I've added about 3 pages worth of discussion on RMS versus Peak style compressors in the second edition of my book. Here's a tip: If the snare drum stands out too far and you want to zero in on that with less effect on the vocal, then likely you need more peak sensitivity than RMS. However, with either style of compressor, if the attack knob is versatile enough, you can "mimic" or vary your style to taste. For de-essing, peak compression is tops. For basic leveling RMS compression usually wins out. And there are compressors with a continuous control to vary its style between RMS and peak. BK Quote: Originally Posted by oblivio Hi everyone, I've been researching all over the internet to find out as much as I can about the two different modes of compression. I've so far understand all the definitions, technically speaking the behaviours, and all the calculations of RMS. But I still dont quite get the difference in the outcomes; so RMS deals with the average signal of the input and doesn't handles the peaks? What if the input signal only has so few peaks above the threshold, then it is better off using the Peak mode? What I'm looking for is more of a visual explanation of the how an original input signal would differ by using either the Peak or RMS mode. if anyone can help me out? THANK YOU!