THE

STYLE GUIDE

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 Table of Contents

Page 3
Chapter 0: The 4 Types of Compression
(Cheat Sheet)

Page 5
Chapter 1: Anatomy of a Compressor

Page 7
Chapter 2: The 4 Types of Compression

Page 11
Chapter 3: The Purpose of Each Type of
Compression

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 The 4 Types of Compression
Cheat Sheet

Fast Slow
Attack Attack

Fast Thick Groovy

Release Compression Compression

Slow Normalizing Punchy

Release Compression Compression

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 What Is "Fast" And "Slow"?

The true reason you've likely never seen this chart before, is because it is incredibly
difficult to determine what is "fast" versus "slow" given that every instrument is different
and within even a single instrument group, there will be huge variations given how the
instrument was played (was it plucked, or played with a bow?).

Use this chart as a rough guideline on where to start but remember that what you are
truly trying to do is target either the peak (transient) or valley (tail) of the sound, and the
Attack and Release parameters are simply there to enable you either target, or avoid,
the peaks of the sound.

Also keep in mind that if there is enough variation in a part, you may need to change
these parameters for different parts of the song, and this is not necessarily a static
setting once set for an entire track.

Last note: be intentional about how you use compression, and think about matching
the style of compression to the purpose you're trying to achieve.

Happy mixing!

Thanks,
Tyson

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 Chapter 1: Anatomy
of a Compressor

Anatomy of a Compressor Ratio: The ratio controls how much

compression is being applied to sound
that exceeds the threshold. The greater
Threshold: The threshold controls when the the ratio is, the more volume is
compressor should start working. Any sound decreased. A ratio of 1:1 will not
that reaches the level indicated by the decrease anything, but a 30:1 ratio will
threshold (or higher) will trigger the decrease anything by 30x the amount
compressor to start working. that exceeds the threshold.

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 Anatomy of a Compressor - Continued
Knee: For the purposes of this guide we will not Make Up (Gain): This is a tool
cover this, but the knee is used to "soften" the included in most compressors
threshold, so there is not a hard line where the that allows you to increase the
compressor starts working, but rather will "ease gain of the instrument/track
in" to providing more and more compression. after compression is applied.

Attack: The attack tells the Release: The Mix: Not found in every
compressor how FAST to release tells the compressor, but will allow
clamp down on the audio compressor how the mixer to keep a
AFTER the audio has passed soon to stop proportion of the original
the designated threshold. decreasing volume audio intact (or
(Slower attack will allow after the source uncompressed) along with
more of the transient to audio is no longer the compressed version of
pass through before exceeding the the audio. (Also referred to
decreasing the volume.) threshold. as "parallel compression").

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 Chapter 2: The 4 Types
of Compression

1: Punchy Compression

Punchy Compression: Used to increase the relative

volume and impact of transients compared to the tail.

Turns this up. Turns this down.

Punchy Compression gives you loud transients which increases the

aggressiveness and impact of notes. It increases perceived closeness to
the listener and increases dynamics of the instrument.

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 2: Thickness Compression

Thickness Compression: Used to increase the relative

volume and impact of the tail compared to the transient.

Turns this down. Turns this up.

Thickness compression gives you loud tails and decreases the volume of
transients. This will give a sense of beefiness and thickness to your track
but also makes the track sound farther away from the listener. This is
usually the method to make your tracks louder. This type of compression
reduces dynamics within the source audio, and can quickly make your
track sound lifeless and "flat" if you use this type of compression too
much.

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 3: Normalizing Compression

Normalizing Compression: Used to even out macro-

dynamics for audio. The goal of this compression is to
decrease overall volume of given phrases or sections
while maintaining the microdynamic range.

Turns both of these down.

Normalizing compression is very useful on instruments or audio that is

very dynamic such as vocals or acoustic guitar. Most often used in serial
(with one compressor after another) to subtly even out the overall
dynamics of a track before additional "stylistic" compression is utilized.

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 4: Groovy Compression

Groovy Compression: Used to emphasize whatever

dynamics already exist within the audio. This generally
turns down the section right after the primary transient
of the audio, but then releases fast enough to prevent
significant impact to the audio tail.

Turns these up.

Turns this down.

Groovy compression is used to create more "feel" in tracks that lack it.
This type of compression increases the dynamic range and therefore any
transients or peaks in the audio will be further emphasized with this type
of compression. You usually can't hear groovy compression, but you do
feel it.

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 Chapter 3: The Purpose of
Each Type Of Compression

The purpose of each type of compression:

Punchy Compression Groovy Compression
How: Slow Attack, Slow Release How: Slow Attack, Fast Release
Goals: Goals:
Increase perceived closeness Enhance micro-dynamic range of the
Glue tracks together source audio
Make source audio punchier and more Accentuate "feel" and "groove" in the
"in your face" source audio
Glue tracks together
Thick Compression
How: Fast Attack, Fast Release
Goals:
"Glue" In Compression
You'll notice that each type of compression
Decrease perceived closeness
can be used to "glue" tracks together. This
Glue tracks together
is because when we compress any group
Make source audio "beefier" and "fat"
of instruments together, the compressor
causes those instruments to move
Normalizing Compression dynamically in unison. (The compressor
How: Fast Attack, Slow Release turns the whole group down
Goals: simultaneously).
Even out instruments with loud When your desire is to glue tracks
phrases or notes without decreasing together, decide if you want to enhance
microdynamics the tracks by increasing the punchiness,
Prepare tracks to be able to apply groove or thickness of that group. If you
punchy or thick type compressions want to maintain the original quality of the
accurately audio as much as possible, then use
Decrease the necessity for manual normalizing compression. This will create
volume automation of the instrument glue while maintaining the fidelity of the
Glue tracks together original audio as much as possible.

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 Chapter 3: The Purpose of
Each Type Of Compression

The purpose of each type of compression:

Punchy Compression
How: Slow Attack, Slow Release
Goals:
Increase perceived closeness
Glue tracks together
Make source audio punchier and more "in your face"

Thick Compression
How: Fast Attack, Fast Release
Goals:
Decrease perceived closeness
Glue tracks together
Make source audio "beefier" and "fat"

Normalizing Compression
How: Fast Attack, Slow Release
Goals:
Even out instruments with loud phrases or notes without decreasing microdynamics
Prepare tracks to be able to apply punchy or thick type compressions accurately
Decrease the necessity for manual volume automation of the instrument
Glue tracks together

Groovy Compression
How: Slow Attack, Fast Release
Goals:
Enhance micro-dynamic range of the source audio
Accentuate "feel" and "groove" in the audio
Glue tracks together

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