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SCENARIOS
0
5
9
14
16
2,0
3,0
4,5
6,0
Standard Compression
Because of the well-balanced adjustment of its parameters, the mpressor is suited perfectly for
many applications in everyday studio business. The settings shown in the above figure provide a
good starting position for 'normal' compression jobs like vocals, choirs, guitars, drums, keyboards
and so on.
Moderate ratios from 1:2 to 1:5 and release times around 300 ms make a good basis for further
parameter variations. The threshold controller can now be used to adjust the desired amount of
gain reduction. Depending on the source material, the EQ section can be used additionally with
great benefit.
It definitely pays off to spend some time on getting to know this interesting feature of the mpres-
sor and what it can do for your sound. The Gain Reduction Limiters offer completely new possibili-
ties, too, and therefore should be given a try soon by all means.
0
5
9
14
16
2,0
3,0
4,5
6,0
Big Drums
In this case, a complete drum mix is processed with the mpressor. The intensity of audible tran-
sients is determined by the attack time. If this parameter is very short, only the first milliseconds of
the signal will be emphasized, whereas longer settings will come closer to its original structure.
The release controller can now be used to adjust the 'loudness' (shorter settings produce louder
signals), at which longer settings will also give you an influence on the groove of a track. If high ra-
tios are applied, this effect will become more and more extreme. You could also use the GR Limiter
additionally in order to reduce the maximum amount of reduction for very energetic drums.
As a result, the drums become very punchy – with beautiful attacks that can really shine in a mix. An
increased amount of ambience is generated on top of it, resulting in a loud and massive sound.
1
-5
-8
17
21
85
150
Threshold
Attack
Release
Ratio
13
50
-13
8,0
70
26
380
2,0
-15
5,0
100
12
600
1,6
-17
1,0
140
7
930
1,3
SC Extern
Auto Fast
Anti Log
-18
0,01
150
5
1k2
dB
ms
ms
1,0
1,0
200
260
11
9
EQ Gain
EQ Freq
GR Limit
90
13
3,0
52
450
15
5
4,5
36
700
17
3
6,0
28
1k3
19
1,5
On
x10
On
Lo
Hi
26
2k2
21
0
dB
Hz
dB
-5
-8
17
21
85
150
Threshold
Attack
Release
Ratio
13
50
-13
8,0
70
26
380
2,0
-15
5,0
100
12
600
1,6
-17
1,0
140
7
930
1,3
SC Extern
Auto Fast
Anti Log
-18
0,01
150
5
1k2
dB
ms
ms
1,0
1,0
200
260
11
9
EQ Gain
EQ Freq
GR Limit
90
13
3,0
52
450
15
5
36
17
4,5
700
3
6,0
28
1k3
19
1,5
On
x10
On
Lo
Hi
26
2k2
21
0
dB
Hz
dB
5,0
10
-0,3
-1,0
-2,0
-3,0
1,2
-4,0
1:X
4,0
6,0
Gain
3,0
2,0
10
1,0
13
0,5
17
0
20
dB
Left
Link
Right
5,0
10
-0,3
-1,0
-2,0
-3,0
1,2
-4,0
1:X
4,0
6,0
Gain
3,0
2,0
10
1,0
13
0,5
17
0
20
dB
Left
Right
Link
-5
-8
17
21
85
150
Threshold
Attack
Release
0
13
50
5
-13
8,0
70
26
380
9
-15
5,0
100
12
600
14
-17
1,0
140
7
930
SC Extern
Auto Fast
Anti Log
16
-18
0,01
150
5
1k2
dB
ms
ms
1,0
1,0
200
260
11
9
EQ Gain
EQ Freq
GR Limit
2,0
90
13
3,0
3,0
52
450
15
5
4,5
4,5
36
700
17
3
6,0
6,0
28
1k3
19
1,5
On
x10
On
Lo
Hi
26
2k2
21
0
dB
Hz
dB
-5
-8
17
21
85
150
Threshold
Attack
Release
0
13
50
5
-13
8,0
70
26
380
9
-15
5,0
100
12
600
14
-17
1,0
140
7
930
SC Extern
Auto Fast
Anti Log
16
-18
0,01
150
5
1k2
dB
ms
ms
1,0
1,0
200
260
11
9
EQ Gain
EQ Freq
GR Limit
2,0
90
13
3,0
3,0
52
450
15
5
4,5
36
17
4,5
700
3
6,0
6,0
28
1k3
19
1,5
On
x10
On
Lo
Hi
26
2k2
21
0
dB
Hz
dB
5,0
10
Ratio
-0,3
2,0
-1,0
1,6
-2,0
1,3
-3,0
1,2
-4,0
1:X
4,0
6,0
Gain
3,0
2,0
10
1,0
13
0,5
17
0
20
dB
5,0
10
Ratio
-0,3
2,0
-1,0
1,6
-2,0
1,3
-3,0
1,2
-4,0
1:X
4,0
6,0
Gain
3,0
2,0
10
1,0
13
0,5
17
0
20
dB
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