Vocal compression reddit. im trying to learn it too.

Vocal compression reddit I’ve always read to de-ess prior to compression, however I started using devil loc as a saturation on my vocals and found that a pretty non sibilant vocal gets a ton of sibilance added from this plugin so I just slapped a de-esser on the last insert of my chain after the saturation and it actually sounded better than having it before so like Yes compression is used to reduce the dynamic range of Sounds it’s also used to increase the dynamic range compression is also categorized in upward and downward compression, which can sound very different. I don't want to be using vocal compression to fix anything; for me, vocal compression is about taking good raw materials (a well-comped and -edited vocal track) and shaping them to fit the needs of the song. You can create some extremely aggressive compression that brings out the saturation and color in the compressor, and then mix it in ever-so-slightly for more "vibe" to your vocal. I like to use compression when things get a little erratic and the singer gets soft then loud to make a more equal balance. For percussive ripping metal vocals I like shorter attacks and releases because it gets really aggreasive and in-your-face. Try “serial compression” dial in a compressor like half way, then make up for it with a different compressor. You Compression in a nut shell is used to control volume, to level it out and make all hits even in terms of velocity or energy but also to add a character to a source. ) settings is used for sound design purposes to bring up details of the sounds. On the other hand, if the vocal is pretty steady then putting vocal Rider after the compressor can help put a finishing touch on it. Third, I always liked using the CLA-76 for my main vocal compression, and then if I felt like it was needed, I would buss the pre-insert vocal signal to an Aux, where I would add another subtractive EQ and then an even harsher compression, then bring the volume down until it complemented the lead vocal track just enough to where the vocal I run a LA610 (no compression here) or 1073 into a EL8X on the way in, 10:1 not catching much of anything, slow attack and fast release. However I do have multiple stages of saturation on my ld vox too, which are also compressing the track. Makes vocals sound incredible, and just work perfectly in a mix. The fry scream is from air and closure, that’s it. But my basic starting point often looks like this, in order: On the channel: High pass filter Delay - I like a quick single slap right on my vocal channel before compression, between 8-15% feedback. Then take the same vocal and compress it a mild amount with 3 different compressors (5dB gain reduction MAX). im trying to learn it too. Then usually use another eq after the compressor to make the brightness and presence work in the song. Screamer and singer here. It just works. If the vocals sound good over compressed, automate the breaths and mouth noises out. It’s almost completely inaudible and you retain all your stereo information, but it adds a lot more room for the vocal to It depends on the vocal. If you have a Vocal on track 1 and put a reverb on and set it to 50% essentially you have 50% of the original vocal and 50% reverb going into the channel fader. Something that can be really powerful is to use dynamic eq to sidechain a big pad/piano/synth sound to the vocal, but only in the middle channel. a. This subreddit is for the budget minded audiophile that wants to grow out of soundbars, boomboxes, mini systems, portable bluetooth, lifestyle speakers, and PC peripheral branded audio solutions. i often compress more with the FG-Stress on a VocalBus Thats a Good Chain which gets a big and own course explaination on the Slate Academy for your interest. Compression layer 1 - slow attack/fast release. It's not necessary. Compression before melodyne . Bass guitar at 4:1, electric guitars at 2 or 3:1, drums as well but with tight attack times, etc. I tend to compress everything but in varying degrees. There are so many other stages of compression during a mix. Throwing a vocal with too much low end or low mids into two compressors is a great way to make the Compression happens in several places, too. Chris lord alge (of the CLA plug-ins) always uses the 1176 on 3 attack and 7 release, 4:1 ratio. DO NOT sing a note and add level of compression to the true cords while they’re phonating, this is called glottal compression and will cause damage. Whatever the vocal needs more space in, say 1-2k, duck that about 4-6db. Sleaford Mods has this issue in a lot of their older songs. With all of this compression you are going to have to DS in stages and manually edit breaths and sibilant sounds. If you didn't already know, the ratio on a vari-mu compressor increases as the amount of compression increases, so it kind of creeps up on the signal in a gentle, transparent way, which is excellent for