What is Multiband Compression 101 (Become a Master Fast!)

As producers, knowing all about multiband compression can seriously take your mixing and mastering game to the next level. 

It can help you clean up muddy mixes, balance frequencies like a pro, and keep your dynamics tight without sacrificing energy. 

Plus, successfully shaping transients, controlling low-end, and enhancing overall loudness becomes way easier when you know exactly how to use multiband compression the right way. 

That’s exactly why I’m breaking down everything you need to know, like:

• How multiband compression works ✓
• Key components of a multiband compressor ✓
• How to enhance drums, vocals, bass, and full mixes ✓
• Mastering techniques to get a polished, pro-level sound ✓
• Breaking down the low-band, mid-band, and high-band differences ✓
• Top multiband compression plugins and why they matter ✓
• When and why to use multiband compression ✓
• Advanced multiband tips, tricks, and techniques ✓
• How to use multiband compression for creative sound design ✓
• Upward compression and OTT settings for huge, punchy mixes ✓
• Much more to help you answer the question what is multiband compression ✓

By knowing all these epic tricks, tips, and techniques, it will enhance your skills big time (and tracks too, of course). 

This way, you’ll be able to tighten up your low-end, smooth out any harsh frequencies you hear, and bring out every detail in your mix. 

Plus, you’ll learn how to really take full control of your dynamics and shape your sound like a boss, and it doesn’t get much better than that.

What is Multiband Compression?

Imagine being able to control different parts of a sound separately.

For example, you could tighten up the low end without affecting the mids, or smooth out harsh highs without touching the warmth of your mix. 

Well, that’s exactly what multiband compression does…  

It splits your audio into different frequency bands and applies compression to each one individually, giving you precise control over your dynamics. 

Instead of compressing everything the same way, like a traditional single-band compressor, you can focus only on the problem areas, like:

• Taming an aggressive bass
• Softening harsh vocals
• Keeping a mix balanced without losing punch 

If your low end is too boomy, you can clamp down on just that part while letting the mids and highs breathe, keeping your track full and dynamic. 

This makes multiband compression a go-to tool for tightening up mixes 一 keeping elements in check and adding polish without over-squashing the sound. 

Don’t worry if that sounds a little confusing right now, because I’ll be breaking down everything you need to know to answer the question what is multiband compression.

Breaking Down How Multiband Compression Works

Multiband compression works by dividing your audio into separate frequency bands using what’s called ‘crossover frequencies.’

It’s basically like slicing up the entire frequency spectrum into pieces that can each be processed differently. 

Say you split a mix into three bands: lows, mids, and highs.

Now, instead of applying one compression setting across the entire track, you can tweak each band in the frequency spectrum individually.

Maybe tightening up the bass with a 4:1 ratio while letting the mids breathe with a gentler 2:1 ratio, or something along those lines.

If your mix has a muddy low end, you can set the threshold for just the bass frequencies at -30 dB, while leaving the rest of the mix completely untouched. 

This is where it differs from single-band compression, which applies the same compression to everything.

Meaning, if your snare gets too loud and triggers compression, it could pull down the entire mix instead of just the frequencies that need it. 

Bottom line, multiband compression gives you surgical precision so you can target only what’s necessary while keeping the rest of your sound dynamic and full. 

Once you get the hang of it, you’ll find it’s one of the most efficient ways to shape and control your sound without sacrificing any energy/clarity.

Applying Different Compression Types & Characteristics Per Band

One of the most powerful things about multiband compression is that you can tweak each band separately, like we just broke down.

Being able to do that so you don’t have to process your entire mix or signal the same way is honestly invaluable.

For example, if your low-end (20-200 Hz) is too boomy, you could use downward compression with a threshold of -30 dB and a 4:1 ratio to keep the bass in check.

But for the highs (8 kHz and up), gentle upward compression with a threshold of -50 dB and a 2:1 ratio can help bring out breathiness in vocals.

Plus, successfully add shimmer to your hi-hats without making them harsh and unbearable, which sounds super unprofessional.

The midrange (200 Hz – 5 kHz) might not even need compression…

Or, you could try a light expansion with a -20 dB threshold to let certain elements pop while keeping the mix balanced. 

Some producers and audio engineers like myself also play around with analog-modeled compression per band, like using an Opto-style compressor on the highs for a smoother, more natural sound and a FET compressor on the lows.

