Compressor Guide

Select your signal type

Recommended settings

Gain reduction

0.0 dB

Threshold

0 dB

Ratio

1:1

Attack

0 ms

Release

0 ms

More about this signal →

2–3 dB of gain reduction is working. 10 dB is fighting the mix.

Threshold set too low - compressor clamps everything, not just peaks. Raise threshold until you see 3–6 dB of reduction on loud transients only.
Attack too fast on guitar/drums - kills the transient attack that gives the instrument its punch and character. Let the pick attack or drum crack through before the compressor clamps.
Release too fast - compressor pumps in time with the signal. On drums, you hear it breathe. Set release to match the track tempo or longer.
Using mix bus compression to fix a bad mix - if you need more than 2–3 dB on the bus, the problem is in the stems. Fix the mix, then glue it.
One heavy compressor instead of two light ones - a 6:1 ratio at -18 dB sounds worse than two 3:1 stages in series. Serial compression sounds more natural on dynamic sources like vocals.

Ratio controls how hard the compressor clamps after the threshold is crossed.

1.5:1–2:1

Gentle glue. Mix bus, mastering. Barely audible - adds density without squash.

3:1–4:1

General purpose. Vocals, guitar, bass. Controls dynamics while preserving tone.

6:1–8:1

Heavy limiting territory. High-gain sources or aggressive bass control.

10:1+

Brick-wall limiting. Peak protection only - anything higher is a limiter.