Vocal comp

ecktronic

Mixing and Mastering.
I started thinking about why compressing vocals can make a vocal sound fuller and warmer even with just plug-ins.
Am i right on saying that when you compress a vocal it brings the loudest frequencies down, so that when you apply the gain make-up the quieter frequencies are louder than before compression. So this would bring up the lo mids to give a fuller warmer sound. Vocal frequencies are loudest at the hi mids yeah? Like 1k-5k?

I know it isnt just that simple, but this is the basics of what happens, isnt it?
 
Ill usually use a more transparent compressor to even things out. I find the Rvox works well for this.
Then another to add a character to the singers sound.
Analog channel, Psp vintage Warmer, 1176, La2a...those are a few that add a character.
 
xfinsterx said:
Ill usually use a more transparent compressor to even things out. I find the Rvox works well for this.
Then another to add a character to the singers sound.
Analog channel, Psp vintage Warmer, 1176, La2a...those are a few that add a character.

This is exactly what I do. Rvox or Rcomp to smooth it out. C1 to beef it up.
 
Close, but don't light that cigar just yet :)

ecktronic said:
I started thinking about why compressing vocals can make a vocal sound fuller and warmer even with just plug-ins.
Am i right on saying that when you compress a vocal it brings the loudest frequencies down, so that when you apply the gain make-up the quieter frequencies are louder than before compression. So this would bring up the lo mids to give a fuller warmer sound. Vocal frequencies are loudest at the hi mids yeah? Like 1k-5k?

I know it isnt just that simple, but this is the basics of what happens, isnt it?
You are close, but there is one assumption that is just a bit off...

You are basically correct that compression "tightens" (lowers) the dynamic range between the loudest sounds and the quieter sounds so that when you then bump up the output gain or overall volume, the quieter foments are boosted in volume.

However, vanilla compression (we're not talking about multi-band compressors here) brings the loudest sounds down regardless of frequency. While some of those loud sounds might be high-frequency transients, many of them are also low frequency pops, proximity rumbles, etc.

There are probably two main reasons that compression adds "warmth" to vocals. The first being that the most pleasurable sounds to come put of the human throat are those that are easiest for the vocal chords to produce. And those tend to be ones where the vocal chords aren't being pushed to the limits (some operatic voices excluded; perhaps.)

The second, and perhaps larger, reason for compression adding vocal warmth is the distortion added by the compressor circuitry itself. When such distotion sounds bad, it's called noise. When such distortion sounds good, it's called coloration. Engineers tend to prefer a limited set of mics, preamps and compressors for use on vocals because the type of coloration they add to the signal happens to be very complimentary to most human voices. Iron like tha LA2a, the 1176, the U47, etc. are famous to the point of cliche for use on vocals because the "tube-like" syle of distortion they apply to the signal actually can make the human voice more pleasing sounding than an exact reporduction without such "coloration" would.

G.
 
Cheers southside glen. I didnt even go out and buy the cigar as i knew some smart ar*e would know alot more than me!! ;)

I usually use two compressors on the vox. Not Rcomp though. I use the first compressor that comes with Pro tools and the C4?
I use a hard compressor at tracking though so to ensure no clipping. The threshold is usually at like -3dB. Could this be bad for my recordings?
 
ecktronic said:
Cheers southside glen. I didnt even go out and buy the cigar as i knew some smart ar*e would know alot more than me!! ;)

I usually use two compressors on the vox. Not Rcomp though. I use the first compressor that comes with Pro tools and the C4?
I use a hard compressor at tracking though so to ensure no clipping. The threshold is usually at like -3dB. Could this be bad for my recordings?

I would say it depends on the quality of the comp you're using, and whether or not you're ok with committing to that sound a little bit going to tape.

If you don't want to compress on the way in, you might try recording in 24 bit (assuming you have the drive space and you're not already doing that). I find 24 bit gives me enough headroom to not have to compress on the way in, unless the vocals are really dynamic.
 
Yeah the vocals are really dynamic. and i am recording at 24bit. I mean the singer can work with the mic. He knows to pull back when singing loud parts, but not too far back so the mic picks up too much "room". Its just that hes got a real powerfull voice so when he goes for it he really goes for it. I think when he sings naturally he gets a better sound from his voice. By this i mean not holding back on the power of his singing at the loud bits. Louder singing produces a different sound (tonal and level) than the same part sung quieter.
 
I avoid compressing on the way in if I can. And -3dB is still quite quite a bit of room for your transients to get squashed- though probably not that big a deal on vocals. If your singer goes into a loud part, though, and its constantly hitting the threshold on the compressor- well I hope you like the sound you're getting because nothing can undo it. If you do like it, cool!!

Really, though, with 24 bit recording there is no need to push the gain all the way to the top like that. The meters in pro tools lie a bit when it comes to the over all level of your recording- in favor of showing you exactly where your peaks are. And even when the clip light turns on you still have a couple dB left before it actually clips. If you don't HEAR it clipping, it isn't clipping.

If I have really dynamic vocals I'll record the loud and quiet parts seperately. I find that having the vocalist back off the mic for the loud parts can introduce too much room sound- especially if the room isn't treated well. Add a compresser in this situation and you end up with a vocal track that changes character somewhat uncontrolably as the singer changes volume and distance from the mic.

As far as compression during mixing- I'm a huge fan of the BF76 on vocals. I'm doing mostly rock stuff, though, so it fits that genre well. I try the Rcomp if I need somethign a little more transparent- but even the BF76 can be set so that it sounds more transparent. I almost never use the pro tools compressor plug, though. If you have the T-racks suite, try that compresser, too- its handy for somethings and sounds pretty clean.

One thing to try is setting the ratio really low (2:1) and the threshold way down (-40dB). This gives a gentle compression to the whole track instead of just turning down the loud parts- evens it out very transparently. Then set an expander to close down the track just above the noise floor. Voila- smooth vocals laid on a bed of silence.

Take care,
Chris
 
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