with some side effects.
Just like EQ, compression, it’s a volume tool. But where EQ targets levels of certain frequencies, compression determines when you hear them. Compression reshapes sounds by targeting soft moments, and because those moments also have their own frequency footprints, compression can distort the character of a sound as a byproduct.
So when do you choose a compressor? Well, for example, if you can’t hear the body of your vocal because the leading edge of the sound hits the roof, a compressor can selectively target those peaks, bring them down, and allow you to raise the overall level of the track. Conversely, if your drums lack punch, the compressor can do the same but delay its onset, giving those moments punch and clarity.
Start by listening for uneven dynamics as the problem, and remember, the prescription has some side effects. Sounds that have a wide range of dynamics also have varied frequency characteristics, and you’ll affect one when you change the other. So choose character wisely, and share that with someone who belongs in a Beat Kitchen class.
