Multi-stage compression across analog and digital domains achieves high levels with less audible artifact than a single heavy stage

Eddy Schreyer’s technique applies small amounts of compression across multiple stages in both analog and digital domains, so no single device works hard enough to be clearly audible; the cumulative effect reaches competitive loudness without obvious artifacts. He also uses digital limiting to peak-limit a specific hot instrument (e.g. a loud snare) without EQ, which would otherwise also pull down vocals and guitars sharing that frequency.

Examples

Schreyer uses analog and digital compression plus digital limiting together; he’ll ‘clip the peak off’ a hot snare with a digital limiter rather than EQ the snare frequency and drag the vocals down with it.

Assessment

What is the advantage of distributing compression across multiple gentle stages rather than concentrating it in one device?