Compression master

Device’s maximum possible level exceeds the typical (nominal) operating level. Headroom typically indicates a system’s ability to handle short peaks without distortion or damage. Headroom is measured in dB. Professional analog and digital devices typically have 18 dB to 20 dB of headroom above +4 dBu.<br/><!-- /wp:paragraph -->" href=" data-gt-translate-attributes="[{"attribute":"data-cmtooltip", "format":"html"}]">headroom you have to raise the overall level. It is easy to overdo it.Upward compression does the opposite and processes the quietest part of the signal by raising the audio below the user-defined threshold. In this case, no makeup gain is required. Both types of compression achieve the same results, reducing the distance between the loudest and quietest parts. Downward compression does this by lowering audio above the threshold setting, upward compression by raising the audio below it.Regardless of whether we master our own music or not, mixing into some master bus compression has become a common and accepted practice. Used conservatively at this stage, it is not about maximizing level, but more about taming peaks and subtly evening out the dynamics. The more stages in your signal flow you use compression, the less hard any individual compressor needs to work, and the more natural it will sound. A subtle amount of track compression (if necessary) into subgroup compression into master bus compression is a great formula for a full yet still dynamic sounding premastered mix.If you do choose to mix into some master bus compression, it is a good idea to set it up early in your mix. That way you are always working with it and it won’t suddenly change your sound, as is likely to happen if you only add it on at the end.Some people feel strongly about using two (or more) compressors in series on the master bus, each set with unique attack and release time values. The attack time determines how quickly the compression kicks in once the signal crosses the threshold. Release time determines how long it takes for the signal to revert back to its original level once it falls in level and no longer crosses the threshold.When working with multiple compressors, the first is often a FET style compressor, set with a very fast attack to catch transients. And the second, a VCA based model with a slower time constant to even out the levels more generally. Whether you use one or two, the trick is to use a gentle ratio setting. This determines how much the signal will be compressed once it crosses the threshold. A ratio of 2:1 at this stage is subtle and transparent. Adjust the thresholds to get them triggering a DB or two of gain reduction. Don’t overdo it. There’s plenty of time for that later

Your mix.Glue Compression on the Drum BusThese settings work well for glue compression on the drum bus:Threshold – Set this to help determine how much gain reduction you’re getting along with the ratio. If you just want to catch peaks, set it accordingly. Setting it lower will create more glue and a saturation like effect.Ratio – A 4:1 ratio is a bit more aggressive when it comes to bus compression, but I find it works well on drums. Don’t be afraid to back it off to 2:1 if you don’t want or need that much glue.Attack – Setting an attack time of 1ms is enough to preserve those initial transients of the snare, kick, and other instruments in the kit while then smoothing the combined signal out.Release – I like the “auto” release setting on glue compressors in general because I’m typically using this on a bus, so the input signal is all over the place. The auto setting adjusts the release time to keep our signal well controlled without introducing pumping, noticeable compression.Analog – As I mentioned earlier, this is a unique setting to the Waves SSL Buss compressor. When turned on, the analog setting imparts a bit of distortion which was a product of the analog gear this plugin emulates. If you want a bit of that harmonic saturation then enable this setting. I prefer to leave it off and use it uniformly on the entire mix if I’m using glue compression on the master bus which I’ll talk about in a moment.Fade Off/Out/In – Another setting unique to the Waves SSL Buss compressor, fade off is related to the Rate-S dial and creates a fade out (or fade in) to the speed you set with the dial. It’s not relevant to the compression side of things, but it does a really nice and seamless fade, particularly at the longest (60) rate.Glue Compression on the Master BusThese settings work well for glue compression on the master bus:Threshold – Once again, this dictates your gain reduction. If you want a bit more glue and energy from your track, set this a bit lower. Conversely if you just want to smooth out the peaks, set it higher.Ratio – I always recommend being conservative with any master bus level processing, and a 2:1 ratio will accomplish this. Just like the threshold, if you want a bit more control and energy, you might want to go for a 4:1 ratio.Attack – I like to push the attack back a bit farther to 3ms on the master fader to give those transients a touch more punch.Release – Let’s stick with the “auto” setting for the release time once again.Analog – Like I mentioned before, I like the analog setting on this glue compressor on the master fader to impart a little bit of those analog harmonics across the entire mix. It’s subtle, but it warms the mix up a bit.Fade Off/Out/In – If you want a fade out in your track, consider using

