Frap Tools: Squeezing Space – Dual Mono Drum Room Compression with the Dynamics 2806

A key feature highlighted is the 2806’s feedback design, which shapes how the compressor responds to incoming signals. The video details the use of the unit’s post mode, where the makeup gain directly influences the control signal’s strength, while the threshold governs output level. This configuration is particularly useful for boosting RMS and perceived loudness, making it ideal for room mics and tracks that benefit from extra harmonic saturation.

The 2806’s flexibility is further demonstrated with its parallel compression capabilities. By blending the compressed signal with the dry input, users can dial in just the right amount of body and punch, while still preserving the original transients. The feedback topology, combined with these control options, allows for nuanced shaping of the room sound—moving from subtle enhancement to overtly saturated textures depending on the settings.

Instead of linking the two compressors for stereo operation, Frap Tools opts for a dual mono setup, sending the left and right room mic tracks to separate 2806 units. This means each channel responds independently to its own dynamics, rather than reacting in tandem. The result is a stereo image that remains wide and natural, as one side isn’t pulled down by transient spikes on the other.

This approach is especially valuable when dealing with drum recordings, where asymmetrical hits—like a rogue floor tom—can otherwise cause unwanted pumping or narrowing of the stereo field. By keeping the units unlinked, the video demonstrates how dual mono processing can maintain width and clarity, even under heavy compression. It’s a subtle but effective technique, well suited to modular-minded engineers who prefer granular control over their stereo image.

The workflow shown is all about balancing body and punch. The expander section of the 2806 is deliberately switched off, focusing attention solely on the compressor’s action. Fast attack and release times are used to drive saturation, with the option to engage the classic button for a smoother, less distorted result if desired. The ratio is set high—around 6:1—pushing the processing towards limiting territory, but with enough nuance to avoid brickwall flattening.

Parallel compression is brought into play to restore some of the original transients lost to heavy compression. By blending in the dry signal with the parallel faders, the mix regains its snap and articulation, while the threshold knob is used to fine-tune output level. The video closes with a recap: two 2806s in dual mono, post mode for RMS pumping, and a workflow that’s as much about creative mix shaping as it is about technical gain reduction.