Parallel compression involves minimally processing the main vocals and applying a more obvious compression to the same source on another track. Keeping them in mind will help you to stay on the right track. Also, it influences the groove or sense of motion to change the mood, to add some excitement and a bite, or on the contrary, to make it relaxed and floating. In other words: know what you’re working with. Often times, it can also push a vocal further back in the mix. If you must use compression, we recommend trying a ratio no higher than 3:1 for live use, along with shorter release/attack times. For more on compression, check out 9 Compression Mistakes You Don’t Know You’re Making. A lot of tweaking will be needed, and sometimes you may have to use completely different settings. Adjust the attack control while listening closely to the consonants. If the compression sounds too aggressive, turn down the ratio. Recommended Vocal Compression Settings The vocal compression settings that suit your vocalist using one compressor may not work using another compressor. How to use Multiband Compression on Vocals Fixing Problem Frequencies. You can learn more about mixing rap vocals in general from this helpful article at Pro Audio Files. Compression is bringing down the volume of the loudest parts and bringing up the softest parts of the vocal or any other sound. It’s not enough to just know why vocal compression matters, though. Since every vocal track is different, one must know how to properly use compression on vocals in every situation. This means that if you captured the perfect take, but the compression settings didn’t sound right, you would have to re-record the vocals and start over again. This approach works well on mellower tracks, where transparent dynamic control is often desirable. If the threshold is down very low but certain words are still getting lost, turn up the ratio. It’s worth researching the knee shape of your favorite compressors, as this will play a large role in the way they react. Less? Controlling Dynamic Range (Dynamic Compression) 2. Many guys have help me on the vocal EQ end. Compressing individual bands with different settings provides more detailed control over the signal and allows the engineer to alter dynamics in specific frequency areas. If the song’s central focus is the lead vocal, the goal is to make it sound like you’re in the room (or hall) with the singer and avoid any extreme effects. For subtle compression you’ll want 3-5 dB’s of gain reduction. The cover of Bohemian Rhapsody by a capella group Pentatonix is an example of this. Slower attack times, on the other hand, will emphasize consonants. Adjust the threshold, ratio, and makeup gain until you can hear every word of the performance clearly. The solution is to dial in a softer knee. This is where vocal compression comes in the picture. Compression that is added to vocals during recording cannot be undone. Faster attack times will pull consonants down. Copyright © 2021 MusicProductionNerds.com, condenses the louds and softs of an audio signal, 7 Best DeEsser Plugin Software for The Money – [Plugin Guide], The Best Cheap Ribbon Mic – Top 5 Picks under $300 [street price]. 1.Set the ratio to a moderate setting (~3:1). Listen out for any tonalinconsistencies, or moments where the vocal starts to sound muddy,sibilant or thin. This can make a vocal smoother and less aggressive. I understand the threshhold and gain part just trying to find out what settings most people use for their vocal compression. If the compressor is kicking in too noticeably, soften the knee. In general, faster compressor attack times will lower the level of consonants. Gain is the most simple and common parameter in audio processing. Focus is placed on the percussive characteristics of the delivery. Not every compressor responds to its input signal in the same way, and on top of that, not every compressor provides you with access to the same controls. A general rule is to apply just enough compression to distinguish them from the rest of the mids, but never so much that they overshadow the lead vocal. The effect is that the vocals sound smoother and less aggressive. We use compressors to make changes to the sound’s amplitude (volume). Heck, it’d certainly save me a few keystrokes. I wish I could do that too. Ideal Release time for Vocals – However, there are no set rules for any of the compression parameters for vocals, you can start between 500ms to 600ms and gradually decrease the time to get it … The number game starts now… Assuming your compressor plugin doesn’t have any rap vocal preset hare we will create our own preset by changing the parameters of the compressor. Finding the best vocal compression settings depend on so many different factors. If you want to learn more about our affiliate partners, click here. Generally speaking, the more mainstream the music style, the more compression you can use. Compressors allow you to fine tune a few key settings in order to control changes to both the amplitude and time of the signal as it passes through. On the other hand, slower attack times will emphasize consonants. How To Nail The Perfect Threshold And Ratio: Sometimes, you can hear the compressor clamp down on a vocal when it hits the threshold. As we said when choosing a good microphone for rap, clarity of diction is key here, and slow compressor attack sounds will help to achieve that. However, there are a few key parameters that you can keep in mind when approaching vocal compression. So you’ve recorded, edited and mixed some killer vocals and now you’re ready to compress the song to make it sound professional. What is a great ratio and attack setting for rap and r&b vocals. Why You Should Use Compression on Vocals On the other hand, a hard knee will make the compressor react more aggressively when a vocal hits the threshold. If the signal is quieter than -10dB (i.e. Compression is the key to getting a vocal to sit on top of the mix. But they’re far less important, and focusing on them will often distract you from what matters most. Lead vocals in pop and mainstream music are the centre point of