If you have a particularly sibilant vocalist, it’s worth going through the track and manually reducing the levels of sibilant words with clip gain. Does it sound TOO aggressive for the vibe of the track? The truthfulness in your lecture is what makes it very priceless. thank you very much, you have no idea how much my mixes has improved. In short, when the vocalist sings louder than you want, the compressor decreases the volume. Some words sound different to others, and this is a great alternative to using EQ automation (it’s much faster, too). Create a new aux track. Learn how to make radio-ready music at home… without wasting hundreds of hours on YouTube. But this is what I start with 80% of the time. Best DAW 2020: Which Digital Audio Workstation Works Best For You? When used correctly, compression is a key ingredient for vocals that sound professional, modern and radio-ready. Using Super Fast Attack Times. Spend plenty of time adjusting the attack and release time until you are happy with the vocal.   Who knows how much great music you will be responsible for, because of your aid to independent musicians. The p b plosives occurence was my armetur compression It can sound more subtle than applying compression directly to the main vocal – great for lighter genres. Think about how you would like to increase or decrease different elements and emotions of the vocal. I carefully balance them with the originl and sum them to another chanel in which I perform: You can push it even further than that if you want – it depends on the style of music. After just one day reading and absorbing some of the content on musician on a mission I must say I am amazed. How dynamic is the vocal? Btw, my vocal processing chain looks something like that: Have you any advice about using compressor for film dialogue mixing? In most cases, the genre will require you do both of these things. Rather than using one heavy compressor with a 10:1 ratio that’s applying 10+ dB of gain reduction, it’s better to use multiple compressors that each chip away at the vocal applying 2-3dB of gain reduction. Drums and bass are the rhythmic foundation of your song, so it’s always good to make them consistent and punchy. Apply EQ or, Compress two or three wide frequency ranges individually, Target specific frequency ranges to either enhance or reduce them, Create your own de-esser by targeting the sibilant frequencies (this varies between singers but is usually somewhere between 4-7kHz), Tame room resonances with multiband compression rather than cutting them with surgical EQ (especially if the resonances only appear when the vocalist starts singing loudly), Apply a broad compression band from 3-5kHz to reduce harshness, If the vocalist sounds nasal on some words, find the guilty frequencies and target them (somewhere around 800Hz to 1kHz), To compress the lows and bring them up so that they’re always present (to add thickness and warmth). We can also shape the tone here too. Load up any multiband compressor and dial in 1-2dB of gain reduction on one of the bands. A good source for many newcomers to digital audio, for sure. You might have peaked in your actual recording…. Inside, you’ll learn the only 7 steps you need to go through if you want your mixes to sound professional. Does the vocal sound aggressive and full of energy, or does it sound boring a lifeless? Hey Craig, thanks for reaching out! Vocals carry the lyrics, so a little compression ensures lyrics are audible when the singer sings more quietly. Having direction and purpose is vital for keeping on track of what can seem like an overwhelming task. No problem at all, and thanks for your comment. After applying the ideals in this vocal compression article I was able to fix a frustrating vocal by ear almost instantly. But for mainstream styles, you can go one step further and apply a limiter to catch any peaks that slip through your compressors. With normal compression (downward compression), you make the peaks quieter and then increase the overall volume of the track. Then, later in the mix, you can use volume automation to make sure the levels are consistent with the feel of the track (for example, louder in the choruses). Adjust the release time so that the compressor breathes with the music, or use a fast release time for more loudness and aggression. I’ve been a professional engineer for over 30 years and still found a few things to glean from this… nice job and thank you for sharing these tips! Instead, you need to use volume or gain automation to manually ride the […]. Ive learnt so much.. In a second we’ll take a look at those two different approaches in a bit more detail. Rather than cutting those frequencies out of the whole vocal with EQ, you are just taming those frequencies when they appear with targeted multiband compression. THE GOOD The most obvious “result” you get from a compressor is that it turns down the loud parts. Thank you, thank you, thank you!!! Once you have a clear idea in your head, you can follow the procedures outlined in the rest of the guide to achieve your goals. Thanks! Thanks for it. Church Sound | Disclosure and PrivacyCopyright © 2020 Tiger Green Productions, LLC. Surgical EQ Your style is great. Another way to do this is to use the free OTT plugin (top of this list). Any adice? What do you think about that? https://musicianonamission.com/logic-pro-x-tutorial/. Load up a compressor on this new ‘Instruments’ aux and sidechain it to the lead vocal. Rather than cutting frequencies out the entire vocal, a de-esser uses multiband compression to limit the volume of those ‘s’ sounds. It’s also important to have an understanding of how a compressor works. Thanks,… I got it Start with a fast attack time of 2ms and a medium release time of 80ms and go from there. I give you ***** (5 stars), What’s the name of the compressor plugin used in this article? Load up a compressor and send your lead vocal to this new aux. But with upward compression, you’re making the quietest bits louder. Try adjusting the tone of the voice with multiband compression instead of EQ. I just need a faster PC. Bill. But when you are ready, I have a few favorite compressors for vocals. Set the release time to 20ms and adjust until the compressor is breathing in time with the music. My good friend Jason Moss explains this well in this video. But first, you need to decide on your purpose. For some genres, though, you may only need to do one or the other. Hi Rob. Wow…fantastic article Rob. The second compressor uses ‘dynamic compression’ to catch the loudest peaks and add more dynamic consistency. If they went 8dB over then the channel would only pass an increase of 4dB. If so, then you’re going to love this new free masterclass. You can do everything just right and still end up with music that sounds amateur if you’re missing a crucial step. Thank you for explaining the purpose and techniques of every step. Some mixers don’t use any direct compression on the lead vocal at all and ONLY use parallel compression. For heavier styles or dense mixes, you can experiment with more aggressive limiting to squeeze more volume out of the vocal. Dial in some heavy compression (aim for 6 dB’s of gain reduction or more). GREAT article. It gives you a lot more control over the amount of compression. Loud and soft sections sound similar. Change it’s output to the ‘Lead Vocals’ aux. You can decrease elements by compressing them and then not bringing the gain back up. That’s why it’s good to apply light compression with outboard gear when recording if you have the equipment (don’t worry if you don’t). Thanks man. my mixing dramatically changed & become much better after reading this article !