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Audio Compressor Estimator

Pick a source and get a sensible starting point for compressor settings — ratio, threshold, attack, release, makeup and knee — with a transfer-curve preview and a note on why it works.

These are starting points, not rules. Every source, performance and mix is different, and threshold especially depends on your actual signal level — set it by ear to get the target gain reduction shown, then adjust everything to taste. There’s no single "correct" compressor setting.

Vocals

Ratio
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Threshold
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Attack
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Release
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Knee
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Makeup
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Aim for — of gain reduction on the loudest parts.

Transfer curve

Dashed = 1:1 (no compression); green = the suggested curve at an example threshold. Attack/release aren’t shown — they govern how fast the level moves along this curve.

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Using These Settings

A compressor is shaped by a few controls: threshold (the level above which it acts), ratio (how hard it squeezes above that), attack and release (how fast it clamps down and lets go), knee (how abruptly compression starts) and makeup gain (to restore the level lost). The compression presets here are typical first moves for each source — for example, vocal compression at a moderate ratio to tame dynamic peaks, gentle 2:1 glue on a mix bus, tighter control on a drum bus, or firmer 4:1 for bass. Different compressor circuit topologies — FET (fast and aggressive, like the UREI 1176), VCA (precise, like SSL bus compressors), optical (smooth, program-dependent), and tube/vari-mu (warm, slow) — have different characteristic attack floors and release curves, so the same attack, release, and ratio settings behave differently across units; these starting points assume a generic digital compressor.

Because threshold depends entirely on how loud your signal is, the smart way to use it is by gain reduction: lower the threshold until the gain reduction meter shows the target reduction listed, then fine-tune attack and release until it feels musical. Attack controls transient response — a slow attack lets the initial transient through for punch, while a fast attack clamps it, smoothing the sound. The transfer curve previews the threshold/ratio/knee shape; it can’t show attack and release, which are time-based. To compare compression shapes side by side, the compression visualizer lets you build and adjust your own transfer curve interactively. Once you have dialled in the right gain reduction, use the peak and RMS level analyzer to verify headroom and crest factor before finalising your mix levels.

Frequently Asked Questions

Are these the "correct" settings?
No — there’s no single correct setting. These are common starting points that work for many sources; always adjust by ear for your specific performance, tone and mix.
Why is threshold given by ear, not an exact dB?
Threshold only makes sense relative to your signal’s actual level, which varies hugely. So set it to achieve the target gain reduction shown — that’s how engineers dial it in regardless of the source level.
Why don’t the settings show on the curve?
The transfer curve shows threshold, ratio and knee — the static level mapping. Attack and release are time-based (how fast the compressor moves along that curve), which a static plot can’t display.
What’s a good amount of gain reduction?
It depends on the goal: 1–3 dB for subtle bus glue, 3–6 dB for controlled vocals, more for obvious effect. Each preset lists a sensible target; trust your ears over the meter.
Does this process my audio?
No. It only suggests settings and draws the curve. Dial the settings into your DAW’s or hardware compressor.
What is the difference between soft knee and hard knee compression?
A hard knee switches compression on abruptly the instant the signal crosses the threshold — the transfer curve bends sharply. A soft knee gradually increases the ratio over a dB range centered on the threshold (for example, a 6 dB knee begins compressing gently 3 dB below threshold and reaches full ratio 3 dB above it). Soft knee sounds more transparent and is often preferred for vocals and bus compression; hard knee gives more defined control and suits drums or limiting. Most presets here specify a knee width — wider values mean softer transitions.
What attack and release settings preserve drum transients?
To keep the snap and punch of a snare or kick, use a slow attack (20–50 ms) so the initial transient passes through before compression kicks in, and a fast release (50–150 ms) so the compressor recovers quickly between hits. If the release is too slow, consecutive hits accumulate gain reduction and the kit sounds pumped or squashed. The goal is for the compressor to act on the sustain and body of each hit, not its attack — listen to the snare crack disappearing as a sign the attack is too fast.
What is parallel compression and how do I use these settings with it?
Parallel compression (also called New York compression) blends a heavily compressed copy of the signal with the uncompressed original. It adds density and sustain without burying transients, because the dry signal keeps the attack intact. To use these settings in parallel: apply the suggested ratio and threshold (or push them harder — 8:1 or more is common) on a duplicate track or wet return, then blend to taste. The gain-reduction target still applies to the compressed layer; the blend controls how much of that crushed sound mixes back in. This approach is especially popular for drums, bass, and parallel bus processing.

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