Polarity-Glue

Keep the punch

Use a 10 or 30 ms attack to let the front of a kick or snare pass before the compressor catches the body. A few dB of reduction can add cohesion while keeping the groove alive.

Make it breathe

Set the release so the gain recovers between hits, or let the two-stage Auto release follow the material. Push the threshold lower when you want more obvious movement and pumping.

Know the trade-off

Fast attack can soften transients; too much reduction can flatten a mix. A loud kick can pull everything down together. Use the sidechain high-pass filter, back off the threshold, or blend in dry signal when the bus loses its energy.

Auto Makeup

Change the compressor settings and AUTO measures the compression loss over two seconds of audio, then holds the compensation. Judge the envelope with less distraction from lost level. Press LEARN for new material, or turn AUTO off and set Makeup yourself.

It compensates measured energy loss; it is not continuous gain riding or a perceptual loudness guarantee.

Auto Release

Auto Release works on two time scales. A fast stage follows short peaks, while a slower stage controls the underlying recovery. Isolated hits can release promptly, while denser passages settle more smoothly instead of snapping back after every transient.

Choose a fixed release time when you want the gain movement to follow a specific rhythmic value.

Waveform history

See the last four seconds of audio with input and output waveforms, threshold guides and a measured gain-reduction overlay. Follow exactly when compression starts, how much it takes away and how it recovers between hits.

Up to 16x oversampling

Choose Off, 2x, 4x, 8x or 16x quality with matched linear-phase filters. Compression and clipping run at the internal rate. Keep playback lighter and use a higher setting for the final render.

Higher quality costs CPU and adds filter latency. At higher host sample rates, the actual oversampling factor adapts to the selected target rate.

Output Peak Clip

Let the slower compressor shape the body, then use the optional output clipper to catch peaks after makeup and dry/wet mixing. It stays available with compression switched out.

Driving it harder adds distortion. Its final −0.1 dBFS sample ceiling is not a true-peak guarantee.

Sidechain control

Keep deep bass from dominating the detector with the sidechain high-pass filter, without cutting bass from the audible signal. Enable the external sidechain to make another track drive the compression.

Range & parallel Mix

Range changes the detector target inside the feedback loop, shaping how far compression goes and how it recovers. Mix blends phase-matched dry and wet paths for parallel punch without a second track.

A/B & presets

Switch between two settings, copy one to the other, and save your own local presets. A/B and presets also retain the learned makeup result, so comparisons stay useful.

Meters you can read

Combine the waveform view with a dedicated gain-reduction meter and an optional peak-hold needle. Scale the interface from 75% to 200%; your preferred size is remembered locally.

Linked stereo

The loudest detector channel controls gain for both channels, preserving the stereo balance. Mono is supported too. Compensated bypass keeps timing aligned when you compare the processed and original signal.