vocals. Compression on voice over is very common. A solid gold combo for nice vocal compression. Vocal compression refers to the degree at which the vocal folds come together to resist the breath. Being self taught is hard, but I am more than happy to give you a few exercises and lesson plans on the house. I use lower ratios and lower amounts of GR for vocals than FOH. Compression comes from the breath support, thanks to Bernoulli's principle! Breath support and mixing the way I explain it: I highly recommend working on strenghtening your breath support as you get accustomed to doing fast lip trills (OR lip+tongue trills at the same time - that makes you support the most) + head voice behind it (for an effortless mix) during songs/warmup, A lot of people (myself included) will use two forms of compression on vocals; a fast one with a relatively high ratio and slow one with a relatively low ratio. The way I mix is all the instruments go into one sub mix called the band sub, all vocal tracks go into sub mix called vocals. I'm not working with FL, so someone else might drop in and mention fitting stock plugins to use for (multiband) compression. VOCAL FRY, do not do vocal fry. Lemme try to explain. Hi! I was searching for a best way to tune vocals, and everybody mentiones Melodyne as a first go to treatment. Been doing this for 14 years, I have a degree in it, and I get paid to do it. It's my favorite way to use parallel compression on vocals. The best place on Reddit for LSAT advice. Vari mu: vocals, bus compression Vca: same as FET but more flexible. Never ever tracked a vocal in 2 decades with more than one compressor on the way in. Once I really understood what the effect was doing I was able to couple it with hand automation and make some really nice vocals working on a friends track. Using EQ after compression will ensure that the changes you make reflect exactly the knobs you are tweaking, without externalities. For example, tracking a raw vocal: Up to 7 db of compression on the way in 3-6 db of compression on the track within pro tools 3-6 db of compression on the vocal bus 3-6 db of compression on mix bus These are arbitrary and general numbers, but i wish more people specified WHEN the compression their talking about is getting applied. The primary reason for compression is to get away from the noise floor as possible, secondary to solve issues with a performance that's too dyamic. When I tried the suggested approach, I thought the Auto-Tune didn’t sound as good. In addition to my fellow redditors, I'd suggest going the other way and increasing compression on the rest of the band. View community ranking In the Top 5% of largest communities on Reddit. Subjective BUT: di bass, yes, especially if acoustic or has some peaking natural resonance. Fluctuating between 0dB GR and -20dB GR on a vocal can cause audible compression artefacts. Idk i don't work with vocals much but i like to experiment and i like to think of sound as an experimental art Get the Reddit app Scan this QR code to download the app now. The free Comper by Analog Obsession has two compressors in series. Of course! It all clicked, all at once And after that compression became a joy to work with. Make sure that your instrumental has frequencies "carved out" for your vocal to sit in. I mix rock, country, funk, pop, even jazz. In my experience with ableton is that “Dry/Wet Knobs” are actually a not Parallel Compression or Processing if you will. Having staged compression that solves different issues can really help to keep the vocal intact despite applying so much gain reduction. so post-comp, more compressor activity and less vocal riding, pre-comp, less compressor activity and more vocal riding. Maag eq4 or dangerous bax eq. FWIW, it wouldn’t be uncommon for a vocal on a professionally produced track to go through 5+ stages of serial compression from tracking all the way through the multiple busses. If you want colorful compression either the VladG Molot (which is very complex) or the TDR Molotok (Which Don't rely on a generic "vocal comp" preset to tell you how vocals should be compressed. My advice. A couple things to not do. He looked at my (general) vocal chain and said I should have EQ (cut up to 200) and compression BEFORE Auto-Tune. Check out wchich sounds better. Is it common for a vocal to require more EQing after compression? Usually after I do a first stage of compression with the CLA76, the low mids in the vocal appear again and it starts to sound muffled (I’m not recording in the best space so that may be contributing to it) The Reddit LSAT Forum. This subreddit is temporarily private as part of a joint protest to Reddit's recent API changes, which breaks third-party apps and moderation tools, effectively forcing users to use the official Reddit app. Consider the following example: Suppose you have a compressor with a 5:1 ratio at threshold of, say, -18db. It's a bit a hit or miss, but it's designed to get that overly compressed