Goal
In mastering, dynamics control serves to tighten the mix (glue), to govern specific problems (bass notes that jump out, a vocal that explodes in a chorus), and to prepare the signal for the limiter. Limiters, clipping, and true peak are covered in the “Limiting, Clipping, and True Peak” lesson; here we focus on compression, multiband, upward compression, and clippers as intermediate stages.
Useful measurements
- Crest factor / PLR (peak-to-loudness ratio): the difference between peak and average loudness; a low PLR (6–8 dB) indicates a heavily compressed master, 10–14 dB a dynamic master.
- LRA (loudness range): loudness variation between sections (in LU); modern pop is often 4–7 LU, acoustic and classical music far more.
- Short-term LUFS of the chorus: the value you compare with references.
Bus compression (glue)
- Type: VCA like the SSL G-bus, vari-mu (Manley, Fairchild) for smoothness, optical for slow work.
- Ratio 1.5:1–2:1 (4:1 only for a few dB of reduction), threshold for 1–2 dB of gain reduction (rarely beyond 3).
- Attack 10–30 ms (lets transients through), release auto or 100–300 ms, synced to the groove (the reduction should “breathe” in time).
- Sidechain HP at 60–120 Hz so the lows don't drive the compressor and make the mix pump.
- Mix/parallel 50–80% if you need density without losing transients.
Multiband compression
Splits the spectrum into 3–5 bands with one compressor per band. Uses:
- Unstable lows (808 notes at different volumes): 20–120 Hz band with 1–3 dB of reduction.
- Harsh mids in a dense chorus (1–4 kHz).
- Sibilance and cymbals (5–10 kHz) with fast attack.
Rule: surgical moves and only a few dB; multiband used everywhere changes the balance unpredictably. A dynamic EQ is often more transparent.
Upward compression
Raises the quiet passages instead of lowering the loud ones: it increases detail and perceived density without squashing transients. Tools: the upward mode of Pro-MB, Ozone, the popular OTT (upward and downward multiband, more of a sound design tool than a mastering one, but in small parallel doses it is also used on electronic masters).
Clipper before the limiter
A soft clipper trims the shortest peaks (kick and snare transients) by 1–3 dB, so the limiter works less and more transparently. Many electronic and hip hop masters use clipper + limiter to reach high loudness with less pumping. Check the sound: excessive clipping becomes audible distortion on the kick.
Saturation
Light tape or tube saturation for harmonics and natural peak compression; it increases density at the same peak level.
Example dynamics chain
- Corrective EQ.
- Bus compressor: ratio 2:1, attack 30 ms, release auto, 1–1.5 dB GR, sidechain HP 90 Hz.
- Dynamic EQ or multiband on the lows (20–120 Hz, 1–2 dB).
- Light saturation.
- Soft clipper: 1–2 dB on the peaks.
- Limiter: 2–4 dB of reduction, true peak −1 dBTP.
Indicative targets by genre (chorus short-term, observed values, not rules)
| Genre | Chorus short-term | PLR |
|---|---|---|
| EDM, trap, modern hip hop | −7/−5 LUFS | 6–9 dB |
| Pop | −9/−7 LUFS | 8–10 dB |
| Rock | −10/−7 LUFS | 8–11 dB |
| Acoustic, jazz, folk | −14/−10 LUFS | 11–16 dB |
| Classical | highly variable | 15 dB and above |
In FL Studio
Maximus (3-band multiband compressor/limiter with sidechain, found in mastering templates), Fruity Limiter (limiter, compressor, and gate), Fruity Soft Clipper, Soundgoodizer. External plugins: FabFilter Pro-C 2 / Pro-MB / Pro-L 2, iZotope Ozone, Kazrog KClip, StandardCLIP.
Example in A minor
Master of a trap track at 140 BPM: mix with an 808 that varies by 3 dB between A1 and G1. Multiband 20–120 Hz with 2 dB of reduction to level the notes; bus compressor 1 dB; soft clipper 2 dB on clap and kick transients; limiter 3 dB with true peak −1 dBTP. Result: −7.5 LUFS short-term in the chorus, PLR about 8 dB, kick still defined.
Common mistakes
- Compressing for a “pro sound” when the mix is already dense: flat master.
- Release times that are too slow: unmusical pumping.
- Multiband on all bands with heavy reductions: the balance changes in every section.
Exercise
Master the same track with three strategies: limiter only (6 dB), compressor + limiter (2 + 4), clipper + limiter (2 + 4). Match the loudness and do a blind A/B: note punch, density, and distortion.
Links
“Compression”, “Limiting, Clipping, and True Peak”, “Loudness War and Perceived Dynamics”, “Mastering Chain and Translation”.