How to use multiband compression

Multiband compression splits a signal into 3-4 frequency bands and compresses each one separately.

Updated 2026-05-19

Short answer

Multiband compression splits a signal into 3-4 frequency bands and compresses each one separately. Useful when a single full-range compressor can't fix a problem without making something else worse — like ducking a sub kick that's drowning the mix without choking the air.

Default split: sub (<120 Hz), low-mid (120-700 Hz), mid (700 Hz-5 kHz), high (>5 kHz)
Sub band: ratio 4:1, threshold to catch the loudest kick hits, fast release for groove
Mid band: ratio 2:1, gentle (1-2 dB GR) to tame vocal mids on a master
High band: ratio 3:1, control harshness from cymbals or sibilance
Bypass per band: A/B each band to confirm it's actually helping

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Decide why you reach for it

Multiband solves problems a regular compressor can't: low-end bloat that ducks the mix when you compress, sibilance that gain-reduces with every loud word, or muddy mids that swell on chorus. If your problem doesn't need frequency-specific control, use a regular compressor — it sounds more natural.

Set the crossover points

Standard splits work for most material: sub at 120 Hz, low-mid at 700 Hz, mid-high at 5 kHz. Adjust based on the source — for a bass-heavy track move the sub crossover higher; for a vocal-led mix lower the mid-high split to 4 kHz to catch sibilance.

Compress one band at a time

Solo each band and dial in compression independently. Sub usually gets 2-4 dB GR with a slow attack to preserve transients. Mid-band gets 1-2 dB GR for glue. High band gets 1-3 dB GR aimed at peaks (cymbals, sibilance). Always solo to hear what each band is doing.

Make-up gain and bypass test

After compression, the band level changes. Use per-band makeup gain to match the bypass level. Then A/B the whole multiband on/off — if the mix sounds tighter, keep it. If it sounds smaller or more processed, dial back the most aggressive band.

Frequently asked

What's the difference between multiband and regular compression?

Regular compression reacts to the loudest frequency in the signal — a loud sub will pull the entire signal down, including the air. Multiband splits the signal first so a loud sub only ducks the sub band, leaving the mids and highs untouched. More surgical, less natural.

Should I use multiband on the master bus?

Sometimes — when a regular bus compressor causes audible pumping or thinning. A gentle multiband (1-2 dB GR per band) on the master can tighten low-end and tame sibilance without affecting the rest. Most mastering chains use either a multiband or a dynamic EQ for this.

How is multiband different from dynamic EQ?

Dynamic EQ cuts or boosts specific frequencies based on input level — it's basically a compressor that only works on a narrow band. Multiband splits the signal into wide bands and applies full compression to each. Dynamic EQ is more transparent for surgical fixes; multiband is better for broad tone-shaping.

What's a good multiband for beginners?

FabFilter Pro-MB, iZotope Ozone Dynamics, and Logic's stock Multipressor are all solid. The free TDR Nova works for dynamic EQ tasks. Start with stock plugins — multiband is more about how you set crossovers and per-band ratios than which plugin you use.

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