pop vocal sound. use multiband compression as an eq - sounds weird works great. Doesn't hurt to throw it on a track and maybe it's a fit. Vocal compression is one of the more challenging and nuanced mixing tasks and settings are going to vary widely between different styles, different vocalists, and even different recordings of the same vocalist in the same recording session. It's main two uses are vocal tracking and as a hardware insert on my lead vocal when mixing. Under a Volt opinion thread I thought they were talking about that effect, but I just looked it up and must've misunderstood something. Edit: Reread ur post, as a beginner, multiband compression might be hard to get your head around, so maybe stick with the other suggestions until you get the hang of audio tools like compression etc. If anyone could give me tips or leads, or even an Set a 4:1 ratio, 100ms (or auto) release and a long attack like 50ms. Understanding Vocal Compression. INCREDIBLE for de-essing (as well as full band compression and controlling bottom end). last but not least distortion - i prefer the ssl Try this in your next session. They both reduce dynamic range, hence the name "compression", like you are "compressing" your audio into a smaller dynamic range space. Parallel compression is when you layer the original finished vocal with a compressor that's hyper squished. vocals, yes to reign in sudden loud parts and bring up more subtle singers. You can adjust how much or how little compression is used, and you can also even use other vocals as "triggers" to raise or lower the compression used - say if you want the lead vocal to better match the volume of the background vocals in the chorus, for example. The best tool you can have for getting vocals to sit in a mix while sounding natural in my opinion. Upwards Compression makes quiet moments louder. Faster Attack will kill the transients (the initial spike in volume when a note hits), and slower will preserve those. Otherwise distressor style compression is usually associated with over-the-top vocal compression. Best LA-2A-Style Compressor Plugin for Vocals - Summit Audio TLA-100 . Past that I would send it into an 1176 style compressor. can often emulate other kinds of compression (except vari mu. Compressors just aren't made to work that hard. what you are doing is false cord compression . Achieving balanced compression can transform your vocal tone, making it clear, resonant, and powerful without strain. Fast release will make the compression stop sooner, if that makes sense. ) I found the best way to get my head around vocal compression was to really push and exaggerate it, keep it simple and start with one compressor and go nuts on the gain reduction while playing with the attack and release to hear how it clamps down (attack) and how it pulls the vocal towards you (release). Maybe you’re keeping your mouth a little too open and need to close down a bit more as you go up the scale. (Note: I use Auto-Tune Access, the cheapest and most restricted version. gradually and step by step. Lower the threshold until your hitting between 2-6dB of Gain Reduction. I had confused the makeup gain with being part of the compression function and thought that it was doing the same sort of thing symmetrically to the quiet parts as the loud parts. plain old Compression) makes loud moments quieter. ultimately Get the Reddit app Scan this QR code to download the app now. For example a lot of people like to use the la2a on vocals because as an optical compressor the compression is relatively smooth and spread out so it sounds like it subtly pushes things together, while compared to other optical compressors it's relatively easy to get good vocal compression on it (in popular opinion, whatever works for you works). now what ur doing is good too false cord can combine "eventually" with the if you put vocal rider post-compression and then level it, your compression is now baked in and you're then leveling the output into the mix. CLA-2A and CLA-76. The noise floor has more to do with the quality of the room the vocal was recorded in, the microphone, and the preamp on the audio interface Get the Reddit app Scan this QR code to download the app now. Start lowering the attack. If mixing IEM compression is cool, but you don't want to get to crazy because you don't want vocalist pushing too hard if they are trying to get louder. A very easy to use and great sounding realtime (duh!) tuning plugin. i like Fabfilter’s Q-2 and SSLComp (Waves) for taming vocals and then RComp (Waves) to catch whatever small peaks there might be EQ first. If I want more aggressive compression, I’ll use the compressor from cla mixhub before this as well. The compression basically isn’t even hearing the sibilance, that point is moot. Adjust your desired effect by experimenting. Apply Compression, to make sure that boosted frequencies are brought back to Serial compression. Mabye even create 2 seperate vocals, the