So, that’s definitely something you could experiment with as well because it can add extra character to different parts of your mix instead of just controlling dynamics. 

To fine-tune things even further, you’ll want to adjust your attack and release settings carefully (which we’ll talk about in the following section).

A fast 5ms attack on the highs can tame transients without dulling the mix, while a slower 30ms attack on the lows helps retain the natural movement of bass elements. 

Once you get comfortable mixing compression styles across different bands, you’ll be able to shape your sound with surgical precision.

This way, you can control dynamics without sucking the life out of your track.

Key Components of a Multiband Compressor (And Correct Compression Settings)

Now, if you know traditional compression settings, a multiband compressor is just multiple groups of them 一 each one applied to its own frequency range. But, for the newbies, let’s quickly break them down so you can fully understand what is multiband compression and how each setting affects your sound. 

• Threshold

Threshold controls when compression starts working, meaning only the parts of your mix that go above that level will be affected. 

If you set a -25 dB threshold on the low end, it’ll only clamp down when the bass gets too loud 一 keeping it under control while letting everything else breathe. 

But if you raise that threshold to -10 dB on the mids, you’re only compressing the loudest peaks of vocals or instruments.

This can help smooth out inconsistencies without flattening the performance.

• Ratio

Ratio determines how much compression is applied once the audio signal crosses the threshold, and small changes here can make a huge difference. 

A 4:1 ratio on the lows can keep kick drums and bass from overpowering the mix, but a lighter 2:1 ratio on the mids will allow vocals and melodies to stay dynamic/on point.

On the other hand, if your highs are way too harsh, an 8:1 ratio on the top end can rein in sharp transients and smooth out sibilance.

It keeps everything controlled without dulling your mix.

• Attack

Next up we have attack, which controls how quickly the compressor kicks in once the audio signal crosses the threshold.

It’s crucial for shaping transients in each frequency range. 

A slow attack of around 30 ms on the low end (20-200 Hz) can let the initial punch of a kick or bass note come through before applying compression.

This will keep things tight without losing any energy/impact. 

On the other hand, a fast attack of 5-10ms on the high frequencies (8 kHz and up) can tame harsh transients in vocals or cymbals 一 preventing sharp, ear-piercing peaks while still keeping the highs present and airy.

• Release

Release determines how quickly the compressor stops working once the audio signal falls back below the threshold, and this setting dramatically affects the feel of your mix. 

A fast release of around 50ms on the highs can help retain clarity and presence, especially on elements like hi-hats and sibilance.

But a slower release of 200-300ms on the low-end can smooth out the movement of bass notes, preventing an unnatural pumping effect while keeping the groove locked in.

• Knee

The knee setting controls how gradually or abruptly compression is applied, which makes a big difference in how natural or aggressive the compression feels. 

A soft knee (set around 6 dB) on vocals or acoustic instruments eases in the compression smoothly so they stay transparent and have a natural sound.

On the flip side, a hard knee (0 dB) on the low end can lock in an aggressive, controlled bass response, which is great for electronic music where you need a tight and punchy low end that doesn’t fluctuate too much.

• Makeup Gain

Whenever you apply compression, you’re reducing the overall volume of the affected frequencies…

This is why makeup gain is essential to bring things back up to the right level.

If your low-end compression results in a 4-6 dB gain reduction, applying +4 dB of makeup gain makes sure the bass still hits hard without getting buried. 

And, if your vocal chain has multiple compressors causing a total gain reduction of around 5 dB, you’d want to compensate with at least +5 dB of make-up gain to maintain clarity and presence in the mix. 

Keeping an eye on gain reduction meters and adjusting makeup gain accordingly is key to making sure you’re not unintentionally losing power in your mix.

• Crossover Points/Crossover Frequencies

Crossover frequencies/a crossover point determines exactly where each band is split.

Getting them right is key to making sure multiband compression works smoothly without introducing unwanted artifacts. 

A low-end crossover frequency at 120 Hz helps separate sub-bass and kick from the mids so you can apply precise compression without affecting the punch/warmth.

Meanwhile, setting crossover frequencies around 6-8 kHz lets you control sibilance, cymbals, and harsh high-end transients.

All without dulling the overall brightness of your track, of course, which is the main key you should get out of learning what is multiband compression.

Why/When Should I Use Multiband Compression?

