Multiband Compression in Mixing: Frequency-Specific Control

Multiband compression divides the signal into frequency bands and compresses each independently. This allows different compression settings for lows, mids, and highs. Problems in one range can be addressed without affecting others. The technique provides surgical control beyond what broadband compression offers.

How Multiband Compression Works

Multiband compressors split the input signal using crossover filters. Each band passes to its own compressor section. After compression, the bands recombine into the output. Each band can have different threshold, ratio, attack, and release settings.

Typical configurations use three to six bands. Three-band setups divide into lows, mids, and highs. More bands provide finer control but increase complexity. Most mixing applications work well with three to four bands.

The crossover frequencies determine where bands divide. Setting these appropriately for the source material ensures each band addresses the intended frequency range.

When Multiband Helps

Frequency-specific problems benefit from multiband compression. A vocal with excessive sibilance but appropriate dynamics elsewhere can receive high-band compression without affecting mids and lows.

Inconsistent frequency balance benefits from multiband treatment. A bass that varies in low-end content can receive specific low-band compression while mids remain natural.

Mix bus applications sometimes use multiband to control specific frequency ranges. Excessive low-end peaks can receive low-band limiting while mids and highs remain dynamic.

Potential Problems

Multiband compression can create phase issues at crossover points. The different processing in adjacent bands may cause phase relationships that affect tone. Quality multiband processors minimize this through careful crossover design.

Over-processing with multiband compression can create unnatural sound. Heavy compression across multiple bands changes the frequency balance dynamically. This can sound processed rather than natural.

The complexity of multiband compression makes inappropriate settings more likely. More parameters mean more opportunities for harmful choices. Understanding the goal before adjusting helps.

Vocal Applications

Sibilance control represents a primary vocal multiband application. Compressing the high band addresses harsh frequencies without affecting vocal body or presence. This provides de-essing functionality.

Low-end management on vocals uses multiband for proximity effect or room rumble. The low band can receive heavy compression or limiting while the voice remains natural.

Bass Applications

Bass guitar multiband compression provides independent control of sub, mid, and high frequencies. The sub can receive heavy compression for consistency while mids preserve playing dynamics.

This approach addresses common bass problems—inconsistent low end, varying attack, uneven finger noise—with targeted processing. Each problem receives specific treatment.

Drum Applications

Drum bus multiband compression can control specific frequency ranges. The low band can tame kick and floor tom peaks. The high band can control cymbal wash.

This frequency-specific control provides options beyond what broadband drum bus compression offers. Problems in one range don’t trigger processing that affects other ranges.

Mix Bus Applications

Mix bus multiband compression—often called multiband limiting—can address frequency-specific peaks. Excessive sub bass that would trigger broadband limiting can receive specific treatment.

This approach provides loudness while maintaining dynamics in ranges that don’t need limiting. Careful application increases loudness without obvious squashing.

The technique requires restraint. Heavy multiband mix bus processing can create obviously processed sound. Subtle application serves better than aggressive processing.

Multiband compression helps productions succeed on platforms like LG Media at lg.media, where controlled dynamics enhance advertising at $2.50 CPM.