one with compression first, and the other with comp second, and then combine them together. But yeah, multiband compression is hardly the first thing i'd reach for on vocals. If you're using a lot of compression on a vocal, listen especially for the breath sounds and the sound you hear at the end of a phrase after the last word. False cord compression. Heavy compression can bring those unpleasant sounds forward, sometimes making a normal person sound asthmatic. it'll never sound right unless there is space for it to exist in the arrangement. So technically I only do like1-3 db of compression on the track. Using compression allows you to sing much longer phrases on a single breathe. I personally don’t compress going into melodyne but I’m probably also working with vocals recorded with compression 90% of Compression really depends on the singer as well. which is kinda its own thing) hard to generalize because it includes fast snappy compressors like a dbd160 and slow glue compressors like the ssl style bus compressor Adding to the other comments, Short suggestion: Airwindows "Pop" might hit the spot. Best compressors for vocals and my problem with compression hi, i using 2 compressor on smooth vocals like lil tjay polo g and when i compression vocal it's not as even as I hear it on YouTube songs. If you are listening to an MP3, there's a crap ton of processing on that as well. Try to get them more balanced (eq-wise) and do less compression and see what kind of results you get. You do have to bring it down more, and possibly after the fact as well, but it can be nice for the ssss to hit the compression at a lower volume; (and compression is multiplicitave (sp?) and not additive, so if a vocal signal hits several compressors, say a distressor at 10:1, vocal bus at 4:1, and mix bus at 2:1, the effective ratio is 80:1 By this logic the vocal compression on the IEM should MATCH the compression out front, to stay true to the musicians performance. Or if there’s none, select something a bit more obvious so you can hear the effect (compression is hard to hear for newbies) something like a Ratio of 1:3. and take off RVOX, that's essentially another limiting amplifier. I like that the author isn't trying to pitch these techniques as new or special. If I track vocals with compression on the way in, I usually use this setting and do a small amount of compression when the singer gets loud. The quick compressor smooths out a lot of the sudden peaks and spikes in volume, the slow compressor is there to control the overall volume of the vocal (bringing up whispers and edit: also stay away from the all ratio button for vocals unless you're doing parallel compression. As established above, EQ before compression will change how the compressor acts, which means any adjustment you make to a pre-compression EQ will also change how the compressor responds. try to keep them tight . and just adjusts a few things to emulate the FET and Optical compression types. super simple but i’m not the best w eq and compression and don’t know how to get vox to sound this clean hate to break it to you but 90% of this was the tone of the vocal before a digital eq touched it (most likely). Fast release is “in your face” (vocal for example). It’s all about the skills. start with a clean note at first and try to build the grit from that. It's even possible to bring out the air even more. try 2:1 or 4:1 and set the input gain for like -4 db reduction max, slow release and slow attack (remember the knobs are backwards) and then set the output level accordingly Threshold: If set too low, even the quieter parts of the vocal signal may trigger compression, potentially amplifying any underlying hissing or noise. I firstly want to make clear that at the root of all "fry" based vocal effects, the core essential mechanic is vocal compression, which is created when the false cords get in the way of the vocal tract and create resistance against air flow, which is audible as a sort of strained distortion sound. R-Vox is a one-stop-shop vocal compression plugin that provides compression, gating (reduction or removal of very quiet sounds), and limiting (a form of more extreme compression) all at once. It sounds great and my ld vocal sound is one of the reasons why artists hire me. There are also other takes of the vocal panned about halfway to either side, de-essed a As others have suggested it's often better to spread compression for vocals over 2 or 3 compressors. Reel ADT. My main gripe on these vocals is the over the top distortion. (LesageSinging on IG), but you can also send them in this thread or via Reddit dms. however the better their setup the less itll be required weather its on or off at the desk. Like acoustic guitar and drums, drums with vocal, etc. Then set your threshold to the level where you’d say is the “normal volume” of your vocal track. I know we all fumble when it comes to the dark arts of (Vocal) compression essentially does one