So uh...Do you basically never use a quick attack on a compressor?

The Lounge General Discussion
#1

I’m learning how to use compressors more and more and I’m finding that it seems I never want a quick attack?

Want your snare to punch? Slow attack quick release. Want your kick to punch? Slow attack, quick release. Want your guitar, piano, bass, whatever to punch? Slow attack, quick release. Wanna even out the vocals a bit? Well you don’t want to lose the transients because then it will sound like they have a lisp–slow attack, quick release.

I watch some Max Marco videos, the first thing he does to nearly every track: Slow attack, quick release, low threshold…

When do you guys use a quick attack? Or a slow release? When you’re doing overall glue compression? I feel like instruments that might benefit from this generally just don’t need compression (pretty pads, strings, softer orchestral instruments).

More and more I’m seeing why many famous compressors in the past basically just had a knob or two I mean look at the LA2A. That’s gotta be the most widely used compressor, right?

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#2

When I’m sidechaining for invisible kicks I tend to go fast attack, slow release.

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#3

For me, 90% of the time it’s slow attack fast release, but there are times where fast attack compression is needed. Sometimes things can get too attacky, transienty, sharp, whatever and you need to pull those back for the sake of the mix. Acoustic guitars and acoustic drums/perc being my usual suspects.

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#4

Back when I was recording bands in a studio, if we had a metal drummer, I would often use fast attack on all of the individual drums except for the overheads. It really helped the click of the kick and the snap on all of the toms and snare. We would then run them through a drum buss compressor with a slower attack to even everything out.

That helped the bass and heavier guitars come through in the mix.

#5

Not questioning you/saying you’re wrong, but I would think a slower attack would let the clicks of a kick drum come through more? Wouldn’t fast attack squash it too much?

#6

If you use a fast attack on a sharp transient the ‘click’ is an artefact of compression, a compression effect if you like. Useful in some particular situations, as mentioned

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#7

Does this work with all compressors? Or just digital itb ones?

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#8

Makes sense.

#9

I know this both ‘effect’ from both analog and digital, but whether it fits the particular needs at a particular moment is trial and error

#10

For side chain compression as a mix tool, I use fastest attack possible, with the highest ratio possible.

For general mix glue compression, yeah slow attack because I like some dynamics.

For squashing feild recordings or weird fx sounds, fast attack.

Mostly I think its personal preference. If it sounds good to you, it is.

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#11

A couple more uses:
For parallel compression of Drum groups or loops: Fast attack, slow release, low threshold so the compressor pumps, but never fully releases. Mix in with your gently compressed drum sound as an effect or use for intro’s/transitions.

Same can be done to mix a squashed alt vocal with your main vocal.

On Bass guitar/double bass/plucked strings: set up two compressors in series. First with fast attack, fast release, high threshold and gentle ratio just to rein in the transient but not kill your punch. Then the second compressor with slow attack to shape/color your sound.

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#12

We would also use parallel compression if we squashed it too much.

Edit: I didn’t read the above reply before posting this. :slight_smile: