Mastering Compression in Church Broadcast Mixes
In this week’s video, I tackled one of the most fundamental—and most misunderstood—tools in audio engineering: compression. When used intentionally, compression can be the difference between a broadcast mix that feels chaotic and one that feels controlled, musical, and confident.
From aggressive snare transients to inconsistent bass performance, understanding how compression actually shapes sound—not just levels—is a game changer for church broadcast engineers.
Understanding Compression: The Basics
Working as an audio engineer with Nashville-based Zeal has reinforced this truth: compression isn’t just about controlling dynamic range. It’s about enhancing character.
Used well, compression adds energy and focus. Used poorly, it suffocates life and emotion. The goal is not to make everything loud—it’s to make everything intentional.
Tools of the Trade
Different compressors bring different personalities to a mix. Over the years, I’ve consistently leaned on a few classics because of how they shape tone and transients:
- 1176 – Fast, aggressive, and perfect for controlling transients
- Fairchild – Smooth, musical, and great for gentle control
- Distressor – Flexible and powerful, capable of subtle or extreme shaping
My workflow often starts with these tools—not because they’re iconic, but because they give predictable, musical results when shaping dynamics for broadcast.
Choosing the Right Settings
Attack and release times define how compression feels.
A slower attack allows transients to pass through, preserving punch and clarity. A faster attack smooths peaks and softens aggression. Release time determines whether compression breathes naturally or clamps down unnaturally.
For drums, for example, a slow attack paired with a fast release can keep the impact while preventing muddiness. These choices directly affect how energy translates through a live broadcast mix.
Parallel Compression: A Subtle Art
Rather than relying on mix knobs, I prefer building parallel compression the traditional way—using aux routing.
This approach gives far greater control. You can compress aggressively on the parallel path, then blend it underneath the dry signal to add density and excitement without flattening the performance.
Think of parallel compression as adding color and weight, not volume.
Series Compression for Consistency
Parallel compression isn’t the only strategy. In some cases, series compression is the right tool.
Using multiple compressors in stages—each doing a small amount of work—can smooth out uneven performances more transparently than asking one processor to do everything. For example, a limiter can control extreme bass peaks before a main compressor shapes overall tone.
The key is restraint. Each stage should serve a specific purpose.
Tactical Mix Bus Compression
On the mix bus, subtlety is non-negotiable.
I favor open attack times and minimal gain reduction—just enough to manage unpredictable peaks without audibly changing the mix. Over-compressing the bus is one of the fastest ways to kill energy, especially in live worship environments where dynamics are part of the emotional impact.
Reflection and Growth
Great broadcast mixes aren’t built on presets—they’re built on informed decisions. Every compressor choice, every timing adjustment, shapes how the congregation experiences the service online.
Compression is not about control for control’s sake. It’s about clarity, consistency, and confidence.
Happy mixing.