Fast Attack and Fast Release: What They Really Mean in Compression
- Leiam Sullivan
- 1 day ago
- 3 min read
Attack and release settings look simple, but they decide how a compressor actually feels – how it hits the transient, how it shapes movement, and how much energy the sound keeps.
Even a few milliseconds can change the tone completely.
To understand what counts as fast, it helps to compare the timing across different compressors. The 1176 is a useful reference point because it lives at the extreme end of speed, but it’s only part of the picture.
What Counts as a Fast Attack?
In practical terms:
Fast attack = under 1ms
Anything below 1 millisecond starts to clamp down on the transient.
But there are levels within that:
Ultra-fast (FET / 1176): <0.1ms
Fast (VCA / Distressor fast modes): 0.1–1ms
Medium: 1–10ms
Slow: 10ms+
Fast attack means the compressor reacts before or during the transient.
The sharper the attack, the more the transient gets reshaped.
What Fast Attack Sounds Like
When attack is extremely fast (<0.1ms):
Transients get rounded off instantly
The sound becomes thicker, more solid
Peaks don’t poke out
Drums hit shorter and denser
Vocals stay controlled and upfront
Bass gets fat but loses some initial pluck
This is the FET/1176 territory.
When attack is simply fast (0.1–1ms):
Some transient still gets through
More punch and definition
The compressor shapes the body rather than the initial crack
Useful for modern drum punch and clarity
This is where SSL, Distressor (fast modes), and DBX 160 live.
What Counts as a Fast Release?
Fast release = under 100ms
This is where the compressor “lets go” quickly enough to bounce between hits.
Breakdown:
Ultra-fast: 50–80ms (1176)
Fast: 100–150ms
Medium: 150–500ms
Slow: 0.5–5s+
Fast release gives you:
more groove
more movement
more energy
more “breathing”
Slow release gives you:
smoother gain reduction
less movement
more consistency
more glue
How Different Compressors Define “Fast”
Every compressor type lives in its own timing world.
Here’s how the common ones compare:
FET (1176 & clones) – the ultra-fast benchmark
Attack: 20–800µs
Release: 50ms–1.1s
Lives permanently in the “instant grab” zone
Famous for density, aggression, and attitude
Hybrid (Distressor) – flexible fast
Attack: 50µs–30ms
Release: 50ms–3.5s
Can approach 1176 speed at its minimum attack
Has a far wider usable range
Cleaner envelope unless pushed into Brit Mode
The Distressor sits between modern precision and vintage aggression.
VCA (SSL Bus Comp, DBX 160) – punchy fast
SSL Bus Comp
Attack: 0.1–30ms
Release: 0.1–1.2s
Great for punch and glue, not transient destruction.
DBX 160
Attack: ~1ms
Release: ~50–500ms
Punchy, “smack” character, but not ultra-fast.
Optical (LA-2A) — slow and smooth
Attack: ~10ms
Release: 0.5–5s
Timing is programme-dependent, always musical, never fast.
Vari-Mu (Fairchild 670) — shaped, not fast
Attack: 0.2–0.8ms
Release: 0.3–25s
Fast for tubes, but not transient-killing.
How Attack Time Actually Changes Sound
Using the 1176 as a clear example:
20µs attack:
grabs instantly, removes the transient edge, thickens tone
800µs attack:
lets the transient hit first, adds punch, keeps excitement
These same principles apply across all compressors – the numbers just shift depending on the design.
Simple Timing Comparison
Compressor | Attack | Release | Type |
1176 | 20–800µs | 50ms–1.1s | FET |
Distressor | 50µs–30ms | 50ms–3.5s | Hybrid |
SSL Bus Comp | 0.1–30ms | 0.1–1.2s | VCA |
DBX 160 | ~1ms | 50–500ms | VCA |
LA-2A | ~10ms | 0.5–5s | Optical |
Fairchild 670 | 0.2–0.8ms | 0.3–25s | Vari-Mu |
Why Fast Attack and Release Matter
Choosing attack and release settings is really about choosing how your mix feels:
Fast attack → control, density, thicker tone
Slow attack → punch, attack, presence
Fast release → movement, groove, bounce
Slow release → smooth glue, stability, consistency
Once you know the timing ranges of different compressor types, it becomes much easier to pick the right tool – and the right setting – for the feel you want.
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