Master Compression and Dynamics Processing with Ian Sutton
Ian Sutton The Complete Guide to Compression TUTORiAL
If you are interested in learning how to use compression effectively in your audio production, you might want to check out Ian Sutton's tutorial on this topic. In this article, we will give you a comprehensive overview of what this course is about, what you will learn from it, how you can enroll in it, and how you can get the most out of it. By the end of this article, you will have a clear idea of whether this course is right for you and how it can help you improve your compression skills.
Ian Sutton The Complete Guide to Compression TUTORiAL
What is compression and why is it important?
Compression is one of the most essential and versatile tools in audio engineering. It is a process that reduces the dynamic range of an audio signal, which means that it makes the loud parts quieter and the quiet parts louder. This can have many benefits for improving the sound quality, balance, clarity, consistency, punch, energy, and impact of your audio tracks.
Compression can be used for various purposes such as:
Controlling the peaks and transients of a signal that might otherwise clip or distort
Smoothing out the volume fluctuations of a signal that might otherwise be too inconsistent or uneven
Enhancing the sustain or decay of a signal that might otherwise be too short or long
Adding character or color to a signal that might otherwise be too dull or bland
Gluing together multiple signals that might otherwise sound too separate or disjointed
Creating contrast or movement between different parts of a signal that might otherwise sound too static or flat
Compression can be applied to any type of audio source, such as vocals, drums, guitars, bass, keyboards, synths, strings, brass, woodwinds, percussion, and more. It can also be applied to individual tracks, groups of tracks, or the entire mix. However, compression is not a one-size-fits-all solution. It requires a lot of skill and experience to use it properly and achieve the desired results. If used incorrectly, compression can also have negative effects such as reducing the dynamic range too much, making the sound too loud or quiet, losing the natural feel or expression of the performance, introducing unwanted artifacts or noise, or ruining the musical balance or coherence of the mix.
The basic parameters of a compressor
A compressor is a device or a plugin that performs compression. It has several parameters that allow you to adjust how it works and affects the audio signal. The most common parameters are:
Threshold: This is the level at which the compressor starts to reduce the gain of the signal. Any signal that is above the threshold will be compressed, and any signal that is below the threshold will be unaffected. The lower the threshold, the more compression will be applied.
Ratio: This is the amount of gain reduction that the compressor applies to the signal that exceeds the threshold. It is expressed as a ratio of input to output, such as 2:1, 4:1, 8:1, etc. For example, a ratio of 4:1 means that for every 4 dB of input above the threshold, the output will be 1 dB. The higher the ratio, the more compression will be applied.
Attack: This is the time it takes for the compressor to start reducing the gain of the signal after it crosses the threshold. It is measured in milliseconds (ms). A fast attack means that the compressor will react quickly and catch the initial peaks or transients of the signal. A slow attack means that the compressor will react slowly and let some of the peaks or transients pass through.
Release: This is the time it takes for the compressor to stop reducing the gain of the signal after it falls below the threshold. It is also measured in milliseconds (ms). A fast release means that the compressor will recover quickly and restore the original level of the signal. A slow release means that the compressor will recover slowly and keep reducing the level of the signal for a longer time.
Gain: This is an additional parameter that allows you to increase or decrease the overall output level of the compressor. It is measured in decibels (dB). It is often used to compensate for any loss or increase of volume caused by compression. For example, if you apply a lot of compression and make the signal quieter, you can use gain to boost it back up to match the original level.
The different types of compression
There are different types of compression that have different characteristics and applications. Some of the main types are:
Peak compression: This is a type of compression that responds to the peak level of the signal, which means that it compresses based on how loud or quiet each individual sample of audio is. It is very precise and accurate, but it can also sound unnatural or harsh if overdone. It is good for controlling sudden spikes or clicks in a signal.
RMS compression: This is a type of compression that responds to the root mean square (RMS) level of the signal, which means that it compresses based on how loud or quiet each segment of audio is over a certain period of time. It is less precise and accurate, but it can also sound more natural or smooth if done well. It is good for smoothing out volume variations in a signal.
Optical compression: This is a type of compression that uses an optical element such as a light bulb or an LED to control the gain reduction. It has a slow and smooth response that depends on how bright or dim the light source is. It can add warmth and character to a signal, but it can also introduce distortion or noise if pushed too hard. It is good for adding glue or cohesion to a mix.
FET compression: This is a type of compression that uses a field-effect transistor (FET) to control it can also introduce distortion or noise if pushed too hard. It is good for adding punch and energy to drums or vocals.
VCA compression: This is a type of compression that uses a voltage-controlled amplifier (VCA) to control the gain reduction. It has a fast and transparent response that can be adjusted with various parameters. It can be very flexible and versatile, but it can also sound sterile or boring if not used creatively. It is good for general-purpose compression or shaping the dynamics of any signal.
Multiband compression: This is a type of compression that splits the signal into multiple frequency bands and applies different compression settings to each band. It can be very powerful and complex, but it can also sound unnatural or muddy if not used carefully. It is good for controlling or enhancing specific frequency ranges of a signal or a mix.
