In this premium video tutorial, we look at the use of attack and release times with compression and the ways they can be used on percussive sources to shape the envelope of the sound, even to the point of changing the rhythm to some extent.
Attack And Release Times
The threshold and ratio controls are the first controls, which should be understood when learning to use compression but once these are understood the attack and release controls are the essential next stage in controlling the effect of compression on the source material.
Attack Time - This refers to the time it takes for the signal to become fully compressed after exceeding the threshold level. Faster attack times are usually between 20 and 800 us (microseconds) depending on the type and brand of unit, while slower times generally range from 10 to 100 ms (milliseconds). Some compressors express this as slopes in dB per second rather than in time. Fast attack times may create distortion by modifying inherently slow-moving low frequency waveforms (Ex. If a cycle at 100 Hz lasts 10 ms, then a 1 ms attack time will have time to alter the waveform, which will generate distortion.)
Release Time - This is literally the opposite of attack time. More specifically, it is the time it takes for the signal to go from the compressed — or attenuated — state back to the original non-compressed signal. Release times will be considerably longer than attack times, generally ranging anywhere from 40-60 ms to 2-5 seconds, depending on which unit you’re working with. These can also sometimes be referenced as slopes in dB per second instead of times.
Normal compressor operation will be to set the release time to be as short as possible without producing a ‘pumping’ effect, which is caused by cyclic activation and deactivation of compression. For example, if the release time is set too short and the compressor is cycling between active and non-active, your dominant signal — usually the bass guitar and bass drum — will also modulate your noise floor, resulting in a distinct ‘breathing’ effect.
Using an example of a drum recording made in a large space, the potential to change the rhythmic contribution different elements of the kit make to the overall groove. By carefully setting the release time it is possible to shift the emphasis towards sub-beats.
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