Multiband compression might sound like something only pro engineers use, but once you get the hang of it, you’ll wonder how you ever mixed without it. Think of it as having separate volume controls for different frequency ranges in your mix—pretty handy when your bass is getting a bit too wild but your vocals need to stay clear.
Difficulty level: Intermediate – you should already know basic compression and have mixed a few tracks before diving into this.
Time needed: About 30–45 minutes to work through these techniques on your first track. After that, you’ll get quicker with each mix.
What you’ll need:
By the end of this guide, you’ll know how to use multiband compression to solve common mix problems and add some professional polish to your tracks. No more muddy bass or harsh vocals—just clean, controlled audio that sits nicely in your mix.
Regular compression treats your entire signal the same way, but multiband compression lets you compress different frequency bands on their own. This means you can tighten up a boomy bass without messing with your crisp hi-hats, or control harsh upper mids without dulling your entire mix.
The real benefit comes from solving specific problems. Got a bass guitar that sounds great most of the time but gets too loud on certain notes? Multiband compression can target just those problem frequencies. Vocals that get harsh when the singer belts? You can compress only the 2–5 kHz range where the harshness happens.
Choose multiband over regular compression when you need surgical precision. If your whole mix needs gentle glue compression, stick with a standard compressor. But when specific frequency ranges are causing trouble, multiband is your go-to tool. It’s particularly useful on:
Start by inserting your multiband compressor on the track or bus you want to process. Most plugins default to three or four bands, which works well for most tasks. Don’t create more bands than you need—it just makes things more complicated.
Your crossover points determine where each band starts and stops. Here’s a solid starting point for a four-band setup:
Solo each band to hear exactly which frequencies you’re affecting. This helps you place crossovers where they make musical sense for your specific material. On a vocal, you might move that low crossover up to 200 Hz. On a bass guitar, you might focus more on the 60–250 Hz range.
Set all bands to unity gain with no compression happening yet. This lets you hear the natural balance before you start processing. Turn on the band solo/mute buttons if your plugin has them—they’re really helpful for understanding what each band is doing.
Monitor in context, not in solo. What sounds good on its own might not work in the mix. Keep switching between processed and bypassed to make sure you’re actually making things better.
Each frequency band needs different treatment. Low frequencies move slowly, so they need different attack and release times than high frequencies. Here’s how to dial in each band:
Start with these parameters for the low band:
Listen for consistent low end without losing impact. If it sounds flat, slow down your attack time. If it’s pumping, speed up the release.
The midrange carries most of your musical information, so be gentle:
Too much midrange compression makes everything sound small and boxy. Use just enough to control dynamics without squashing the life out of your mix.
High frequencies need the fastest times:
Watch out for dulling your mix. High-frequency compression should control harshness without removing sparkle. If cymbals start sounding papery, you’ve gone too far.
Once you’ve got the basics down, these advanced techniques will take your mixes further:
Set up a send to a multiband compressor and blend it with your dry signal. This lets you add compression characteristics without losing the original dynamics. It works well for adding punch to drums or thickness to vocals without obvious compression artifacts.
Try compressing the parallel signal heavily—6:1 ratios or higher—then blend in just 20–30%. You get the benefits of heavy compression without the downsides.
Some plugins let you trigger compression from an external source. Use a kick drum to duck only the low frequencies of your bass, leaving the midrange attack intact. Or use the vocal to carve space in the instrumental’s midrange.
This technique gives you the clarity benefits of regular sidechaining without the obvious pumping effect across the entire frequency spectrum.
Different genres need different multiband strategies:
On your mix bus, multiband compression acts like frequency-conscious glue. Use low ratios (1.2:1 to 2:1) and slow attack times. You’re not trying to change the mix, just enhance cohesion.
For mastering, multiband compression helps achieve commercial loudness while maintaining clarity. Focus on controlling the low end and low-mids, where most of the energy lives. This lets you push overall levels without the mix falling apart.
Multiband compression gives you solid control over your mix’s frequency balance and dynamics. Start with the basic setup, get comfortable with band-specific settings, then explore the advanced techniques as you need them. The key is listening carefully and making small adjustments—a little multiband compression goes a long way.
Remember to always check your processing by bypassing the plugin regularly. If it doesn’t clearly improve your mix, you might not need it on that particular track. Trust your ears, and don’t use multiband compression just because you can.
At Wisseloord, we use these techniques daily in our studios to help artists achieve professional, polished mixes. Whether you’re working on your first demo or your tenth album, understanding multiband compression will give you the tools to solve mix problems and create better-sounding music.
If you’re ready to learn more, contact our experts today.