We appreciate that mixing is a personal thing and everyone has their own style. We don’t want you to feel too restricted when you mix, so there’s only a couple of things we recommend to get the best possible results from the mastering engine.They have to do with dynamics and peak headroom.DynamicsWhen it comes to dynamics, there’s a couple things to keep in mind when preparing your mix for LANDR. A dynamic track has a range of material that is relatively quiet to loud. You can also think about dynamics on a more micro scale--as the difference in level or intensity between the sounds in your track.Mastering involves compression techniques that use this space in order to add intensity, presence and glue your mix together - if the dynamic range is already gone - there’s not much LANDR can do on that front. The main culprit behind mixes with low dynamic range is heavy compression or limiting. We get it, using compression and limiting at the master or stereo output of your mix adds loudness and intensity, and you want your mix to be BIG! - but if you’re planning on using LANDR for that final touch - LANDR will take care of this for you. If you like mixing loud, no worries - just turn your monitors up! LANDR uses those dynamics you leave, so we recommend not adding any dynamic plugins that are typically used during the mastering process (i.e. limiters and compressors) to your master channel for the sake of loudness. You can definitely have plugins on your master bus, just not ones that are there strictly to push your mix to the limit! Compressors are often a vital tool used to control dynamics - which we totally encourage. Controlling your dynamics using compression can contribute to a better master. But it often sounds better to add small amounts of compression at different stages in the mixing process than adding more at the end. So adding some compression on individual tracks and busses is fine, as long as it isn’t working too hard and squishing your track! We’ll never tell you that there’s only one way to mix - this just isn’t true. So if you prefer mixing hot - go for it! But we encourage you to experiment with your mix and see the different results you can get with LANDR. This is the best way

I have a whole live band two track song set up as two mono tracks in Studio One. The left and right channels are different and need different manipulation to bring out the best fidelity. I am also exporting out to a master file. My question is what is best done to be done on the mix and what is best to be done on the master? I have tried different things but realize that in the end it leads to over processing, however some processing needs to be done for best results.I have found "Vitamin" to be a great asset as it allows spread by frequency, so I have put this on each track in the mix. The Vocals and the lead guitar are too loud for the mix so some compression is warranted. I have limiter2 set to -4.0 on my main mix master to help in this. When I try to add compression in on the mix (MultiBandDynamics), though I tried others before settling on this based on result, the Mix is coming into the master too loud, even with the 4.0 Limiter ceiling almost no matter how much I dial it back until I don't have it on. And then I am still finding tweaks to do in the Master so I am using slight Pro Eq, and have played with Compression/Limiter on the master to see if it is better there. The Master arena is where I am trying to make sure al the songs sound like the same performance and to make sure I have compressed the Vocals and Guitar and brought out the reset of the band without clipping or going over -14LUF and trying to be 4-6 i nLRA and -1.0 on TP with a -1- to -14 RMS which seems to be good for the 40 year old tape source. To be clear, I am sort of lost on what I should be doing in the mix and what in the master in order to bring out the best quality and properly apply processing. Any suggestions are appreciated.

Quickly the compressor reacts to sounds that exceed the threshold, allowing you to either smooth out or emphasize the initial “punch” of a sound. A slower attack lets the transient of a sound pass through before compression kicks in, creating a more pronounced, punchy effect. Conversely, a fast attack reduces the transient for a smoother, softer sound.Release time affects how long it takes for the compressor to disengage after the sound drops back below the threshold. Short releases create a tighter sound, while longer releases allow the compression effect to sustain, giving the sound a more flowing, continuous feel.By balancing attack and release times, you can shape not only the initial hit of a sound but also its tail.Dual compressionVocals often require extra dynamic control to sit comfortably in a mix. Dual compression is a technique where two compressors are used in sequence, each with different settings. This approach spreads the workload between two compressors, resulting in a smoother, more natural sound than if one compressor were doing all the work.For instance, the first compressor might catch quick volume spikes with a fast attack and release, smoothing out sudden changes, while the second compressor applies gentler, more consistent compression to maintain overall volume. This layered approach is especially useful for vocals, where clarity and consistency are essential.Glue compressionOnce individual elements are balanced, glue compression helps bring the whole mix together. This technique applies subtle compression across multiple sounds, creating a more unified and cohesive feeling. Often applied on the master channel, glue compression gives a subtle “lift” to the mix, making everything feel like it belongs together.The goal with glue compression is subtlety. Too much compression on the master can flatten the dynamics, so settings should be dialed back to avoid over-compressing. A good starting point is a low Ratio with moderate Attack and Release times to enhance the track’s natural rhythm and groove.Maximizing loudnessThe final step in most mixes is maximizing loudness without introducing distortion. By setting the limiter’s threshold just below the clipping point (commonly around -1 dB for streaming standards), you ensure that your track remains clean and free from distortion while reaching optimal loudness.Increasing the gain after setting the limiter threshold can make the track louder, but care should be taken not to push the limiter too hard, as this can introduce unpleasant artifacts. The aim is to find a balance where the track sounds powerful