Mastering Compression: Glue, Ratio, Attack, and How Much Is Enough

Mastering compression glues a mix with 1–3 dB gain reduction. Learn bus compressor settings, attack/release choices, and when to skip compression entirely.

Mastering compression (often called glue compression) applies gentle dynamic control to the entire stereo mix. Unlike mixing compression on individual tracks, mastering compression uses low ratios, slow attacks, and minimal gain reduction — typically 1–3 dB on peaks.

Key takeaways
  • Ratio: 1.2:1 to 2:1 — higher ratios belong in mixing, not mastering
  • Attack: 10–30 ms preserves transients; faster attacks flatten punch
  • Release: auto or 100–300 ms — avoid pumping on bass-heavy material
  • If the mix is already compressed, bypass mastering compression

What glue compression does

It connects loud and quiet sections so the master feels cohesive. A verse and chorus should feel like one record, not two different mixes. One to two decibels of gain reduction on the loudest sections is often enough.

When to skip it

Over-compressed premasters, acoustic jazz, and classical material may need no bus compression at all — only EQ and transparent limiting. If compression does not clearly improve the A/B, remove it. See Fix Overcompressed Mixes.

Compression vs multiband

Full-band glue handles overall cohesion. Multiband compression targets specific frequency regions when one band misbehaves — use sparingly. Compare Multiband Compression in Mastering and Mix Bus Compression Before Mastering.

Balanced dynamics

AI Mastering applies genre-appropriate compression before limiting.

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