compression on vocals?

in general compression is used on vocals, If the singer volume changes in different parts of the song i.e one part singing one part screaming compression is used keep the volume at a constent level.
 
That would vary with things like what are your peaks now E.G. -4db -12db. And even the desired effect. Are there parts of the song that everything tones down on?

One question is hardware or software? if so what?

No one is going to give you exact setting. but with a little more info we might be able to steer you in the right direction.


F.S.

PS I am not a compression master by any means, I have been having pretty good luck with a dynamic processor.
 
Thanks for the reply I didn't expect any exact settings just some shortcuts in the experimentation world, I'm afraid I have the alesis 3630 (shudder) compressor:( I usually try around 4:1 with slow attacks and releases with mixed results depending on the song although I find on backing vocal passages which tend to be a little quieter this does not seem to work as well. Also I'm in analog world so 4db would be closer to the recording levels
 
Hi - The most common use for compressors in a mix is on vocals, and not just to level out screaming and quite parts. Even if a line is sung at a consistant level, there are peaks and dips in the level that when mixed in with the music will make the vocal alternately pop out, and get burried. Compression is invaluable in making the vocal sit in the mix. Sometimes an uncompressed vocal is what the song calls for, but it's rare.
Compression ratio's very, depending on the style and the desired consistancy of the vocal, and the consistancy of the singer. 4:1 is still on the light side, with 10:1 giving a really flattened track. The other interactive factor is the threshold setting, which determines the level at which everything below that level is left alone. Set it while watching the gain reduction meter, to either just smooth the peaks, or to squash the entire signal, or somewhere in between. Much experimentation is called for, and it may be different for every song. Oh, and maybe try a little faster attack, with a slow release. Slow attack times can give a very audible breathing efect that is not desirable.
Cheers, RD
 
bass, here are the settings I use on my vocals as a general
starting point;

Uptempo songs- 4 ms attack
.5 second release
ratio approx. 3:1
level reduction 3-6 db

Ballads- 5 ms attack
.5 to .7 second release
ratio approx. 2:1
level reduction 3-6 db

Hope this helps!

Chris

P.S. This is based upon using an RNC compressor.
 
Should have added that my threshold setting will be based on getting the amount of level reduction needed from song to song.
You can earball that!
 
chessparov said:
Should have added that my threshold setting will be based on getting the amount of level reduction needed from song to song.
You can earball that!
Click to expand...

...should also add that there are many different types of compressors, and the settings on one often are useless when transferred to a different model, especailly if it is a completely different design (Opto, Vari-mu, FET, or VCA).
 
that helps guys thanks chess, Rob, from this info I would say too slow release time is where I'm probably going wrong appreciate the info sometimes experimenting can be frustrating and the more you do it the farther away you get from the sound your looking for. Also I think I was over doing it on the ratio settings for backing vocals. There are times when I've really gotten some good sounds and others when it just ain't happening the problem with experimenting when your not sure what your doing can be if you found something that works good and you don't know why it can be hard to duplicate on another song especially if the style is different
 
littledog, that's why I put "RNC" in the postscript.
Sorry if my intention wasn't clear enough.
(VCA, for those who may not be as familiar with "types")

Good points though, which begs the question as to which compressor bass331964, is either using or planning to use.
bass, what are you using right now?

Keep in mind you could use gentler compression to get a vocal
or instrument to "sit" in the initial track, then add more later as
needed to get the sound you want during mixing.

Planning on getting an expander within the next month or two
to learn more about that.

Chris
 
I have the infamous alesis 3630 although I can't say I hate it as much as some people here if fact until I read the rack heading I never even new it was a bad compressor althought that would explain why I got it so cheap. I've never used an expander care to go into some details on it's use or perhaps point to a link
Thanks
 
Expanders are commonly used in professional voiceovers, because the
speaking talent can get within 2" of the microphone, and an expander
can be used to drop close-up noises. Otherwise you'd get lip smacking,
etc. Since vocals are almost always recorded at a farther distance,
it's rarely used as a result.

Your best move would be to sell the 3630, and get a better compressor.
The champ in the "under $200" catagory would be the Fmr. Audio
RNC compressor. Even at under $100, a used
Symetrix 525 or a Presonus Blue Max would be a big step up.

Chris
 
When you learn what good compressors set properly can do you will also discover that the best setting for the 3630 really is where it holds the door open or the paper down. Or you can injure yourself trying to get it to sound good, even in bypass. Those of us who care would like to spare you that.
-kent
 
Well I'm in the process of building a cpu to go digital with and since cash is a restriction on such things right now I'll wait on using it as a paperweight until that project is finished, but I'm going to keep my eye out for something better...
I appreciate all the replys...
Thanks for the education on this unit I used it yesterday and it was making me frown maybe ignorance was bliss?
 
Your music will not suffer greatly for the lack of a compressor. They're mostly necessary for vocals as explained above, but it's in proportion to the vocalists ability to hold a consistent amplitude level so they don't disappear. Aretha Franklin once told an engineer not to use one because, "I compress myself, honey!" Unfortunately, most singers aren't that good. My point being, you can do a lot better by coaxing more even performances from the players and riding the faders at mix time, especially with automation which you'll have with your new DAW. Many pros prefer that to letting a box rough up their sound, but of course they're really good at it.

If ignorance is bliss, that explains why I'm so happy!
-kent
 
If "bass"'s system will be 24 bit (or even better 24/96),
then having the extra headroom will make initial compression less
critical. I'm a huge Aretha fan myself, however, she was being recorded to a top level reel to reel that will have a gentle compression to begin with unlike digital!

If you're building a computer system anyway, why not get it to run at 24/96, and just use digital plug-ins later during mixing?

Chris
 
Agreed absolutely! With today's higher resolution a/d converters, you have the headroom to dispense with tracking compression altogether. So maybe there's hope for the future after all.

And I still would have tried to sneakily patch in a limiter on Ms. Franklin for safety if that had been me.
-kent
 
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