Goal
Give every element the dynamics suited to its role: constant level for the elements that must always stay in front (vocal, bass), defined transients for the drums, density for the groups, breathing room between the sections of the song. This phase takes place after the static balance and corrective EQ, and ends with a mix that has the right loudness and crest factor for mastering.
Step-by-Step Procedure
1. Main Elements
- Lead vocal: serial compression of 6–10 dB overall (FET 3–5 dB on the peaks + opto 2–4 dB), de-esser between the stages, optional light limiter (see "Serial Compression").
- Bass: 4–6 dB (opto or VCA), even notes within 2–3 dB; saturation for audibility.
- 808: constant level between notes; clipper or limiter 1–3 dB on the initial peak.
2. Drums
- Kick and snare: compression of 3–6 dB with an attack of 10–30 ms to let the transient through, or a transient shaper (attack +, sustain − to define; sustain + for body).
- Drum bus: glue 2–4 dB (2:1–4:1, attack 10–30 ms, release in time or auto).
- Parallel: heavy compression (10–20 dB, fast attack) blended in at −10/−6 dB below the dry (see "Parallel Compression").
- Gate/expander only where bleed is a problem (toms, snare), range −10/−20 dB.
3. Harmony and Melodies
- Pads and synths: 0–3 dB, often no compression (synths already have controlled dynamics).
- Acoustic guitars and piano: 2–4 dB to even them out; distorted guitars: almost no compression (distortion already compresses).
- Lead: 2–4 dB, possibly sidechained from the vocal.
4. Sidechain and Ducking
- Bass/808 from the kick: 2–6 dB of ducking, release in time (see "Sidechain").
- Pads, reverbs, and delays from the vocal or the kick: 2–4 dB.
5. Buses and Mix Bus
- Group buses: 1–3 dB.
- Mix bus: glue 1–2 dB, HP in the sidechain at 60–120 Hz (see "Mix Bus Chain").
6. Dynamics of the Sections
The song must "breathe": lighter verses, fuller choruses. Compression must not flatten this shape: compare the sections' short-term values before and after.
Target Values per Element
| Element | Reduction | Crest factor after treatment |
|---|---|---|
| Pop/rap lead vocal | 6–10 dB | 7–12 dB |
| Electric bass | 4–6 dB | 8–12 dB |
| 808 | 1–3 dB of clipping/limiting | 5–9 dB |
| Kick | 3–6 dB or transient shaper | 12–18 dB |
| Snare/clap | 3–6 dB | 12–18 dB |
| Drum bus | 2–4 dB | 10–14 dB |
| Pad | 0–3 dB | 6–10 dB |
| Mix bus | 1–2 dB | — |
Target Values for the Mix at the End of the Phase
| Genre | Integrated mix loudness (before mastering) | Mix crest factor |
|---|---|---|
| Pop, R&B | −18/−14 LUFS | 10–14 dB |
| Hip hop, trap | −16/−12 LUFS | 9–13 dB |
| EDM, techno | −16/−12 LUFS | 8–12 dB |
| Rock, metal | −16/−12 LUFS | 10–14 dB |
| Acoustic, jazz, classical | −22/−16 LUFS | 14–20 dB |
Mix bus peak −6/−3 dBFS; difference between the chorus's and the verse's short-term values 2–5 LU in pop and rock.
Common Mistakes
- Compressing every track "out of habit": flat mix, no depth.
- Fast attacks on drums: loss of punch.
- Release times too short on bass and 808: distortion.
- Not compensating the gain: every compressor gives the impression of improving the sound because it raises the loudness.
- Compressing the mix bus so much that the difference between verse and chorus drops below 1–2 LU.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Lead vocal | 6–10 dB in two stages | Constant level. |
| Bass | 4–6 dB, notes within 2–3 dB | Stable foundation. |
| Kick/snare | 3–6 dB, attack 10–30 ms | Punch preserved. |
| Drum bus | 2–4 dB, 2:1–4:1 | Cohesion. |
| Mix bus | 1–2 dB, sidechain HP 60–120 Hz | Glue without pumping. |
| Mix at the end of the phase | −18/−12 LUFS, peak −6/−3 dBFS | Ready for spatial work and mastering. |
Frequencies to watch
| Range | What to do |
|---|---|
| Below 120 Hz | HP in the sidechain of bus compressors: the kick and 808 must not drive the group. |
| 2–5 kHz | Drum attack: slow attacks preserve the transient. |
| 5–9 kHz | Compression exaggerates sibilance: de-esser between the stages. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Corrective | EQ, de-noise | Already done | The compressor works on the music. |
| Track dynamics | Fruity Compressor / Fruity Limiter / Transient Processor | Values per element | Role of each sound. |
| Sidechain | Fruity Limiter in sidechain / Kickstart / dynamic EQ | 2–6 dB | Space between kick, bass, and vocal. |
| Bus | Glue and parallel | 1–4 dB | Cohesive groups. |
| Mix bus | Glue | 1–2 dB | Final cohesion. |
How to check the result
- Crest factor of each exported element within the ranges in the table.
- Integrated mix loudness within the genre's range (before mastering) and peak between −6 and −3 dBFS.
- Chorus maximum short-term 2–5 LU above the verse average in pop and rock genres; in electronic music, the drop 3–6 LU above the break.
- Mix crest factor: not below 8 dB before mastering.
- Vocal Presence band (4–8 kHz): after compression the relative energy rises by no more than 2 dB compared to the raw vocal.