thing - keep volume more consistent. But i say not to even have your raw vocal recording peak past -12db for lots of head room when compression comes in. A couple dB or so of GR coming in, then the bulk of the compression in the plugin chain. Then try a limiter after to catch the peaks B. Vocals I will use lighter ratios, especially if I'm mixing IEM or wedges from the same desk. We are Reddit's primary hub for all things modding, from troubleshooting for beginners to creation of mods by experts. Once I've set my attack, release, and ratio to taste, I dial back the threshold until I feel it's giving the right tone to my sound. The use of compression is highly debated, especially today, with engineers pushing (or being told to push) songs to their absolute maximum volume. And better yet, its “under the hood” Back off the compression until it sounds more natural. We ask that you please take a minute to read through the rules and check out the resources provided before creating a post But a vari-mu is where it's at, imo, and I would go chasing that sound instead of wondering about going 1176 → LA-2A or LA-2A → 1176. Bellion is huge, he's recording this stuff on expensive mics with the best preamps and outboard gear possible, so it was Really helpful write-up, especially the compression overview. ) C. As you go higher up the scale, your vocal tract should be closing in on the vowel. Internet Culture (Viral) some tube saturation ITB, a few layers of light to moderate compression, and some EQ to push the vocal further towards "brightness" (cut lows, boost highs). Doing so will cause the vocalists to push their voices too hard attempting to counteract the compression, and they will ruin their ability to sing in the process. Apply Compression, if there is a simple VO then a Tube Modeled Compression would do just fine. This subreddit is unofficial and moderated by reddit community members and Zwift community The more focused and dynamic said range is, the more you'll "hear" the compression (40-80 for kick, 140-240 snare, 200-3K vocals, etc). Repeat ad infinitum and mash your head on the desk. Apply EQ, to attenuate or boost some frequencies slightly to make VO sound better. It’s helpful to set a compression ratio around 2:1 to 4:1, sometimes even up to 5:1, for most vocal tracks, offering a balance between subtle and firm compression. I usually like when the vocals are gritty but there’s certainly something off with this one. I send my vocal out to my reverbs, delay, and parallel compression Starting Points for Settings. Initial compression on input, light compression after a bit of eq, usually an opto compressor on the vocal bus, and finally some light compression on the mixbus. Asking for compression settings is always a shady thing because compression is extremely dependant on the situation and input signal, so dialing in some settings, someone suggested on the internet, is a recipe for disaster. Second ride the vocal track with your fader or use vocal rider by waves as the first plugin in line. Share advice, ask questions, promote your own material, and more! Mathematically, parallel compression and regular compression will often give similar results; even identical results depending on the compressor circuit type. While your doing that, plug ur nostrils and dont raise the tongue to see if youre not singing through your nose or just doing twang. i using fairchild 670 UAUDIO and tube tech cl1b anybody know why ? Slow both. On a vocal, opto can be really clean and transparent, even when doing 5-7 dB of gain reduction. Internet Culture (Viral) Amazing Compression helps put the vocal right up front. I do a couple of dbs on the actual track but most of my compression is parallel. But it is a great tool in your toolkit. once that's there, you can start to make the vocals themselves sound good. A few reasons: Mic doesn’t match your voice Mic chain (pre and comp) when recording vocals not set correctly or don’t complement your mic Bad mic technique (It sounds like the singer is gasping for air between lines or phrases because the compression is functionally reducing the volume of the vocal phrases to the same volume of the breaths. Reddit's home for let's players, streamers, and any other kind of gaming content creator! Exchange tips and tricks! Hone your craft! For me, slower release is a great way of locking tracks into a rhythm. Almost like you're blowing out birthday candles, but the vocal cords gently touch the edges of the airflow, just enough to make a pitch. try to use pressure air flow and try not to let go ur true vocal folds. It is made louder because the rest of the vocal is being attenuated. I've botched vocal tracking for clients before a few times with compression and I personally don't get the benefits of it on a short vocal tracking session. The best I've heard (by far) is the softube weiss ds1 mk3. Or check it out in the app stores     TOPICS. Any comments found to be breaking these rules will result in a deletion of the comment thread starting from the offending reply. That way if I ever get myself into a situation where I need the vocals louder than the instruments, I have one fader that can lower the Parallel compression is a great technique to add more power to your vocals, especially if they are sounding too thin. For longer notes, longer times. You just have to deaden the space if you don’t have a booth. ) The Fruity Compressor is the simple version of FL Studio's compressor and is an excellent tool for understanding how compression works. Speech path's use them the same way I use them - to build strength in the voice's muscles. Start with a compression ratio of 2:1-4:1, set a fairly fast attack time (~10ms), and a moderate release (~50ms). If you want Pop "in your face" vocals I suggest to first compress them with an 1176 type compressor with fast attack, fast release and ratio of 4:1 to catch the peaks and then add an You know what? It really is, straight forward and concise. Take a vocal and compress it a LOT with 1 of those compressors (10-15 dB of gain reduction). Parallel compression is a flavor I add only once the main vocal sits right, as what parallel processes will sound like is dependent on the tone of the vocals being sent to it. add eq, compression and reverb to the vocals to taste. Personally, I don’t like heavy compression during tracking. Parallel compression is helpful for changing the tone of an instrument, rather than leveling out its performance. He does mainly rock music, but it’s still a great starting point and a setting I use for a lot of music. Reddit iOS Reddit Android Reddit Premium About Reddit Advertise Blog Careers Press. You'll find that using compressors in series creates a thicker, more cohesive yet transparent sounding compression. They are derived from exercises used by speech pathologists for people with vocal dysfunction. Go in to an La2a and then maybe even an rvox or some glue compression on the bus. 2nd - you shouldnt be close to your microphone for screams or louder vocals, you should be a foot and a half or more away, this reduces sibilance and no, you wont sound far away on the track, thats a misconception. I suggest you check out session breakdowns on YouTube of pros showing their workflow. Even though the two flavors accomplish similar goals, they are not identical since they do it in As has been said, every vocal and every mix is different. I usually use mod delay in pro tools. Compression issue I've only ever used pretty low ratios (2-4) on the lead vocal track, and I'd have a duplicate track with a high ratio (10-20) mixed to taste and often distorted a bit. One with about a 2:1 or 3:1 that's a bit slower for program level, and another fast one with a higher ratio for when shit gets going. The This automatically raises the softer vocals while also lowering the loudest parts. Think of it this way - on a rock record you have two bass heavy things- kick drum, and bass guitar. The best thing is to experiment and see, it'll change based on a lot of factors; and the wide versatility of sound is one of the key benefits of an ITB compressor The attack and release control how intense the compression is. Make sure you have a proper environment to record vocals. I love the Scheps omni channel for some saturation too if you dont have any dedicated preamp/saturation plug ins. This is a truly underrated gem. It smooths out the natural dynamics of your voice and, depending on the compressor, can color the sound in a nice way. Also, DO NOT EVER COMPRESS VOCALS SENT TO MONITORS. Ofc the compression also Okay crazy, when I was collaborating with another vocalist who's using an Apollo, we noticed some significant compression / distortion on top my medium - high volume vocals. (Plus, as mentioned above, compression on monitor sends will lower the available gain-before-feedback. Clarity and natural-but-loud = eq before dynamics. Imo, pre fx volume automation or file edit is way better than compression for volume staging. Reddit's hub for metal musicians, engineers, producers, etc. But I wonder what you're doing that it kills the air of the vocals, compression done right should not cause such issues at all. I'll sometimes compress a bit on the way in to tame the peaks, but not to get 100% of the total amount of vocal compression. If there are a lot of dynamic variations in the performance, you would want to put it before the compressor. For wedges I will use compression sparingly and on , you loose gain before feedback and that's your best friend. Was just listening this in the car and noticed the same things many have said. EQ once my vocal is cleaned up I like to do my tonal EQing and boost the areas that sound nice. Before diving into the different types of vocal compression, let's consider the extremes. Thank you for clarifying. Haven't changed the setting in over two years: 4:1 ratio, slowest attack, fastest release, Input at -30, output at -18. If you can still make that annoying voice, congrats thats compression! I call them EVF exercises, or "extreme vocal function" exercises. If it's a good singer with good mic technique then you wouldn't need to worry about a higher compression ratio. Thanks for posting to r/singing! Be sure to check the FAQ to see if any questions you might have have already been answered! Also, remember to abide by the rules found in the sidebar. Clarity: Downwards Compression (a. I've been doing a lot of vocal work lately and in addition to using more common vocal processing techniques, I've realized that one of my favorite and most go-to techniques has been parallel compression. Reddit's home to Steinberg Cubase. duh :) I edit vocals pretty heavily also to make that choppiness even more evident What works really well on vocals is the vari-mu type of compression with a very fast attack. bus compression. They noticed that just a couple minutes of an exercise would produce a response in the voice. Yeah it applies to vocals too, although don't have the attack too fast or you lose the character. (You can get good results like this. It’s not the gear or lack of gear. Get the Reddit app Scan this QR code to download the app now. More compression is rarely the answer. Very loud parts are less loud, and very quiet parts are less quiet. Vocal compression/grit technique (ex: Chester Bennington, Chris Cornell, M Shadows, James Hetfield). I think Tokyo Dawn has the best free compressors at the moment. Saturation to give my vocal some beef This is usually my last slot and here I’m putting another compressor and/or DeEsser to smooth everything out completely. Try hitting the track with 3-4db gain reduction, use makeup to bring it back to level, then throw another comp after it using same technique. Before compression, after compression, both. Softube is another company that excels at modeling iconic hardware, and the company’s emulation of the classic TLA-100 from Summit Audio made our jaws drop. Sometime I record vocals with no compression at all on the way in. If a high ratio is used, especially with a low threshold, it can emphasize hissing sounds, making them harsher and more apparent in the vocal. (I think!) I use up to 5 compressors in my vocal chain. The use of heavy compression takes away the dynamic range of a Crushing a vocal - I never really got vocals sounding "professional" enough to me until I really put a lot of compression on them. There's likely to be compression on the vocal track itself, bus compression on the mix, and then final mastering compression. Sibilance. But it is a deep deep beast. You should start to hear the vocal phrases begin to be pushed back in the mix. The Vowel modifications are very important. Internet Culture (Viral) Amazing; Do you mean vocal compression, like, the singing technique? Or vocal compression in recording, like with a compressor? Reply reply Top 3% Rank by size . To achieve vocal compression try making the most annoying voice possible. On the VSC-2, for example, there is a "soft" mode on the ratio selector switch, which emulates the vari-mu style, also called variable transconductance. Compression does reduce the dynamic range of vocals, but it also changes the envelope of the sound and that change is proportional to how much GR is being applied. Look up vocal compression exercises and breath support exercises. With theatre performances, probably similar in variety to open mic nights, I usually end up with two compressors on each vocal. Adding on, while it may be difficult to learn how to recognize compression in general and figuring out what is too aggressive on vocals in particular, pumping is a dead giveaway that it's aggressive. Tune Real-Time. Reply reply [deleted] Then compress. More posts you may like r/Deathcore. How in the sweet fuck do I learn it? I know false chords, I know fry, but I can’t figure out this one to save my life. The chest "lightening" mechanism you're looking for is simply to feel a sensation of your airflow "blowing through" your vocal cords. Deessers are usually pretty necessary for vocals after compression and eq (but you can make due with a multiband compressor if you already have one of those), and I also love the waves tune real time for pitch correction as it can In my experience multiband compression is a blessing on vocals, but for some reason both on audio forums (gearspace) as well as with professional mixers there seem to be 2 types of people: the mike dean type that says "no Multiband compression on vocals ever" the jaycen joshua type engineer saying "2 on every vocal lmao best thing ever" Simply how I remembered them 😀 i would never eq vocals only after compression. of all subgenres and all skill levels. I tried everything with de-essing. Plus, as you probably guessed, you get everything you I really like the booteq mkii from Variety of sound or the TDR slickeq. k. take an eq, dip out the ranges that are covering up the vocals in the 2 