As we said, the attack and release controls are especially important. And with a bit know-how, they can be used to make tracks sound any way you need. The Threshold setting determines when the compressor actually begins compressing. If the vocal track features fast syllables like a rap song might, you'll want to use around the fastest attack you can. This one requires experimentation. It’s All in the Attack and Release. Release time is OK: 113ms measured. I mean like 15 db of compression. I set Attack on Compressor to 0,20ms and Release to 100ms. It doesn’t have a user selectable attack and release time. Consider the attack setting as the response time of the compressor. It’s All in the Attack and Release. First picture is attack time, and second is release time. There are particular guidelines applied by the skilled audio recording community as to the way to set the attack and release times. Set your ratio to 4:1 or 6:1, your attack very short, like 1 ms and your release very long like … Now, I have found that a good ratio for vocals is 3:1. Attack and release. 5. 5. The Attack setting controls ho… Auto Attack/Release: Some models of compressor have an Auto mode, which adjusts the attack and release characteristics during operation to suit the dynamics of the music being processed. In a multiband compressor, it lets you assign different compressor settings (threshold, compression ratio, attack and release times) for every frequency band or range. Now you want to think about the attack and release. The attack setting on a compressor decides how much time it takes for the compressor to compress at full force. On a technical level, the controls of a compressor are pretty simple. The attack and release settings basically management the reaction pace of a compressor. Generally speaking, faster attack and release times will give you more aggression, grit, and loudness, while slower times sound smoother. 6) Tweak the Attack & Release Settings. The one remaining downside is how it is possible for you to assign an inexpensive attack and release times for every compression band. Many engineers choose to begin applying compression with a slow attack speed and a fast release speed for the most natural, transparent sound. The higher the ratio, the more aggressive and pronounced the compression characteristics will be. Because of this, tube compressors exhibit a distinct coloration or "vintage" sound that is nearly impossible to achieve with other compressor types. It controls how long it takes for the compressor to kick in after a signal exceeds the edge. Probably the oldest type of compression is tube compression. You’ll need a slower attack time and a fairly quick release. CONCLUSION These are just 2 examples of what you can do with the attack and release compressor settings . Lower the threshold to apply more compression and vice versa. If you wanted more attack of the snare, you could set a slower attack and slower release so that the compressor lets the transient come through then grabs onto the tail end and hold on for a while so it’s not as loud or over emphasized. Why Attack & Release Matter. What is compressor attack and release is just a couple of those. One of the easiest ways to determine attack and release on a compressor when your ears aren't trained yet is to over compressed the signal. And I like the way it sounds. If you go higher, the vocal will most likely end up sounding smashed. Metering - Meter both gain reduction and input levels on separate meters. As we said, the attack and release controls are especially important. For example if your multiband compressor has 3 bands (bass, mid and high frequency range), you can assign 3 compression settings for each of those bands. The Ratio setting determines how much the compressor reduces or attenuatesthe signal. But Attack time is 70ms instead of 0,2ms - … If you go lower than that, you may not get the compression needed. Now start dialing the attack back (slower) until you hear more of … Mixing With Compression – Attack And Release (Part 2 of 7) Nov 7, 2016 | Audio Example , Mixing , Mixing With Compression , Plugins , Tips , Video | 19 comments It’s amazing how one simple compressor can do two wildly different things to your audio – all depending upon how you set the Attack and Release knobs. I am used to using DBX compressors usually the 160. Since sudden jumps in volume can cause an instrument to sound unnatural or distorted, we generally want to avoid extremely short attack and release times. 3 Compression Ratios - 2:1, 4:1 and 10:1 ratios offer lots of flexibility; Attack and Release Control - allows for ultimate control over the compression characteristics; Mix - Blend uncompressed signal in with the compressed signal for parallel compression, New York Style! I know it has some very sophisticated methods of compressing in it. At this point, the vocals are compressed to the right amount and are sitting in the mix at the right volume. Attack & Release. Applying compression with extremely short release time will cause the signal to be almost instantly released to no compression when the signal falls below the threshold. You’ll hear a very clipped attack. Tube compressors tend to have a slower response — slower attack and release — than other forms of compression. I have been using some digital consoles and with them you have to select the attack and release time that you want. Start with a ratio between 2:1 and 4:1. Up to this point, we've been dealing with the compression controls that are the easiest to get a handle on, but when it comes to a compressor's Attack Time and Release Time parameters, a lot of newcomers quickly become confused. In the case of complex mixes or vocals where the dynamics are constantly changing, the Auto mode may do a better job than fixed manual settings. Run your snare track through the compressor starting with the fastest attack possible. Third picture is Chart I found on Internet which explain attack and release times.