Knowing when to use multiband compression can make all the difference in how polished and professional your mix sounds. Whether you’re trying to fix imbalances, enhance dynamics, or shape specific parts of your sound, understanding what is multiband compression and how to apply it correctly will give you way more control over your mix than a regular compressor ever could.

• Enhanced Dynamic Control

Another one of the biggest advantages of multiband compression (aside from what we talked about) is that you have multiple targeted thresholds throughout the frequency range 一 one for each band.

This holds big-time value when processing signals with a decent amount of sub or low-end frequency content. 

This is because sub and bass frequencies are known to not only easily trigger the compressor but also do so unexpectedly.

This happens because that range may have technically breached the threshold, but we wouldn’t really know.

Either we can’t hear it because it’s too low and possibly not being reproduced by the sound system, or the low-frequency content tricks the compressor into taking action unnecessarily. 

Therefore, it is inaccurately read and measured by the compressor.

This is why most top-of-the-line compressors (especially for mastering), have a sidechain HP filter cutoff parameter.

This puts a filter at the set frequency and shields the compressor from acting on anything below the set cutoff value.

For example, if your low end (below 150 Hz) is overpowering the mix, you could set the:

• Threshold at -28 dB
• Ratio at 3:1 ratio
• Attack at 40 ms (slow)

This will successfully reel it in without affecting the mids and highs. 

Meanwhile, if your high frequencies (above 7 kHz) are too piercing, applying a gentle 2:1 ratio with a fast 5ms attack can smooth them out while still keeping that bright, airy feel.

Keep in mind that the midrange (200 Hz – 5 kHz) is often where clarity and presence sit, so sometimes it’s best to leave it completely untouched.

Or, even apply a slight expansion at -20 dB to bring out details instead of compressing them down (that’s what I like to do). 

Bottom line, multiband compression gives you complete control over each area of your mix, and that’s an invaluable tool as a producer.

So, learning what is multiband compression can help you make sure everything stays balanced, clear, and dynamic without over-compressing the entire track.

• Transparent Compression

A single-band compressor can make a mix feel lifeless if it clamps down on everything at once, but multiband compression keeps things natural and musical.

It only affects the frequencies that really need it.

For example, if your vocals are fluctuating too much, but you don’t want to compress the whole performance, you could set a 2:1 ratio on the mids (800 Hz – 4 kHz), a threshold at -18 dB, and a medium 15ms attack to smooth things out subtly. 

Or, if your mix feels dull after applying compression, you might want to try softening only the low end (below 120 Hz) with a 4:1 ratio instead of compressing the entire signal. 

NOTE: A soft knee setting of 6 dB can also help ease in the compression, so it’s not as noticeable when it starts kicking in. 

This is why multiband compression is often used in the mastering process, where keeping the mix’s natural dynamics intact is just as important as controlling peaks.

Side note, if you want to learn all about the mastering process or more advanced mastering techniques, I got you covered.

• Drum Bus Processing

Drums are one of the hardest things to balance in a mix as I’m sure you know, and multiband compression makes it easier to glue them together without crushing things.

If your kick and snare are hitting too hard, but your hi-hats are too soft, you could set a 4:1 ratio on the low end (below 150 Hz) with a -24 dB threshold.

Just make sure to keep a 2:1 ratio on the highs (above 6 kHz) with a -20 dB threshold to gently bring them forward. 

Also, remember that a medium-fast attack of 10ms on the lows will retain punch while still controlling excessive peaks, while a slightly slower 25 ms attack on the mid-range frequency/mid-band can keep the groove feeling natural. 

When it comes to release times, 150 ms usually works well for drums, so the compressor to recover quickly between hits without making things sound choppy. 

When dialed in properly, multiband compression tightens up your drum mix and keeps high frequency transients under control.

Plus, helps everything sit together perfectly without sounding over-processed, which is why you should definitely learn what is multiband compression with this article.

• Vocal Treatment

Vocals can be a little tricky because they have so much dynamic variation across specific frequency ranges…

Well, like you now know, multiband compression lets you control each part separately. 

For example, if a vocal has too much low-end buildup, you’ll want to apply a 3:1 ratio on frequencies below 200 Hz with a -22 dB threshold to clean up the muddiness.

A fast 5ms attack and 10ms release on the highs (above 6 kHz) can smooth out harsh sibilance and give you that breathy, open quality people love.