track. . In general, compressed vocals is about to compress only the vocal chords, but doing so and with a lot of diaphragm support, is possible to create a distortion – which is different from a fry scream, that has a different approach, yes, when Sibilance is significantly quieter than the rest of the vocal, that’s the whole reason heavy compression accentuates it so much. Ratio: Higher ratios mean more aggressive compression. With the dynamic EQ I will usually tame offending frequencies in the mid and highs, using relatively tight bands. As a matter of fact, a couple of months ago I added a DBX AFS2 feedback suppressor to my bar band's PA. u should engage your true vocal folds too. Now as you’re listening bring the threshold down and get about 6dB of compression. From what I heard, the CLA brightness trick is also very popular in pop: send the vocal to an aux, apply ridiculous high end boost (like 6 dB at 4 k + 18 dB high shelf at 10 k) and then blend that aux --Compress pretty hard so that the comp is working most of the time, if not all. For me it was the best to de-ess after compression because I think it’s a smoother result when the compressor increases them and the de-esser really has something to work. Eq your vocal to vocal to taste but I’d recommend trying to be subtle with it and avoid boosting or cutting more than 3-5 dB unless you really need to change something in the vocal. Basically, vocal parallel compression involves minimal processing on the lead vocal and applying a more obvious Even without any compression the gate section is great to smoothly cleanup vocals. Not sure how it works but yes, compression on vocal mics absolutely increases feedback. This is just a quick example of how to start hearing compression. Sometimes the compression on the 610 gets used. Then you blend the signal from your wet parallel compression channel with the original channel to thicken/give more weight to the vocals. Also, a bit of saturation will give you a little more compression. And be sure not to think "compression makes things louder" -- common misunderstanding that can confuse the learning/use of a compressor. then comp with a higher threshold, then i boost highs with an EQ, then i do lighter compression at the end This is regarding vox My personal method for dialing in compression is first overdoing the threshold, as that heavy compression allows me to more easily hear the effect of the attack and release stages, and the ratio. Usually using either my hairball bluestripe clone, or Plugin Alliance purple mc77. Timed release is also a great way to get certain instruments present On a vocal specifically, I will use dynamic EQ before compression, and a multiband compressor with only the high band on after compression and before a deesser. Turn up the vocal, now the instrumental's too quiet, turn up the instrumental, now the vocal's buried. always handy to have a degree of compression on bass to even thungs out. Rather than volume staging manually, compression will do it for you with a few settings. Never even seen that. General rule for me: pumping dynamics = compressor before EQ. MixRack -> VCC -> PreAmp -> EQ -> 1176 (same as waves settings) then 2A( Hard Compression then Mix to 30% for parallel comp) -> FG401 for overall compression -> EQ -> thickness etc. After that I discovered some fun with really weird compressors like the "original" in the AR TG Mastering Chain, where it seems to include some combination of upward compression at low levels and downward compression at high levels. Or check it out in the app stores What's the best free compressor for vocal plugins Share Add a Comment. Terms & Policies For a rule of thumb for modern vocal compression, have 1 compressor fast attack slow release compressing like 8-10 dB, then another fast attack fast release compressing 6-8 dB, and then maybe a few dB on the vocal aux and a few more dB on For parallel compression on vocals you want to use a fast attack and release setting on your compressor, quite a hefty bit of noise reduction. It works because hearing the huge changes Pick a vocal preset first - that’s always a good place to start. "Opto" style "probably". With drums, you generally want to be mindful of the release time of your compressors, allowing the compressor to fully reset before the next hit. I also track into a vocal chain so I can instantly hear/see how the vocal will respond once it gets compressed again ITB. When setting up vocal compression, begin with a few good starting points. Using compression with OTT(multiband-comp. It was too much again, but it allowed me to hear the effect. I almost always end up around -12db gain reduction (sometimes more) for modern sounding vocals, but the process happens through 2-4 compressors. Initially I found that setting it up for each room was a pain because deliberately causing feedback would annoy the staff and patrons. This is not parallel. imf ytli qtflb fbftcod qkdlik pifljhh iyn vdd qhxz kbtvzz