Exploring key compression parameters

Let’s compare and contrast some of the most coveted approaches to analogue compressors and the effect they have on drum sounds To get an idea of why different approaches to analogue compression remain popular with mix and mastering engineers, it’s interesting to do a head-to-head test. Through the following steps, we’re taking three plugin analogue compressors and feeding the same programmed drum part to each. We’re then experimenting with key parameters unique to each compressor. So, in each clip, you’ll hear the same original, dry part followed by a specific compressor. In some cases, we’ll compare contrasting Attack and Release Times, whereas in others, we’ll simply experiment with gentler and harsher compression treatments. In each case, listen for how the compressors respond to the percussive transient at the start of each kick and snare, as well as the ‘overall’ dynamic shape of the drum kit. Our first compressor is UAD’s emulation of the Manley Variable Mu, with its continuously variable Attack Time alongside a ‘stepped’ approach to Release, where five values are selectable. We’re using the fastest one first time round, then ‘Medium Slow’ in the second clip. Next up is Native Instruments’ VC160. Here, we’re using a gentler Compression amount first time around, and a more extreme one the second time. This doesn’t just make things louder; it changes the relationship with the transients and the sound between hits. Lastly, the Opto-based Softube CL 1B. In the first compressed clip, the Ratio is 3:1, while Attack Time is reasonably fast and Release is ‘natural’. In the second clip, Ratio is cranked to 10:1, Attack and Release Times are much quicker and Output Gain is boosted.