Free Courses & Downloads

How to Compress Brass

compression
How to Compress Brass

Compression is one of the most essential tools in any producer or engineer’s kit. 

It has become a fundamental process in modern mixing.

However, the process of compressing instruments is often misunderstood, which can make it difficult for beginners (and even intermediate mixers) to craft pro mixes. 

And if you want to make your brass really stand out, click here to learn how to EQ brass.

Note: this article may contain affiliate links, which mean that I receive a commission for any purchases you make, at no added cost to you.

 

Challenges of Compressing Brass

 

Horns can be everything from loud and bombastic to soft and smooth. They are some of the most dynamic instruments around. As it goes, the more dynamic an instrument, the more difficult it often is to compress. 

I often like to keep my brass compression pretty subtle, as heavy compression can start to make the instrument sound unnatural. Of course, if you’re going for an 80s-style synth brass horn sound, then the dynamics probably aren’t a priority.  

The challenge of compressing brass lies in striking the perfect balance between subtle and controlled. Let’s look at a few settings you might consider using on your brass instruments. 

 

Trumpet Compressor Settings

 

Trumpets have a lot of high-end information, meaning you generally don’t have to worry about low-mids attacking your compressor harder than the other frequencies like you do with vocals or bass.  

This means that you can often have subtler compression settings to look your compressor into place.

I often like to go with an optical compressor, such as the LA-2A, as it has a slow attack and slow release, giving you a natural sound that doesn’t mess with the attack of your trumpet. Try for 3-5dB of optical compression to control the dynamics without disrupting the transients. 

 

Tuba Compressor Settings

 

The tuba has a lot more low-end than the trumpet, meaning it can be harder to control. Depending on the mix, I often like to treat the tuba as a bass instrument, meaning I try and lock in the dynamics to create a steady low-end for the rest of the track to sit atop. 

 

 

I typically like to use a FET compressor, such as an 1176, with the attack dialed back to allow the transient through and the release pretty fast, so it doesn’t hold onto the tail. If the compressor isn’t enough, I’ll sometimes use multi-band compression to lock in the lows below 170Hz. 

 

Trombone Compressor Settings

 

I often like to treat trombone a lot like trumpet, even though it has more information in the low-mids. Though it needs more control, compressing it too hard can take the natural sound away. 

Start with an optical compressor for slow attack and release, and dial in anywhere from 3-5dB to start. 

If you don’t have an optical compressor to work with, use a 2:1 to 3:1 ratio for subtle compression and dial the release so that the needle or meter on the compressor is “breathing” in time with the song. 

 

Brass Section Compression settings

 

As I mentioned before, using compression on brass (unless you’re going for a crushed or synth-like sound) is not all too common. I often find myself riding faders to keep things in control.

With that said, if you need to compress an entire brass section, it’s best to keep it subtle with optical compression or minimal VCA compression. If often shoot for a ratio around 2:1 to 3:1 with a slow attack and release. 

Always make sure you adjust the output level to match the input level so you don’t trick yourself into thinking it sounds great because of the added gain. 

 

Learn more about Mixing with Compression

 

This is only one part of mixing with compression! Luckily, I've put together a bunch more articles to help you master this crucial mixing skill!

 

From a Frustrated Producer in a Ragtag Bedroom Studio to Major Placements on TV Earning $1,000s!

 

My name is Evan, and I've been making music since around 3rd grade. I'm from San Diego, California, but I've lived in Washington, DC for the last 20 years.

After 3 grueling years of grad school, though I had put aside serious attempts at making music. I found myself spending my days doing work that was dreadfully uncreative, with a ton of student student loan debt.
 
Which made me feel like my favorite parts of myself were withering.
 
But I didn't know what to do about it.
 
Being in my early 30s with tons of student loan debt, in a world where there is "no money in music," I felt like my youthful dreams of trying to "make it big" were dead. Like my music would remain unheard in my head and hard drive. 
 
Frustrated by my inability to get my music heard, I started researching solutions.
 
Instead, I wanted to find a way where I could focus on making the music and let someone else deal with promoting it. 
 
I realized the music licensing was the perfect opportunity for a solo artist like me to get my music heard, without having to do any promotion. I just need to focus on improving what I could control - my songwriting and my production skills.

While I still have a full-time day job, I have created systems that have allowed me to produce dozens of songs a year in my spare time.

My songs have been on Netflix, TV shows like the 90 Day Fiance, an award-winning indie film, and NPR’s “All Thing Considered.” They've also been streamed millions of times.

In addition to being a music producer, I am passionate about teaching people how they can make professional-sounding music and earn money licensing it, all in their spare time.

Thousands of musicians, like yourself, have trusted me to guide their musical journey. My YouTube videos have been watched nearly a million times. And my story has been in Forbes, Side Hustle Nation, and the Side Hustle School.

You Can Achieve Your Musical Dreams Too - Attend the Free Music Licensing Workshop!