Mastering the Mix: A Guide to Multiband Compression

From vintage broadcast to modern mastering rooms, why multiband compression is a producer’s secret weapon.

A Little History…

Multiband compression wasn’t always part of every producer’s toolkit. It began in the 1980s in the world of radio and broadcasting, where engineers utilized equipment like the Orban Optimod to refine signals, making them sound polished, loud, and consistent.

By the 1990s, as digital audio workstations (DAWs) became the norm, plugin developers began introducing multiband compressors to help mixing and mastering engineers tackle tricky problems, such as boomy bass, harsh vocals, or overly bright highs, with surgical precision.

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What Is Multiband Compression?

Imagine a compressor that allows you to split your audio into three or four zones — lows, mids, and highs, and treat each one differently. That’s multiband compression.

Unlike a regular compressor (which affects the whole track), a multiband compressor only compresses specific frequency ranges. This gives you more control, less damage to your mix, and a more refined sound.

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Real-World Use Cases

My go-to plugin is the Fabfilter Pro MB (Multiband) compressor (info and link below)

In Mixing

• Vocals – Tame harsh “S” sounds without dulling the vocal

• Bass – Control sub boom without thinning the tone

• Drums – Tame cymbal harshness while keeping kick/snare punchy

• A completed mix - as you’ve seen above, applying it to individual instruments will help your mix quicker, but it’s also a good idea to add it to your Mixbus. As mentioned, I use the Fabfilter MB and will apply the Mixbus > Harsh Upper-Mid and Highs Control preset, as it targets frequencies that can stand out and be painful for the ear, such as crash cymbals, hi-hats, vocals, and any instrument that falls within that same range.

  

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In Mastering

• Smooth out loud peaks in specific frequency areas

• Add weight to the low end without muddying the mids

Balance brightness without losing warmth

This is a good overview of applying multiband compression when mastering.

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Here are standard multiband compressor settings tailored for dub and reggae production and mastering, focusing on bass, vocals, drums, and full mix glue. These settings serve as starting points, and constantly adjust them by ear, depending on the track.

1. Tighten Up the Bass
(Low-End Control)

Goal: Keep the sub and low bass full and rich, but prevent it from overpowering or distorting.

• Band: 30–100 Hz

• Threshold: -25 to -20 dB

• Ratio: 3:1

• Attack: 10–30 ms (let transients pass)

• Release: 80–120 ms (smooth pump)

• Makeup Gain: Adjust to retain warmth

• Notes: Great for dub riddims and live bass recordings that swell too much.

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2. Smooth Harsh or Nasal Vocals
(De-Essing/Presence)

Goal: Tame aggressive “S” sounds or honky mids while keeping the vocal up front.

• Band (De-Ess): 5–10 kHz

• Band (Nasal Mid): 800 Hz – 2.5 kHz

• Threshold: -30 to -20 dB

• Ratio: 2:1 to 4:1

• Attack: 1–5 ms

• Release: 40–60 ms

• Notes: Dub vocals often sit heavily in the mids — compressing this band can open space for effects like reverb and echo.

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3. Tame Cymbals and Percussion
(High-End Control)

Goal: Control sharp hi-hats, tambourines, or overly splashy spring reverbs.

• Band: 8–16 kHz

• Threshold: -25 to -18 dB

• Ratio: 2:1 to 3:1

• Attack: 5–10 ms

• Release: 50–80 ms

• Notes: Essential for steppers and dub tracks with layered percussion or bright tape echoes.

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4. Punchy Kick Without Booming

Goal: Let the kick punch through without overlapping the bass guitar or sub-synth.

• Band: 60–120 Hz

• Threshold: -20 to -15 dB

• Ratio: 4:1

• Attack: 5–15 ms

• Release: 70–100 ms

• Notes: Can help separate kick and bass in systems where everything gets pushed mono.

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5. Full Mix Glue (Mastering)

Goal: Glue the overall mix without squashing dynamics.

• Bands: 3-band setup (Low: 30–120 Hz, Mid: 120 Hz–5 kHz, High: 5–18 kHz)

• Threshold: -10 to -5 dB per band (light compression)

• Ratio: 1.5:1 to 2:1

• Attack: 20–40 ms

• Release: Auto or 60–100 ms

• Notes: Use subtly. Ideal for final dub masters before analog summing or tape bounce.

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Bonus: Dub Delay/Echo Wash Management

Use Case: If your dub echoes or reverb tails start taking over the mix…

• Band: 2–6 kHz

• Threshold: -30 dB

• Ratio: 2:1

• Attack: 10 ms

• Release: 150–200 ms

• Trick: Trigger ducking with a sidechain input (like from the main snare or vocal) so echoes back off when the dry signal hits.

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3 Free Multiband Compressor VSTs

1. TDR Nova – Tokyo Dawn Labs

A powerful dynamic EQ that behaves like a multiband compressor. Perfect for vocals, de-essing, and tight frequency control.

👉 https://www.tokyodawn.net/tdr-nova/

2. OTT – Xfer Records

Aggressive multiband upward/downward compressor. Loved by EDM producers, great for adding power.

👉 https://xferrecords.com/freeware

3. ReaXComp – Cockos

Part of the free ReaPlugs suite from REAPER. Fully customizable, transparent, and lightweight.

👉 https://www.reaper.fm/reaplugs/

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3 Paid Plugins Worth Every Penny

1. FabFilter Pro-MB (this is my main tool)

Pro-level multiband compression with beautiful visuals, mid/side support, and adaptive bands. A go-to for mixing and mastering.

👉 https://www.fabfilter.com/products/pro-mb-multiband-compressor-plug-in

2. Waves C6

An enhanced version of the classic C4, with extra floating bands. Great for de-essing and live vocal work.

👉 https://www.waves.com/plugins/c6-multiband-compressor

3. iZotope Ozone Dynamics

Part of the Ozone suite. Excellent for multiband dynamics and stereo control during the mastering process.

👉 https://www.izotope.com/en/products/ozone.html

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Key Benefits of Multiband Compression

• Precision – Fix what’s broken without touching what isn’t

• Clarity – Smooth your mix without dulling the vibe

• Control – Tame tricky elements without over-compression

• Genre Flexibility – From reggae and dub to EDM and hip hop, multiband works anywhere

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Example in Dub

Let’s say you’re mastering a heavy roots reggae track. The bassline is deep and wide, perhaps too much so. But EQing it out loses the vibe. Instead, you drop a multiband compressor on just the 60–100Hz zone. You pull back a few dB when it swells too much. Result: The warmth stays, but the mud goes.

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Final Tips Before You Dive In

• Start with just 2 or 3 bands

• Watch for pumping or unnatural-sounding shifts

• Always A/B test to hear what you’re gaining (or losing)

• Use your ears, not just your eyes

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