Parallel, de-essing, ducking, side-chain filtering and multiband — the moves that turn a level control into a production tool, and the ones that get you in trouble live.
Everything so far has treated a compressor as a device that reduces level. That is what it does, but it is not the limit of what it is for. Once you can control what the detector listens to and where the compressed signal goes, the same box becomes a production tool — and most of the compression you actually admire on records is one of these techniques rather than a plugin on a channel.
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