Distance and depth are not just about reverb. This covers how shaping intensity regions gives you spatial control that level-based processing alone cannot provide.

Parallel compression is a standard mix technique, but it has real limitations. This weighs the benefits against the trade-offs and when a different approach works better.

Punchy, glue, transparent — compression language is full of words that mean different things to different engineers. Here is a clearer way to think about them.

Compression is essential. It is also one of the most common sources of mix problems. This covers the specific ways it goes wrong and what to listen for.

Production Expert tested Dynamic Grading 2 on dialogue. Here is a summary of their findings and what the results mean for post production dynamics workflows.

Getting more attack without thinning out the low end is one of the trickier compression calls. This covers the techniques that actually work on drums and buses.

Over-compression, loss of clarity, pumping artefacts — compression creates as many problems as it solves. This covers the most common issues and how to avoid them.