Probably the oldest type of compression is tube compression. As we said, the attack and release controls are especially important. On a technical level, the controls of a compressor are pretty simple. Consider the attack setting as the response time of the compressor. The attack and release settings basically management the reaction pace of a compressor. 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. At this point, the vocals are compressed to the right amount and are sitting in the mix at the right volume. Release time is OK: 113ms measured. 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. Start with a ratio between 2:1 and 4:1. Generally speaking, faster attack and release times will give you more aggression, grit, and loudness, while slower times sound smoother. The one remaining downside is how it is possible for you to assign an inexpensive attack and release times for every compression band. I know it has some very sophisticated methods of compressing in it. You’ll need a slower attack time and a fairly quick release. Because of this, tube compressors exhibit a distinct coloration or "vintage" sound that is nearly impossible to achieve with other compressor types. CONCLUSION These are just 2 examples of what you can do with the attack and release compressor settings . 5. The Attack setting controls ho… But Attack time is 70ms instead of 0,2ms - … Run your snare track through the compressor starting with the fastest attack possible. 6) Tweak the Attack & Release Settings. And I like the way it sounds. If the vocal track features fast syllables like a rap song might, you'll want to use around the fastest attack you can. If you go lower than that, you may not get the compression needed. Now, I have found that a good ratio for vocals is 3:1. 5. The Threshold setting determines when the compressor actually begins compressing. Why Attack & Release Matter. 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. It’s All in the Attack and Release. 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. If you go higher, the vocal will most likely end up sounding smashed. It’s All in the Attack and Release. 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. I set Attack on Compressor to 0,20ms and Release to 100ms. I mean like 15 db of compression. Set your ratio to 4:1 or 6:1, your attack very short, like 1 ms and your release very long like … This one requires experimentation. What is compressor attack and release is just a couple of those. As we said, the attack and release controls are especially important. Now you want to think about the attack and release. I have been using some digital consoles and with them you have to select the attack and release time that you want. 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. Attack and release. First picture is attack time, and second is release time. Attack & Release. Third picture is Chart I found on Internet which explain attack and release times. It controls how long it takes for the compressor to kick in after a signal exceeds the edge. 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. It doesn’t have a user selectable attack and release time. 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. Lower the threshold to apply more compression and vice versa. 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. The attack setting on a compressor decides how much time it takes for the compressor to compress at full force. 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! In a multiband compressor, it lets you assign different compressor settings (threshold, compression ratio, attack and release times) for every frequency band or range. And with a bit know-how, they can be used to make tracks sound any way you need. The Ratio setting determines how much the compressor reduces or attenuatesthe signal. You’ll hear a very clipped attack. Metering - Meter both gain reduction and input levels on separate meters. Tube compressors tend to have a slower response — slower attack and release — than other forms of compression. Many engineers choose to begin applying compression with a slow attack speed and a fast release speed for the most natural, transparent sound. There are particular guidelines applied by the skilled audio recording community as to the way to set the attack and release times. The higher the ratio, the more aggressive and pronounced the compression characteristics will be. Now start dialing the attack back (slower) until you hear more of …