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.

Most compression errors come down to three habits. This covers what they are, why they happen, and the adjustments that fix them across vocals, drums and mix busses.

From early broadcast limiters to modern plugin emulations, this traces how audio compressors evolved and why the hardware era still shapes how engineers think about dynamics.

New to Dynamic Grading? This guided walkthrough takes you through your first session step by step — starting with a drum bus or mix bus and building from there.

The timing parameters in Dynamic Grading are not standard attack and release. This explains how histograms, ranges and ratios interact to give you more natural results.

The Spectrum parameter is one of the least obvious controls in Dynamic Grading and one of the most important. This explains what it does and how to use it effectively.