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Pumping is when the compressor clamps down on a note, but releases too quickly – so that the end of the note is actually louder than the middle of the note. If the release time is too fast, a phenomenon called “ pumping” can occur. Using a fast release time can be just as bad. Once you’re done, just put your threshold back where it started. Whatever moves you make will be more obvious now. If you need help hearing this, turn your threshold down until you’re getting 10dB’s of gain reduction. Once the transients start to sound dull, back off a bit. I would start with a very slow attack (think 100ms) and gradually move the attack time faster and faster. Generally, through, a medium to slow attack time works best. Some songs need it slower, some songs need it a bit faster.

I can’t give an exact suggestion for where you should set the attack time at, because it all depends on the nature of the song itself. Too fast an attack time will make your mix sound flat and lifeless. The faster the attack time, the more the transients of your notes will get cut off. You rarely want to use a fast attack time on your mix bus compressor.

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If you want to remember these mistakes for when you’re setting up your sessions, make sure to check out the free mix bus compression cheat sheet I made for this article: It’s a helpful trick to make sure you’re not making your compression too aggressive. Start with a 2:1 ratio and 2dB’s of gain reduction. I like to use the “2-and-2 Rule” to remember this during my mixes: Mistake #3: Using Too Much Gain ReductionĪ lot of the time, 1-2dB of gain reduction is all you need. Again, subtlety is the key to making this technique work in your favor. You don’t want the compressor to act too aggressively. In general, a 2:1 ratio is enough. Mix bus compression gets added to the entire mix, so subtlety is the key here. It doesn’t matter that you have a nicer plugin if you still can’t do the technique right. Analog compressors add a certain “color” to the sound that can be very pleasing to the ear.īut it’s more important that you’ve mastered this technique with your stock plugin first. That said, there will be a time when upgrading to a better compressor will help you take your mix bus compression to the next level. There’s no special bus compressor that will do the magic for you.Īll you need is your DAW’s stock compressor. You don’t need a premium plugin to do mix bus compression.

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That said, if you follow the advice below, you’ll be setting up your mix bus compression like a pro in no time. So whatever mistake is made affects every single instrument of the song. Remember, it’s compression that’s added to the entire mix. Making any of these 6 mistakes could cause your mix bus compression to do much more harm than good. This process should be done very carefully though. You don’t even need a special compressor to do it! Your stock compressor will work just fine. When done correctly it can add more excitement and cohesiveness as it controls the dynamics of the mix. Depending on the software, it’s also called the master bus or stereo bus.Īdding a small amount of compression to your mix bus chain can take your mixes to another level. It’s the channel that all of the audio from a session flows into. The mix bus is another name for the output of your DAW. Mix bus compression is the act of adding compression to your entire mix.

A well-tuned compressor on the mix bus can make a big difference in your mix! But a poorly-tuned compressor will wreak havoc. It’s frequently used, but rarely done right. One of the tricks pro mixers use to “glue” their tracks together is mix bus compression.

Timeworks mastering compressor vst