How to use compression in different scenarios
There is no definitive rule or formula for how to use compression in every situation. It depends on many factors such as the type and quality of the source material, the genre and style of the music, the role and function of the track in the mix, the personal taste and preference of the producer or engineer, and the intended effect and goal of the compression. However, here are some general tips and examples of how to use compression in different scenarios:
Vocals: Compression can help to even out the volume and dynamics of vocal performances, especially if they have a lot of variation or expression. It can also help to bring out the details and nuances of the voice, such as breaths, consonants, and emotions. A common approach is to use a moderate to high ratio (4:1 to 10:1), a low to medium threshold (-20 dB to -10 dB), a fast attack (1 ms to 10 ms), a medium to slow release (100 ms to 500 ms), and a moderate gain (3 dB to 6 dB). You can also use a second compressor with a lower ratio (2:1 to 3:1), a higher threshold (-10 dB to -5 dB), a slower attack (10 ms to 50 ms), a faster release (50 ms to 100 ms), and a lower gain (1 dB to 3 dB) to smooth out any remaining peaks or transients.
Drums: Compression can help to enhance the punch and impact of drum sounds, especially if they are recorded with microphones or sampled from acoustic sources. It can also help to create contrast and movement between different parts of the drum kit, such as the kick, snare, hi-hat, cymbals, and toms. A common approach is to use a high ratio (8:1 to 20:1), a low threshold (-30 dB to -20 dB), a fast attack (0.1 ms to 5 ms), a fast release (5 ms to 50 ms), and a high gain (6 dB to 12 dB) for individual drum tracks. You can also use a lower ratio (2:1 to 4:1), a higher threshold (-15 dB to -5 dB), a medium attack (10 ms to 30 ms), a medium release (50 ms to 200 ms), and a lower gain (3 dB to 6 dB) for drum busses or groups. You can also use multiband compression to control or enhance specific frequency ranges of the drums, such as adding more low-end punch to the kick, more mid-range snap to the snare, or more high-end shimmer to the cymbals.
to -10 dB), a medium attack (10 ms to 30 ms), a medium release (100 ms to 300 ms), and a low to moderate gain (1 dB to 4 dB) for acoustic guitars. You can also use a higher ratio (6:1 to 10:1), a lower threshold (-20 dB to -15 dB), a faster attack (5 ms to 15 ms), a slower release (200 ms to 500 ms), and a moderate to high gain (4 dB to 8 dB) for electric guitars. You can also use multiband compression to control or enhance specific frequency ranges of the guitars, such as adding more low-end warmth to the acoustic guitar, more mid-range crunch to the electric guitar, or more high-end sparkle to the lead guitar.
Bass: Compression can help to tighten up the low-end and dynamics of bass sounds, especially if they have a lot of sub-bass or harmonic content. It can also help to make the bass more consistent and audible in the mix, especially if it competes with other low-frequency instruments or sounds. A common approach is to use a high ratio (10:1 to 20:1), a low threshold (-30 dB to -20 dB), a fast attack (0.1 ms to 5 ms), a medium release (50 ms to 200 ms), and a high gain (6 dB to 12 dB) for bass tracks. You can also use multiband compression to control or enhance specific frequency ranges of the bass, such as adding more sub-bass punch to the kick drum, more mid-range definition to the bass guitar, or more high-end presence to the synth bass.
Keyboards and synths: Compression can help to shape the tone and dynamics of keyboard and synth sounds, especially if they have a lot of modulation or envelope changes. It can also help to create contrast and movement between different parts of the keyboard or synth sound, such as the attack, sustain, decay, and release. A common approach is to use a low to medium ratio (2:1 to 6:1), a medium threshold (-15 dB to -10 dB), a medium attack (10 ms to 30 ms), a medium release (100 ms to 300 ms), and a low to moderate gain (1 dB to 4 dB) for keyboard and synth tracks. You can also use multiband compression to control or enhance specific frequency ranges of the keyboard or synth sound, such as adding more low-end warmth to the piano, more mid-range richness to the organ, or more high-end brightness to the pad.
to 4:1), a high threshold (-10 dB to -5 dB), a slow attack (30 ms to 50 ms), a slow release (300 ms to 500 ms), and a low gain (0 dB to 2 dB) for string, brass, and woodwind tracks. You can also use multiband compression to control or enhance specific frequency ranges of the instruments, such as adding more low-end body to the cello, more mid-range presence to the trumpet, or more high-end clarity to the flute.
How to learn compression from Ian Sutton
Now that you have a basic understanding of what compression is and how to use it in different scenarios, you might be wondering how to learn more about it and master it. One of the best ways to do that is to enroll in Ian Sutton's tutorial on compression. In this section, we will give you an overview of what this course is about, what you will learn from it, and how you can enroll in it.