And keep in mind that, if the midrange is too inconsistent, applying a light 2:1 ratio at -16 dB in the 800 Hz – 3 kHz range can stabilize the vocal’s presence.

Don’t worry it won’t make it sound dull or lackluster or anything.

This technique keeps vocals controlled, balanced, and clear, so they sit right in the mix without jumping out or getting buried.

If you want to learn everything about the right vocal compressor settings, I got you.

• Bass Management

Low-end control is one of the absolute biggest reasons to use multiband compression, because bass elements can be unpredictable and overpowering if they’re not kept in check. 

If your 808s or sub-bass are too boomy, you might want to apply a 4:1 ratio on everything below 120 Hz with a -26 dB threshold.

This will rein in excess energy while still letting the bass hit hard. 

Also, a slow attack (30-40ms) and a long release (250ms) will allow the low frequencies to breathe 一 keeping it controlled without sucking out the life. 

If the upper bass (120-250 Hz) is clashing with the mids, a gentle 2:1 ratio at -18 dB can help clean up any muddiness while keeping warmth and body intact. 

The goal with multiband compression on bass is to tighten the lows without killing their power so your mix stays punchy, controlled, and well-balanced.

• Pro Tip: My Favorite Multiband Compressor Plugins

When it comes to multiband compressor plugins, there are a few that stand out for their precision, flexibility, and unique features, and these are my favorites…

FabFilter Pro-MB is first up on my list because when it comes to surgical control and overall dopeness, it certainly can’t be beat.

It lets you compress specific frequency ranges with Dynamic Phase processing and avoid any phase issues. 

Slate Digital MO-TT is another winner that brings aggressive upward and downward compression 一 making it perfect for modern, punchy mixes. 

Softube Drawmer 1973 delivers a warm, analog-modeled sound that adds musicality rather than just flattening dynamics.

And last but not least, SSL G3 MultiBusComp brings that classic SSL glue to multiband processing. 

No matter your style, these multiband compressor plugins offer everything from smooth mastering compression to heavy-hitting dynamic shaping.

They’ll help you learn what is multiband compression up close and personal.

Mastering Techniques Using Multiband Compression

Multiband compression is one of those secret weapons when it comes to the mastering process because it lets you control dynamic range without sucking the life out of a mix. 

A common way to use a multiband compressor is to split your mix into three or four individual frequency bands, for example:

• Lows below 120 Hz
• Mids between 120 Hz – 4 kHz
• Highs above 4 kHz

And then, compress all the bands just enough to keep things balanced. 

If the low frequencies/low-end feels too loose, you might want to set a 4:1 ratio on everything below 120 Hz, with a -26 dB threshold, a slow 35ms attack, and a long 200ms release to tighten it up without crushing it. 

The midrange (120 Hz – 4 kHz) is where all the energy and clarity sit…

So if your mix is getting a little too pokey in that area, a gentle 2:1 ratio at -22 dB can help smooth things out. 

The highs (above 6 kHz) can get a little harsh or overly sizzly, so I suggest rolling in with a fast 5ms attack, a soft knee, and a 3:1 ratio at -30 dB.

It’ll help keep things under control while still letting the mix breathe. 

The key here (like everything else in the mastering world) is: subtlety, subtlety, subtlety.

Multiband compression in mastering should be barely noticeable, but when done right, it makes everything tighter, smoother, and louder without feeling squashed.

Bonus: Advanced Multiband Compression Techniques

Once you’ve got the basics of what is multiband compression down, there are some seriously epic ways to push things even further. Honestly, if you really want to get the most out of what is multiband compression, you need to master the following advanced techniques.

• Dynamic EQ Integration

One of the smartest ways to use multiband compression is alongside dynamic EQ (not to be confused with normal EQ) to fine-tune problem frequencies in the same frequency range without too much compression across everything else.

Let’s say your mix has a harsh upper midrange (around 2.5 – 4 kHz)…

Instead of just slapping on a static EQ cut, you could set a dynamic EQ to only reduce that range when it gets too harsh.

Just make sure to use a gentle 2:1 multiband compression ratio to keep everything smooth and on point.

NOTE: Use a dynamic EQ for quick, precise problem-solving, while letting multiband compression handle broader, more consistent balance across different frequency ranges (thank me later).

Basically, the combination of both tools working together keeps your mix clear, balanced, and natural without feeling overprocessed.

