The real helper in processing drums for rock / pop is compression and is why it is one of my favourite processors. There’s no doubt that most of the music we hear today would be hard pressed to succeed if it wasn’t for this great device that is basically an automatic fader designed to control dynamic range and in some cases inject a certain tonal aesthetic and energy.

The basic function of a compressor is outlined as a device that raises the average level of a given source but I have come to feel that a compressor is so much more. Not only does it raise the average level but it can be used as a tone shaping tool and to either suppress or enhance the transients of a waveform to bring out certain characteristics that weren’t as present in the original. The attack and release sections of a compressor are important parameters that, if used correctly, can become your best friends in the fight against boring, lifeless drums. I will go into some settings in more detail as we work our way through this part of the tutorial.

Compressing Drums

Compression can be a nebulous beast compounded not only by the fact that all compressors are not created equal, but by the shear variety of their design and application. For me, there are two main reasons to reach for a compressor:
• To supply an effect
• To control dynamic range

The Effect

Supplying an effect with compression is completely related to how a particular compressor sounds. You just cannot achieve the same results with one compressor that you did with another differing compressor, especially if it is based on a differing design, i.e. electro-optical vs FET. For this reason there are certain compressors that are well suited for this task and some that aren’t. Most aren’t.

When it comes to drums in pop / rock, the general effect is usually a well-tailored attack and release to achieve a pumping sound to the drums and a crisp snap, all executed in a musical manner. Three notable mentions in this category are the DBX 160VU, the Empirical Labs Distressor, and the Universal Audio 1176LN. All three of these compressors are known for their very musical sounding compression for drums and certain mojo that they inject into the material. It is for this reason that you will often find me using the UAD 1176LN plugin to smash rock drums into submission.
But inserted where? And how much gain reduction?

As time has gone on, I have found myself moving away from using compression at the track level in lieu of compression only at drum bus. I tend to mix “into’ the compressor to supply the energy I am looking for while listening for the best gain reduction range for the desired sound as I’m adjusting my balance at the track level. This serves to not only supply a pumping, breathing effect, but also to smooth out the dynamic range in a musical way. It is important to note that the attack and release are quite important here for “sculpting’ the transient to poke through for just long enough to be perceived as crisp and then the release set to engage in time with the material. I generally start with a medium attack, generally 10-25ms or around the “3’ mark on the 1176LN, and adjust the release until I get at least 60% recovery (back to 0dB) before the next transient. As with all audio equipment, there is a “sweet spot’ operating range where the unit will sound its best and all adjustments should be done with the ear, instead of by number. And don’t be afraid of lots of gain reduction if it sounds good!


Controlling Dynamic Range

There are times where you may encounter a drummer whose playing has a wide dynamic swing and requires attention. The caveat in a case like this is that compression is not in any way a remedy for this, reason being that while you may get each hit closer in amplitude (level) to one another, each hit will still sound different because the tonal variation of the drum is directly proportional to how hard or soft it’s being played. However, if the desired change in dynamics is subtle and you can achieve it with a compressor, then that is completely acceptable to use one. Particular attention should be paid to the attack in this case and a compressor with more transparent characteristics should likely be chosen.

Join us next time for more on transients, ratios and compressing with EQ.