Compressor treatments for different tracks

Let’s choose compression types for the key sounds in this track, adding punch and power where it’s needed

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We’re starting with a basic pop backing track featuring a lead vocal, drums, bass, strings and a piano part. There’s a decent balance to the mix, but a number of mix elements would benefit from analogue compression treatments.

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We’re muting the vocal and starting with the piano part. We want this to ‘snap’ harder, with a more aggressive bite, so we’re setting up NI’s VC 160 to bring some VCA-style transient-heavy dynamic shaping. Compare the first four bars (no compression) with bars 5-8 (with compression).

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The snare drum needs more snap, so we turn to Softube’s CL 1B compressor emulation. This is set with a fairly quick Attack, but slow enough to let through the Transient before the compressor gets to work. After tweaking Ratio and Release, the result is a punchier backbeat (second four bars only).

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Sometimes, you don’t only turn to a compressor for its dynamic processing capabilities but also for its nonlinear distortion. That’s the case here with our LA-2A emulation. Compare the first unprocessed four bars with the more driven sound of the second four bars and you’ll hear a very different bass tone.

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We want to add more presence and more ‘glue’ to the programmed string parts. So, across the string group, we’re using UAD’s Manley Vari-Mu emulation. The Attack time is generous enough to let through the Transient. Again, the effect is bypassed for the first four bars before kicking in.

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We turn to the lead vocal next. This needs more presence, and UAD’s 1176 emulation provides it. We’re hitting the compressor hard (the Ratio is 8:1), with up to 12dB of Gain Reduction, and the Output dial making up for lost volume. Instantly, the vocal sits much more clearly in the mix.