Equalization and compression can both change how prominent a sound feels, but they work on different features. Choosing the right processor starts with listening for a specific problem rather than selecting a preset by genre.
Equalization reshapes the tonal balance
EQ changes the strength of frequency ranges. A voice that sounds muddy may benefit from a small reduction in its low midrange. A harsh cymbal may need a narrow cut rather than a broadband volume decrease. Large boosts can create clipping later in the signal path.
Use bypass comparisons at similar loudness. If the EQ only sounds better because it makes everything louder, lower the output gain before choosing a setting.
Compression responds to level over time
A compressor turns the signal down when it crosses a chosen threshold. Ratio describes the amount of reduction, while attack and release control how quickly it reacts and recovers. Too much compression can make breathing, noise and background ambience more prominent.
Start with gentle gain reduction. The objective for speech is often consistent intelligibility, not a perfectly flat waveform. A drum or guitar may require different settings because its transient character is part of the sound.
A useful order of operations
First fix the source recording where possible. Next remove distracting tonal buildup with modest EQ, then control distracting level changes with compression. Finally compare loud passages and quiet passages and check the exported recording.
There is no universal correct processing order. Your purpose and the effect design matter more than copying a preset. Save the unprocessed source so you can compare or reverse your decisions.