• Parallel Multiband Compression

Parallel compression is already a game-changer for punch and energy, but when you take it into multiband territory, things get next-level. 

Instead of compressing everything at once, try blending in a parallel multiband compressed version of your track, where each band is dialed in separately.

This could be like a 3:1 ratio with a -28 dB threshold on the lows, a 2:1 ratio on the mids, and a 5:1 ratio on the highs. 

This technique adds weight and density to the sound without sacrificing dynamic range, making it perfect for beefing up drums, vocals, and even full mixes. 

Just remember to mix it in carefully/subtly…

Start with the compressed audio signal/input signal super low, then gradually blend it in until you feel the mix getting thicker and more glued together.

• Multiband Sidechain Compression

Sidechain compression is an OG in modern music production, that’s a given.

But, with multiband sidechain compression, you can get ultra-precise control over how elements interact in a mix. It’s much different than normal compression. 

Rather than ducking an entire sound every time the kick hits, you could sidechain only the low end (below 150 Hz) of a bass track with a:

• 4:1 ratio
• -24 dB threshold
• Super-fast 2ms attack

This will keep the subs clean without affecting the mids or highs. 

This is insanely useful for keeping low-end elements from clashing 一 making sure your kick and bass don’t muddy up the mix. 

You can also use this trick on vocals and instruments…

For example, sidechaining the midrange (500 Hz – 3 kHz) of a pad or synth when the lead vocal comes in can make room for the vocal without having to lower the pad’s volume completely.

• Creative Sound Design Techniques

Multiband compression isn’t just for cleaning up a mix… 

You can also use it as a creative tool to shape sounds in ways that would be impossible with regular compression. 

A cool trick that I like to do is to over-compress the high frequency band of a synth or vocal (8 kHz and up) with an 8:1 ratio, a super-low -40 dB threshold, and a fast attack.

Then, apply heavy saturation or distortion just to that compressed high end to make it gritty and textured. 

Another creative move is to use multiband compression on reverb tails, where you compress just the low end of a long reverb decay with a 5:1 ratio at -30 dB to keep it tight and controlled while letting the highs stay lush and open. 

Remember, thinking outside the box with multiband compression can lead to some of the most unique and interesting textures you’ll ever work with in your mix.

• Upward (OTT) Compression

And last but not least, let’s talk about upward compression for a second.

If you want that big, larger-than-life sound that makes everything feel upfront and explosive, upward compression, like OTT, is the answer. 

Unlike traditional downward compression, which tames peaks, upward compression brings up the quiet details.

It makes everything sound more aggressive and hyper-detailed. 

A great setting to start with is applying an OTT-style compressor with a 4:1 ratio on the lows, a 3:1 ratio on the mids, and a 5:1 ratio on the highs, with a super-low threshold of -40 dB, bringing out hidden textures in synths, when recording vocals, and for drums. 

This technique is a staple in the EDM scene, but it also works wonders for breathing life into dull recordings so they sound huge, energetic, and full of presence.

Final Thoughts

And there you go: everything you need to know to answer the question what is multiband compression. 

Now, with this new knowledge, you’ll be able to tighten up your mixes, balance out tricky frequencies, and shape your dynamics with way more precision. 

Plus, you’ll have the confidence to dial in the perfect multiband settings, enhance your masters, and keep every element sitting exactly where it should in the mix like a boss.

Just remember to use multiband compression intentionally and always keep an eye on your gain reduction. 

Otherwise, your tracks will end up sounding lifeless, over-compressed, or even muddy (and nobody has time for that).

If you want to see what is multiband compression and how it works up close and personal, you have to check out these Free Project Files. 

They’ll break down exactly how to use multiband compression like an expert. 

Plus, you can learn every other process, effect, or creative technique you’ve ever wanted to master 一 it’s like having the ultimate cheat codes right at your fingertips. 

And better yet, these free project files were all created by the best producers and sound designers in the game, so you know you’re getting nothing but the highest quality.

Trust me, you don’t want to miss out on this.

Bottom line, when you’re learning what is multiband compression, you just have to understand how different frequency bands interact and know when (and when not) to compress them. 

As well as choose the right crossover frequencies, set your attack and release times carefully, and always compensate for gain reduction. 

And never forget to experiment, try out different techniques, and always think outside the box because that’s where the real magic happens!

Until next time…