Overview⌗

This lab introduces the practical use of compression in audio mixing. You’ll install a few free compressors, then practice controlling dynamics on drums and vocals so the mix feels more consistent, punchy, and “glued together” without getting louder just because it’s compressed.

Objectives⌗

  • Explain what a compressor is doing (what changes when you move threshold, ratio, attack, release, and output gain).
  • Hear (and measure) gain reduction and describe what it sounds like on drums vs. vocals.
  • Apply compression to individual tracks and to a drum bus while keeping levels matched for fair A/B comparisons.

Required Materials⌗

  • The Hurray For the Riff Raff drum editing project (or a similar multi-track drum recording).
  • A vocal sample or vocal session to apply compression to.

Step 1: Preparation⌗

Download and Install Compressors⌗

  1. MCompressor: Visit MeldaProduction to download and install MCompressor.
  2. TDR Kotelnikov: Download TDR Kotelnikov from Tokyo Dawn Records.
  3. Tukan – Compressor 2 (REAPER): Install via ReaPack by following this guide: Free REAPER Plugins: Tukan. After you add/sync the Tukan repo in ReaPack, search for Compressor 2 in Extensions → ReaPack → Browse packages, install it, then find it in the FX browser under JS/JSFX (search “Tukan”).

Explore Compressor Settings⌗

  • Spend 2–3 minutes with each compressor and locate these controls (names vary by plugin):
    • Threshold (when compression starts)
    • Ratio (how much it compresses after threshold)
    • Attack / Release (how fast it reacts and recovers)
    • Makeup / Output (how you level-match after compression)
    • Gain reduction meter (how many dB the compressor is turning down)
  • If a plugin has auto-makeup, turn it off for this lab unless instructed otherwise. Auto-makeup can make “compressed” sound seem “better” simply because it’s louder.

Quick Listening Rule (Important)⌗

When you compare “before vs. after,” keep the loudness as close as possible. If the compressed version is louder, it will almost always feel better even if the settings are worse. Use the plugin’s output gain (or the track fader) to match levels when A/B-ing.

Step 2: Applying Compression to Drums⌗

Compress the Kick Drum⌗

  1. Open the Hurray For the Riff Raff drum editing project.
  2. Insert ReaComp (or your chosen compressor) on the kick drum track.
  3. Start with a ratio of 4:1.
  4. Lower the threshold until you see around 3–6 dB of gain reduction on the loud hits.
  5. Start with attack 10–30 ms (to keep some punch) and release 50–150 ms (so it recovers between hits). Adjust by ear.
  6. Use output/makeup to level-match the compressed signal to the bypassed signal.

What to listen for:

  • More consistent kick level from hit to hit
  • More “body”/sustain (if release is longer)
  • Less “click”/transient (if attack is too fast)

Apply to Other Drums⌗

  • Repeat the process for other close drum mics (snare, toms, etc.). Use the same workflow:
    1. Set a ratio.
    2. Set threshold to hit a gain-reduction target.
    3. Adjust attack/release to shape the transient vs. sustain.
    4. Level-match output, then A/B.
  • For hi-hats/cymbals, start gently (or skip compression). It’s easy to make cymbals sound harsh or “sucked down.”

To hear the cumulative effect, periodically bypass compressors and listen to the full kit:

  • Bypass per-track by toggling the track’s FX button (or bypassing the compressor inside the FX chain).
  • When you A/B, keep levels matched.

Compress Room Microphones⌗

  1. Apply a compressor to the room microphone tracks. Consider using the 1175 Compressor from Reaper or one of the plugins you downloaded.
  2. Start with a ratio of 4:1 and lower the threshold until you see 6–12 dB of gain reduction (room mics can handle more compression).
  3. Try a faster attack and medium release to bring up room tone and excitement.
  4. Manually adjust output gain so the room track isn’t “better” just because it’s louder.

Group Compression⌗

  1. Group all drum tracks into a folder.
  2. Apply a compressor to the drum folder/bus.
  3. Start subtle: 2:1, threshold for 1–3 dB gain reduction on the loudest sections, then level-match.
  4. Then experiment: push it harder and notice when the kit starts to pump, lose punch, or feel smaller.

What to listen for on the drum bus:

  • “Glue” (kit feels more like one instrument)
  • Pumping/breathing (sometimes cool, sometimes distracting)
  • Transient loss (attack too fast) vs. unevenness (attack too slow)

Step 3: Voice Compression⌗

  1. Insert a compressor on the vocal track.
  2. Start with 2:1 to 4:1 ratio.
  3. Lower threshold until you see 3–8 dB of gain reduction on louder phrases (more if the performance is very dynamic).
  4. Adjust attack/release to control consonants and sustain:
    • Too fast attack can dull clarity and make “T/K/P” less present.
    • Too slow attack can let peaks poke out and feel inconsistent.
  5. Level-match output and A/B.

Goal: the vocal stays forward and intelligible without sounding squashed or obviously “grabby.”

Step 4: Comparison and Analysis⌗

  1. Pick one source (kick, room mics, drum bus, or vocal).
  2. Copy your starting settings idea (ratio/attack/release targets) and repeat the process using a different compressor plugin.
  3. Level-match and A/B:
    • Which one changes the tone more?
    • Which one feels smoother vs. punchier?
    • Which one makes you fight the mix less?

Write down what you preferred and why (one or two sentences per source is enough).