the mix. Using compression settings for mastering can significantly reduce the dynamic range to make your mix clearer, dense, and emphasize the details. Now I have a compression setting question. This can often sound more natural and less processed than Option #1. This can help put a lid on vocals that need to be tightly controlled. Thanks And I don’t want to mislead you. The attack and release parameters are concerned with the time window during which the compressor is active. Older or less mainstream music tends to preserve the dynamic range (louds and softs) of different moments in the track. This setting works well on harder styles of music, like mainstream pop and rock. It reduces spikes in the mix. But as you turn it down towards negative infinity, more of the audio gets attenuated or quietened. Now that you know how to EQ vocals to achieve clarity and presence, let’s talk about using compression on them. Vocal Compression Settings. Recommended Compressor Settings for Different Instruments and Vocals. 1) Set the starter vocal compression settings Below I provide some settings you can start with, but ultimately you won't need them. The vocal sounds muddy when the vocalist applies vibrato 3. Your compressor’s release time will control how it shapes the tail ends of words and phrases. These guidelines should help you to find a starting point for compressing your vocals. The vocal sounds sibilant and harsh w… MusicProductionNerds.com is a participant in a variety of affiliate programs, such as Amazon Associates and Loopmasters Affiliate Program. When in doubt, simply ask yourself the question—can I hear every word? This means that some the links on our site are affiliate links. Learn how your comment data is processed. It can also make a vocalist sound like they’re spitting out the words. However, a little compression on the way in can help with keeping dynamics even and creating a good vocal sound, and it’s certainly common to compress vocals on input, although perhaps not as much as it once was. What happens next? Threshold; Ratio; Attack; Release; Knee; Makeup or Output Gain; Vocal Compression Settings & Starting Points. There are no magic settings that work 100% of the time. Set the make-up gain to 0 dB (as well as the output gain if you have that). 1. For example, 2:1 is considered gentle compression, while 8:1 is considered extreme. While it’s obviously a great idea to seek tips, tricks and guidance when you’re learning how to mix, and to consider how you might apply that advice, you also have to be careful that in the process of applying it you don’t lose sight of the big picture. This is good for the spitting, popping sounds of rap and hip hop vocals, and adds articulation to a recording. A knee is also a time control. Here’s where to start…. All of those knobs on a compressor have different duties. This allows you to harness the power of a heavily compressed vocal in a way that isn’t easily noticed. This will cause compression to ease in as the signal approaches the threshold, making the transition from no compression to compression more subtle and less obtrusive. Changing the attack will change how quickly the compressor kicks in and begins reducing loudness. A softer knee means a smoother sound while a harsher knee means more abrupt changes in volume as the sound dips and jumps around the threshold value. Ratio: 3:1; Threshold: As low as possible in most cases, with the compressor releasing towards the end of sustained notes.Pay attention to your meter! Let the answer be your guide, and you’ll remain on the right track. Compression settings for lead vocals should be as natural sounding as possible. It brings up the background noise, breaths and emphasises sibilance in a vocal. It controls the suddenness with which the sound is compressed as it approaches the threshold. If your vocals are too harsh, muddy, nasal or too edgy in some parts of the vocal performance and not the entire song then a multiband will be the best option over a static EQ. To truly understand what your compressor is doing, I encourage you to use extreme settings when you’re experimenting with it (specifically an extreme threshold); this will allow you to really hear what it’s doing, and from there you can dial these settings back. Compression can also give energy and feel to the vocal performance. Compressors are a indispensable part of recorded music. Speed it up. When you’re searching for the perfect vocal compression settings, there’s one goal worth paying attention to: Yes…color and character matter too. Backing vocals should be thought of more as instruments than vocals. Different styles of vocal delivery and range will require different settings, right? With that being said, it is possible to quickly dial in the right vocal compression settings, if you know what to listen for. Want more of them? Make-up gain simply allows you to turn it back up to match the levels in the mix. Well, any audio above -12dB is then due to be compressed. The ratio is generally pretty high to ensure that weaker syllables don’t get lost in the mix. It reduces the dynamics by turning down loudest parts and bringing up quiet parts. Here are my go-to compression settings for vocals: Ratio: 1.5:1; Attack Time: 15ms (but up to 30ms for more punch) Release Time: 40ms; Threshold: -24dB; Gain Reduction: 2-3dB; Knee: Soft; Makeup Gain: 2dB; Remember that these settings are only a starting point. However, compressing is an art and there is no hard and fast rule to apply the same settings on your vocals. There are a few common problems that can betreated with multiband compression: 1. Vocal compression can cause its own problems. While some compressors offer independent control over this parameter, others have fixed knees. Compressors are super-useful devices for smoothing out volume spikes while also giving quieter sounds more punch and presence. Your compressor’s attack time will affect the consonants of a vocal performance. Dressed To Compress: Your Vocal Compression Cheat Sheet. There’s no one-size-fits-all approach when it comes to vocal compression. 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