The SECRET To Attack And Release Compression Settings

[@joeymusic]

Let us know your best compression tips in the comments!

[@CrushingAxes]

Not sure if it's a trick, but parallel comp is great. Sometimes I like to send to a comp bus and add saturation.

[@ST-fl5fy]

B

[@slayabouts]

Best analogy I’ve ever heard was: Think of a compressor like your bedroom stereo when you were a teen. The attack is how quickly you turn the volume down when your mom busts in yelling at you, the ratio is the amount that you turn it down, and the release is how quickly you turn it back up when she leaves

[@Rarefill]

And the thressshold?

[@slayabouts]

@@Rarefill the volume that triggers her to come into the room

[@DrMichaelSax]

B is the one, no pumping, dynamics clearly audible 👍🏻. Nice!

[@sasha_a_davis5748]

What I did before I could hear comprehension was: I’d just slam it. Then from there, I’d dial in the attack and release till it sounded right. Then I’d back off the threshold and ratio (if there) till that sounded right. course I had to readjust it here and there.. though more often than not it worked.

[@crookedriverstudios]

Best compression tip I can give is don't be afraid to get creative. While some things can be considered general rules as far as how to treat certain types of music or whatever, sometimes things just sound good. I've had slower or softer songs where I compress the mix aggressively with fast settings as if it were extreme metal, and it just worked out better than what one would typically think to do. No concrete rules in this game

[@SteveGietz]

Don't use a calculator. Just load a delay like H-Delay and pick whatever timing you want (e.g. 1/4 note), then flip to the ms display.

[@fcasoqueiroz]

my mixes got so much better since I started to watch your videos Miami and Joey. Thanks a lot. ❤❤

[@inwex8350]

Very cool and easy to understand in your vid.

[@francobuzzetti9424]

i went with B too, C felt like nothing happened, A felt like my mixes and i don't like those the day after ,thank you! i now understand partly why i suck!

[@joeymusic]

I was hoping this one would help people out! -Miami

[@switch1e]

B was my favorite. A felt like the song was dipping with every quarter note

[@woodward_alan]

I like the jst comps. They help me a lot. It did help me get to the next level but I still go back and add them most of the time.

[@darrellroseborough7275]

Thanks Miami, for spitting that gospel. By the way the downsizing was a brilliant move. Why pay for something that not being totally maximized to the fullest. No place like home if that's where you move your setup. But at the same time you can still turn out professional shit right from the crib. I purchased the Billy Decker master. though it have only country and rock settings it actually works with whatever genre you're working on. as you mentioned you have to go by feel and damn it's like magic. I say it all the time people are sleeping on JST products which are some of the best in the convoluted world of plugins. Soon as I get a little more loot I'll be exploring a few more. I'll have to see which plugins have a trial because a lot of your plugins don't have a trial.

[@matt_nyc_audioengineer]

Bro!!! So hype to see you settled in the new space! By the way, you seem happier, at least in the video. You just seem more energetic and relaxed. Hope it's true!

[@neptunemeditation]

It's miliseconds timing with the BPM of the Track... Using many variations of these mathematical instances is incredible for dynamics. For example 175bpm... 342ms is ONE BEAT. 171 is half a beat. 85ms is a quarter of a beat. 42.5ms is an eigth etc etc... So for attack you can use 22ms, 42ms, or 84ms... And for Release you can use, 84ms, 168ms or 342ms. Do you understand the formula? Now stack several Compressors and Parallel mix them, using this formula in several variations on each band with multiband... The result is several rippling waves of breathing dynamics throughout the Track in mathematical unison and sync that create a vibration of grooves and rhythms that bring the Track to life in ways you never thought were ever possible with just hit and miss guess work with Compressors.

[@CrushingAxes]

Nice video !!! Very cool and useful!

[@joeymusic]

Yup, this year we’re getting into a lot of this -Miami

[@bboymac84]

Great seeing you at NAMM 💪🏽😁. Tell JST I said hi 👋🏾

[@joeymusic]

Def was nice to see ya man! Hope you’re having a great day -Miami

[@swaggamer2000]

Have you been doing okay Miami? It’s been a while since I’ve seen a JST vid and it seems like you’re a little “mellow” compared to older vids that were a lot higher energy. Not saying this as a criticism or anything, just hoping all is well! ❤

[@joeymusic]

Yeah, I’ve actually been doing great! I gotta take a watch back of this now and see what you’re seeing lol -MiMi

[@urvasbethud8849]

Amazing video. Thx.

[@onion69420]

Omg i got my first pay on sunday for producing and mixing, thanks jst for bringing my music from MEH to tolerable

[@joeymusic]

I’m proud of you -Miami

[@antonm_]

Example B - it feels like it has a nice snap/click to it and I felt the groove. With Example A, it felt like the transient was mushy and Example C had a weaker feel to it after hearing Example B.

[@jumpbackgeno]

A ☹ I got some work to do yet, thanks for these vids, I love these

[@joeymusic]

I wanna start doing more interactive stuff for sure -Miami

[@mosquedadavid]

Miami. The Man, The Legend…. 🔥

[@drummingjeremy11]

Thank you

[@steppabanton9753]

B was my favorite

[@aangovan]

60.000/bpm very good information

[@firmans12]

Finally Miami updating his SSL Bus Compressor plugin 😂

[@joeymusic]

It was about time -Miami

[@midlifeadventures3138]

Speaking of compression are you using The Vea in this one?

[@5adb0i]

B has to be the way I'd go.

[@mistyfaye8785]

Miami 🔥🔥🔥

[@aryannecroblaster8998]

what song at 11.02?

[@OnyxSkiesXIX]

I guess B is best but honestly uncompressed sounds better. Either I really suck at hearing compression or the examples were too subtle. Maybe both.

[@MariaB..]

"B" for me. Vocals and instruments [each] sound clearer.

[@matt_nyc_audioengineer]

I think B feels the best altho I do kind of like C in some spots.

[@NikolajChristensen]

Liked B the best.

[@enricoincognito8595]

Where you come up with these 16.000? I mean where does the 16.000 come from at all?

[@crookedriverstudios]

You post, I click

[@phlipclip5097]

B felt like it wasn't doing anything? but A and C felt like they were doing too much.

[@manboyy5347]

Example B 😎

[@piptyson5512]

B ftw

[@TadDonleyofWARRIOR]

B

[@Walid.OnTheTrack6725]

6:50 that's wrong my friend

[@cisemokram]

Fav was no compression lol

[@Shred_Rocket]

Miami...

[@joeymusic]

What’s up! -Miami

[@Stevo7388]

no compression

[@830audio6]

ay yo miami needa take that hat off fr fr. Mf lookin like a dolphin gyat dayum!

[@joeymusic]

The second my gf tells me to take it off it will be gone lol -Miami

[@КиранДонлон]

Who 60,000?

[@joerchf]

The final example (gain reduction plugin) was lame because there was a huge rise in volume. Are you really trying to get viewers interested in your plugins with this trick?

[@joeymusic]

Sometimes part of the effect or mixing move that you want to impart on a signal involves increasing gain at the same time. Gain matching every single decision is like calculating every single calorie vs steps you’re going to take in a given day, 2000 times a day. It doesn’t make sense.