The course objectives and outcomes
The course objectives and outcomes are:
To teach you the theory and practice of compression in audio production
To help you understand the different types and parameters of compression and how they affect the sound
To help you develop your listening and analytical skills and your musical judgment when using compression
To help you apply compression effectively and creatively to various types of audio sources and genres
To help you improve your mixing and mastering skills and your overall sound quality
By the end of the course, you will be able to:
Explain the concept and purpose of compression and its benefits and drawbacks
Identify and use the different types and parameters of compression and how they affect the sound
Analyze and compare different compression settings and techniques and their results
Apply compression appropriately and creatively to various types of audio sources and genres
Mix and master your audio tracks with confidence and professionalism using compression
The course curriculum and modules
The course curriculum and modules are:
ModuleTopicLessons
1Introduction to CompressionWhat is compression and why do we use it?
The basic parameters of a compressor: threshold, ratio, attack, release, gain
The different types of compression: peak, RMS, optical, FET, VCA, multiband
The common uses of compression: controlling peaks, smoothing dynamics, enhancing sustain, adding character, gluing tracks, creating contrast
2Compression for VocalsThe challenges and goals of compressing vocals
The best types and settings of compression for vocals
The tips and tricks for compressing vocals: de-essing, parallel compression, serial compression, sidechain compression
The examples and demonstrations of compressing vocals: male vocals, female vocals, rap vocals, singing vocals
hi-hat, cymbals, toms
4Compression for GuitarsThe challenges and goals of compressing guitars
The best types and settings of compression for guitars
The tips and tricks for compressing guitars: EQ before compression, compression before distortion, compression after distortion, multiband compression for guitars
The examples and demonstrations of compressing guitars: acoustic guitar, electric guitar, lead guitar, rhythm guitar
5Compression for BassThe challenges and goals of compressing bass
The best types and settings of compression for bass
The tips and tricks for compressing bass: sidechain compression for bass, parallel compression for bass, multiband compression for bass
The examples and demonstrations of compressing bass: bass guitar, synth bass, sub-bass
6Compression for Keyboards and SynthsThe challenges and goals of compressing keyboards and synths
The best types and settings of compression for keyboards and synths
The tips and tricks for compressing keyboards and synths: sidechain compression for keyboards and synths, parallel compression for keyboards and synths, multiband compression for keyboards and synths
The examples and demonstrations of compressing keyboards and synths: piano, organ, pad, lead synth
7Compression for Strings, Brass, and WoodwindsThe challenges and goals of compressing strings, brass, and woodwinds
The best types and settings of compression for strings, brass, and woodwinds
The tips and tricks for compressing strings, brass, and woodwinds: de-noising, de-breathing, de-clicking, multiband compression for strings, brass, and woodwinds
The examples and demonstrations of compressing strings, brass, and woodwinds: cello, violin, trumpet, flute
hip-hop mix, EDM mix
The course instructor and credentials
The course instructor and credentials are:
Ian Sutton is a professional audio engineer, producer, and educator with over 20 years of experience in the music industry. He has worked with many artists and bands across various genres and styles, such as rock, pop, hip-hop, EDM, jazz, classical, and more. He has also taught audio engineering and production at several colleges and universities, such as Berklee College of Music, Full Sail University, and SAE Institute. He has a passion for sharing his knowledge and skills with aspiring and experienced audio engineers and producers.
Ian Sutton is also the founder and owner of Audio Issues, a website and blog that provides practical and easy-to-understand tips and tutorials on audio engineering and production. He has written several books and courses on various topics related to audio engineering and production, such as EQ, compression, reverb, delay, mixing, mastering, and more. He has helped thousands of audio engineers and producers improve their sound quality and musical creativity.
How to enroll in the course and access the materials
If you are interested in enrolling in Ian Sutton's tutorial on compression, here is how you can do that:
The course price and payment options
The course price and payment options are:
The course costs $49.99 USD. This is a one-time payment that gives you lifetime access to the course materials. You can pay with any major credit card or PayPal. You can also get a 30-day money-back guarantee if you are not satisfied with the course for any reason.
The course requirements and prerequisites
The course requirements and prerequisites are:
A computer or a mobile device with an internet connection
A digital audio workstation (DAW) software such as Pro Tools, Logic Pro, Ableton Live, Cubase, FL Studio, etc.
A basic understanding of audio engineering and production concepts such as signal flow, gain staging, EQ, panning, etc.
A basic familiarity with your DAW software and its features such as editing, recording, mixing, etc.
A willingness to learn and practice new skills and techniques
The course support and feedback
The course support and feedback are:
You can contact Ian Sutton directly via email or social media for any questions or issues related to the course content or materials
You can join the Audio Issues community on Facebook or Discord for interacting with other students and sharing your work or feedback
You can access the Audio Issues blog for more tips and tutorials on audio engineering and production
You can subscribe to the Audio Issues newsletter for updates on new courses or products from Ian Sutton
How to get the most out of the course and improve your compression skills
and improve your compression skills:
The best way to watch the tutorials and take notes
The best way to watch the tutorials and take notes are:
Watch the tutorials at your own pace and in your own order. You can skip or repeat any lesson as you wish.
Watch the tutorials in full screen mode and with headphon