Is it good to use two compressors into one same vocal track ?

[CHRISTOPHERIBEN]

One to lower loud parts and one to raise lower verse parts ?

Also, can you guys help me out figuring out a effect signal chain to make my live recorded vocals sound actually live , like if they were coming out of the PA system ?

Thanks

 

[bouldersoundguy]

One to lower loud parts and one to raise lower verse parts ?

Sure, but that sounds more like a job for gain/volume automation.

Also, can you guys help me out figuring out a effect signal chain to make my live recorded vocals sound actually live , like if they were coming out of the PA system ?

Eq and reverb, mostly the reverb. You just need to experiment with different rooms, early reflections and other parameters to simulate that kind of space. You might also try a little distortion.

 

[CHRISTOPHERIBEN]

You know i have been lately trying to mimic michael jackson's vocal effect chain on the Song Beat it . Trying also to figure out the panning of the whole song cause his vocals on that specific song doesnt sound really above all other instruments. Do you have any ideas on that particular mixing ?

thanks for sharing your experiences with me

 

[andrushkiwt]

This is done all the time. I've been using different compressors in the same chain, lately. One de-ess, one to around 4:0 for overall volume, one to around 6:0 for peaks, and sometimes a third. The third one might be the same as the first, but with each contributing toward the gain. So instead of 1 comp giving out +6db make up, i'll put 2 giving out +3db each. I just like the sound the second compressor gives to the vocal. I've only been doing this for a short time, however - we'll see how it pans out in the long run.

 

[Massive Master]

You know i have been lately trying to mimic michael jackson's vocal effect chain on the Song Beat it . Trying also to figure out the panning of the whole song cause his vocals on that specific song doesnt sound really above all other instruments. Do you have any ideas on that particular mixing ?

95% of any recording is the source and how it's captured. MJ's voice, a SM7b and a decent preamp is going to go a looong way.

 

[grn]

Check this out... Taming Vocals: Compressors In Series | BenVesco.com

Depending on the song I sometimes like to send the vocals to a bus that's hard limited and bring the volume up slowly until I can just hear it affecting the mix and then bring it back down a little so it's subtle, but sometimes it really fills out the vocals. I've heard tell of people boosting EQ on the bus track around 4k as well to make it more exciting, but sometimes that makes it sound terrible depending on the performance/room/preamp/mic it was recorded on or in or around.

 

[Simman]

95% of any recording is the source and how it's captured. MJ's voice, a SM7b and a decent preamp is going to go a looong way.

Exactly this ^^^^^

You can definitely get the second two variables in Massive's post but obtaining the first one.... that one's going to take a bit of work ( will likely involve a shovel, fan and some air freshener to start )

 

[Robus]

I use two compressors in series on lead vocal. The first catches the bigger peaks, the second provides a gentle squeeze. It all sounds so much better if you go through the track and manually correct too-loud or two-soft sections before compressing.

If you've got sections of the song where the vocal is going to be at a different level--say a loud chorus or a soft verse, I find it simpler to split those off into different tracks.

 

[Brian Miller]

I use two compressors in series on lead vocal. The first catches the bigger peaks, the second provides a gentle squeeze. It all sounds so much better if you go through the track and manually correct too-loud or two-soft sections before compressing.

If you've got sections of the song where the vocal is going to be at a different level--say a loud chorus or a soft verse, I find it simpler to split those off into different tracks.

So much this. Definitely even out the super loud and super quiet sections before compressing. Better yet, treat them as separate tracks. If you can, track the soft parts on one track, gain staged for the soft section, and then track the loud parts in a separate take on a different track, gain staged for being loud. Much easier to treat in post if you do that.

 

[Simman]

Much easier to treat in post if you do that.

I would say this ^^^^^^ is a definite maybe. You can can spend hours (and I know I've done it) trying to get multiple vocal tracks/takes to "sound" like one consistent part. Definitely more difficult than dealing with a good vocal track that was captured in one pass....just saying

Using multiple compressors if common place, especially if you want to minimize the sound artifacts produced from hitting a single compressor really hard.

 

[andrushkiwt]

You can can spend hours (and I know I've done it) trying to get multiple vocal tracks/takes to "sound" like one consistent part. Definitely more difficult than dealing with a good vocal track that was captured in one pass....just saying

One pass is difficult for even the most trained singers. I think the key is to capture the other takes on the same day, as soon as possible. Once you've moved the mic, closed up shop, slept, etc...that tone will be slightly different the next day. Do them asap, and they should still gel just fine.

 

[Simman]

One pass is difficult for even the most trained singers. I think the key is to capture the other takes on the same day, as soon as possible. Once you've moved the mic, closed up shop, slept, etc...that tone will be slightly different the next day. Do them asap, and they should still gel just fine.

Agree

 

[jkuehlin]

One to lower loud parts and one to raise lower verse parts ?

Also, can you guys help me out figuring out a effect signal chain to make my live recorded vocals sound actually live , like if they were coming out of the PA system ?

Thanks

No, it's probably better to use three or four compressors on the same vocal track, but you have to know what you're doing. If you don't, then stick to one.

Use your clip gain to adjust raise and lower the volume differences between verses and choruses. Not a job for a compressor.

Big misconception: Compressors control dynamics. Wrong, wrong, wrong, and wrong again. Compressors shape transients and glue stuff into a mix. You use them for their sonic imprint and unique circuity, not dynamics. That's what a dang volume fader is for. These are tone shaping devices, not really dynamic control modules.

As to how many to use, keep throwing them on if they continue to add value to the track. I can use 10 of these things on a single vocal and give them all a distinct and clear function, and not have them get in the way of each other, but again, you have to study this and experiment with it a lot.

When stacking compressors, the general rule is faster ones first, slow stuff last. Transparent stuff toward the front, flavoring stuff toward the back. Bus compressors, always slow attack, slow release, no more than a 2:1 ratio on the 2 bus. If using a UA or UREI or Warm, or Daking for flavor, brighter ones forward, darker ones back.