Hiya,
I need a good tutorial about compression... Definitely.
I got the notions (the basics) of it:
Attack: How long does it take to compressor to compress.
Release: How long does it take to compressor to stop compressing and release the signal untamed.
Knee: Curve or peak of compression.
Threshold: From which decibels on you want to apply the compression.
Ratio: How much compression ratio you want.

But, said that, for years I've been struggling to apply that knowledge to my music with more or less success and I realize I play by ear, but, after a time, I re-listen to what I had finished time ago and there's some noticeable mistakes. So I think a good, concise and right to the point tutorial would help me to understand what I am doing wrong.

Correct me if I'm wrong, but I also know that compression is not it all, because you have to let tracks into your composition breathe, meaning that you have to suppress frequencies that do nothing for the sound you're using, which means EQ'ing. And after eq and some compression I find the result does not satisfy me completely. So in the end, I find myself in the same point: compression is not working properly. And I need to improve my use of it, not so much the concept itself.

I hope I explained it correctly.

For example, when I listen to this fella music (video down there), I feel this track (and his whole work, if I may say) is perfect, like rounded, smooth and punchy. Not that I want to sound like that or that I want to produce that style of music, but I do want to make things work into my mixing to get a good mastering. I don't know, maybe I'm confusing terms and concepts...

Here the example I'm talking about:

I know you all are always very helpful, so thanks in advance.

 

Obligatory Gregory Scott video:

 

https://www.audiotechnology.com/tutorials/understanding-compression-1
https://www.audiotechnology.com/tutorials/understanding-compression-2
https://www.audiotechnology.com/tutorials/understanding-compression-3
https://www.audiotechnology.com/tutorials/understanding-compression-4

 

This is probably the most in-depth and didactic resource on youtube:

 

Then there is a problem with either your workflow consistency or your listening environment. Your definitions are correct, no further theory needed.

Punchiness is btw. a pure design decision not a requirement for whatever and needs some structural song prerequisities.

 

Last edited: Mar 27, 2026 at 9:20 PM

1. What is OVERcompression? It's not just evidently destoyed sound, that is distortion. You faced this problem.

2. You don't have to compress every track in your mix. Compress where it is appropriate.

 

Last edited: Mar 28, 2026 at 3:23 AM

you are talking about "mistakes" you made, but there is no ultimatively "right" way how to apply dynamics processing to music, it always depends on the material, the context, eventually the mastering target, and of course your personal taste.

 

A good way to learn this by doing it, is as follows. First deliberately slam your signal with severe overcompression, obliterating it. This means: lowest attack, lowest release, high ratio and almost unbearably low threshold. Adjust the makeup gain so it's about the same loudness as it was before you started. Just by ear, no need for ultra precision.

Listen to all the pancaked glory of what you have now for a little bit. It's important to learn what overcompression sounds like and why it (probably) sucks on your signal. Totally squeezed the life out of it, probably.

Now start adjusting it back to sanity, in the following important order: adjust Attack, adjust Release, and only then Adjust Thresh and ratio (and dry/wet).

When adjusting Attack, listen to the way it slots in, how it allows certain punchy hits to pop back into existence. Tune it very exactly to get the feel you want for your signal. There's no one correct setting or anything, but when you find the correct setting for YOUR signal, there's a very distinct feeling of "wow, this is it, locked in bro!". All about catching that vibe, once found leave it like that.

Adjust Release, and listen to how it starts getting its own grooviness (going up and down sexy) at a certain weird setting. That's the one you want, find the sexy groove and leave it like that.

Now everything is epic, but it's very slammed still. So you go and adjust Ratio, which will let you dial in the amount of slam you want to have (it's almost like a "strength of the compression" control) and is simple to set. If on your compressor the ratio is only in set values like 2/4/8, maybe you feel like you need finer control. That's where you go and play with Threshhold, also basically using it as a "how bad is it allowed to wreck my stuff" control and can be used along with dry/wet. Dry/wet is useful if you want both thicc compressor character and some nice original dynamic feel, blended.

DONE! What nicely set compression can do to a boring flat sound is a total miracle. AND, with this method under your belt, you'll be able to hear for yourself just how different various compressors can sound. That's why there are a million+ of them, you intuitively pick a spice you think will fit because you remember how it sounds, and lather it on. They all have the same controls, but the way each sounds can be wildly different. And that's glorious!

 

Last edited: Mar 28, 2026 at 1:52 AM

I tried to keep these simple but ironing out a couple of wrinkles.

Attack: How quickly the compressor starts working after the threshold is crossed. Different circuits respond at different speeds, so the same attack setting can feel faster or slower. It is not how long a compressor takes to go from completely uncompressed to completely clamped.

Release: How long it takes for compression to return to zero and be ready for the next signal above the threshold.

Knee: How gradually the compressor reacts near the threshold. Signals just above or just below it may be partially compressed. A soft knee smoothes the beginning, a hard knee reacts fully immediately. It’s basically the judgment call zone right around the threshold.

Threshold: The signal level that triggers compression; anything below it passes through untouched.

Ratio: Determines how much the compressor reduces the signal above the threshold, example, 2:1 lets 1 dB through for every 2 dB above it, 1:1 means no compression. A higher ratio also makes the compressor reach full gain reduction faster, which is useful for external sidechain ducking without lookahead. The Fabfilter Pro-C2 infinity ratio trick.

 

If there's no right way to do it, any way would be right, and that's not the case at all. In any mix, you have hundreds of ways of screwing it, and only a very few to get a great sound.