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The threshold is the level above which compression begins to be applied. When mixing, set the threshold at the point where you want to start attenuating the louder portions of the signal to reduce dynamic range.

Make-up gain is used to boost the level of the signal after compression to bring it back up to a desired level. It compensates for the gain reduction due to compression.

Release time is the time it takes for the compression to stop after the signal falls below the threshold. Shorter release times can prevent pumping artifacts, while longer release times can smooth out the tail of sounds.

The knee setting determines how gradually or abruptly compression is applied as the signal crosses the threshold. A 'soft knee' introduces compression gently, whereas a 'hard knee' applies it more suddenly.

AGC is a feature that automatically adjusts the level of an audio signal to maintain a consistent output level. In mixing, it can help manage levels without user intervention but may reduce dynamic range and introduce artifacts.

Peak compression reacts to the signal's peak level, while RMS compression considers the average level, which can be more representative of perceived loudness. Use RMS for a musical result and Peak for controlling transient spikes.

There are various compressor types including VCA, Opto, FET, and Tube. Each offers different response characteristics and can impart distinct tonal colors. Selection depends on material and the desired result.

Attack time is how quickly the compressor starts to work after the signal exceeds the threshold. Short attack times are used to tame transients, while longer times allow the initial transients through for a more natural sound.

Side-chain compression is when the compressor is triggered by a separate audio source. This is often used to allow kick drums or other rhythmic elements to punch through a mix more prominently by 'ducking' other sounds.

Also known as 'New York compression', parallel compression involves mixing a dry (uncompressed) signal with a heavily compressed version of itself. This technique adds power and density without sacrificing dynamic range.

The compression curve on a graph visualizes how the compressor reacts to incoming signal levels. It helps in understanding the knee and ratio settings and how they affect the signal dynamics.

Look-ahead allows the compressor to react to peaks just before they happen by delaying the signal slightly. This feature enables more precise control of transients and can make compression less noticeable.

The ratio determines how much compression is applied once the signal exceeds the threshold. A higher ratio means more compression. When mixing, set to control the intensity of the compression effect.

Stereo linking ensures that compression is applied equally to both the left and right channels of a stereo signal. This prevents image shifting and maintains a balanced stereo field when processing stereo tracks or busses.