Using compression in your mixes is essential – and you need to use it right.
OK, maybe not if you play classical harp or Polynesian nose-flute – but in most genres, using compression to control the dynamic range of instruments in the mix is fundamental.
The problem is, learning to use compression isn’t easy. And it’s not helped by the fact that most explanations start out saying something like “a compressor reduces the dynamic range of it’s input by attenuating signals that exceed a pre-defined threshold”.
Personally I don’t find this kind of description very intuitive, so this post will try and keep things straightforward. So before we go to much further: