In music and live sound, these mean:
Gain
Gain is the amount of signal boost added at the input stage, usually from a microphone or instrument before the sound goes through the rest of the mixer channel.
Think of it as the “starting strength” of the signal.
Example:
If a microphone signal is weak, you raise the gain so the mixer gets a healthy signal level.
Important:
Too little gain = weak, noisy sound
Too much gain = distortion, clipping, feedback risk
Gating
A gate is a processor that shuts off or reduces sound when it falls below a set volume level.
It is used to keep unwanted noise out when the instrument or mic is not actively being played.
Example:
On drums, a gate can help keep a tom mic from picking up cymbal bleed when the tom is not being hit.
Simple idea:
Signal above threshold = gate opens, sound passes
Signal below threshold = gate closes, sound is reduced or muted
Compression
Compression automatically reduces the level of loud sounds so the volume stays more even and controlled.
It narrows the difference between the quietest and loudest parts.
Example:
A singer may go from very soft to very loud. Compression helps keep the loud parts from jumping out too much and helps the vocal sit more evenly in the mix.
Simple idea:
Loud peaks get pushed down
Overall sound becomes more controlled and consistentEasy way to think of all 3
Gain = how strong the signal enters the channel
Gate = when the signal is allowed through
Compression = how much loud parts are controlled
Drum example
Kick drum:
Gain sets the input level
Gate cuts bleed when kick is not being hit
Compression controls punch and evens out hits
Vocal example
Gain sets proper mic level
Gate may reduce room noise when singer stops
Compression smooths out loud and soft parts
One important warning:
Do not confuse gain with volume.
Gain affects the input signal strength.
Volume or fader affects how loud that channel is in the final mix.
Threshold
The threshold is the level (volume) at which the processor starts to act.
If the signal is below the threshold → nothing happens
If the signal is above the threshold → compression begins
Think of it as the trigger point.
Ratio
The ratio controls how much the signal is reduced once it passes the threshold.
Example:
4:1 ratio
For every 4 dB above the threshold, only 1 dB comes out
Higher ratio = stronger compression
Very high ratios (like 10:1 or more) = limiting
Think of it as how hard you clamp down.
Attack
The attack time determines how quickly compression kicks in after the signal crosses the threshold.
Fast attack (e.g., 1–5 ms)
Immediately reduces peaks
Can make sounds less punchy
Slow attack (e.g., 20–50 ms or more)
Lets initial transients through
Preserves punch (e.g., drums)
Think of it as “how fast the compressor reacts.
Release
The release time controls how quickly compression stops after the signal falls back below the threshold.
Fast release
Compression stops quickly
Can sound more energetic but may cause pumping
Slow release
Compression fades out smoothly
More natural, but can feel less lively
Think of it as “how fast it lets go.
Quick Analogy
Imagine someone controlling volume manually
Threshold → when they decide it’s too loud
Ratio → how much they turn it down
Attack → how quickly they react
Release → how quickly they return volume to normal