Compressors in psytrance production

Psytrance is dense: a rolling bass, a hard kick, sharp percussion and layers of atmosphere all compete for space. Compressors are one of the main tools for keeping that under control. Used well, they give a track punch and clarity. Used badly, they squeeze the life out of it.

What compression does

A compressor controls the dynamic range of a sound, the difference between its quietest and loudest parts. It turns down the signal once it goes above a set threshold. With make-up gain the whole sound is then raised again, so the quieter parts become relatively louder. The result is a more even level, and depending on the settings, more punch or more sustain.

Why it matters in psytrance

With so many layers, some elements easily get buried. Compression helps them sit together and keeps the mix clear and balanced.

The most important job is the relationship between kick and bass. In psytrance the bass plays between the kicks, and sidechain compression makes sure the two do not overlap: the kick triggers the compressor, and the bass ducks for a moment each time it hits. Pads and atmospheres are often ducked the same way, so the kick cuts through and the other elements seem to breathe around it.

Where to use it

Kick and bass

Kick and bass are the foundation of the track and need to sound powerful and tight together. A compressor on the bassline keeps it from overpowering the kick. A slow attack lets the transients of the bass through, and a fast release keeps its energy.

Sidechain

Sidechain is how you create space and groove in a psytrance mix. Route the kick to the sidechain input of a compressor on the bass, pads or atmospheres, or use a volume-shaping plugin such as Xfer LFO Tool. Many producers use either the LFO Tool or a standard DAW compressor with sidechain routing.

Percussion and high end

Hi-hats, claps, snares and other transient-heavy sounds can be glued together with compression, so they add energy without being sharp or jarring. A medium to fast attack with a short release keeps their punch and evens out inconsistencies.

Group buses

It is common to route similar sounds, for example all percussion, to one bus and compress the group. This makes the elements feel like one part. A gentle setting with a low ratio, around 2:1, is usually enough.

Master bus

On the master, light compression glues the whole track together. Keep the ratio low and the attack slow so the track keeps its dynamics and drive.

Tips

• Listen critically while you adjust. Over-compression removes dynamics and makes a track feel lifeless.
• Use multiband compression when you want to control one frequency range without affecting the whole sound.
• Combine compression with EQ to shape sounds and keep important elements from masking each other.

Like any tool, compressors take practice. Try settings on single sounds, compare with the bypassed version at the same loudness, and trust your ears more than the numbers.