over compressed vocals

You might not want to compress the super high or low stuff, so try having one band compressing 100Hz-2kHz and another band compressing 2khz-10kHz using the same compression settings. A good source for many newcomers to digital audio, for sure. But this is what I start with 80% of the time. I just need a faster PC. This sounds more natural and musical. When used incorrectly, compression can quickly ruin a good vocal recording and make your music sound amateur and over-processed. One point of clarification/confusion. That’s so great to hear! Don’t buy plugins until you really see the need for better plugins. Start with a fast attack time of 2ms and a medium release time of 80ms and go from there. Your style is great. No problem at all, and thanks for your comment. Approach multiband compression in a similar way to EQ. Inside this new free masterclass, you’ll learn the secret to making radio-ready music at home. A ratio of 2:1 means for every two decibels over the threshold, the signal will be compressed into one decibel. Try adjusting the tone of the voice with multiband compression instead of EQ. You may be wondering, then, “why is compression so important on a lead vocal?”. Watch this free masterclass and get a complete framework — or “blueprint” — for professional mixes. NOTE: Always experiment with plugin order. That’s why it’s good to apply light compression with outboard gear when recording if you have the equipment (don’t worry if you don’t). Oh my goodness, you saved my life! By compressing a targeted frequency range (usually a small range somewhere between 4-7kHz), those frequencies can never rise above a certain volume (as the de-esser will compress them when they start to take off). To make them sit further back in the mix, try applying fast compression with an attack time of 1ms or less. Your work is truly world class and I can’t thank you enough for what you’re providing! To avoid over-compression but still keep your levels in check, automate the volume of your tracks. It can sound more subtle than applying compression directly to the main vocal – great for lighter genres. If you record with a dynamic microphone, sibilance probably won’t be an issue. Thanks! When I got home I'm gonna try a few things out. Apply EQ or, Compress two or three wide frequency ranges individually, Target specific frequency ranges to either enhance or reduce them, Create your own de-esser by targeting the sibilant frequencies (this varies between singers but is usually somewhere between 4-7kHz), Tame room resonances with multiband compression rather than cutting them with surgical EQ (especially if the resonances only appear when the vocalist starts singing loudly), Apply a broad compression band from 3-5kHz to reduce harshness, If the vocalist sounds nasal on some words, find the guilty frequencies and target them (somewhere around 800Hz to 1kHz), To compress the lows and bring them up so that they’re always present (to add thickness and warmth). I’ve been a professional engineer for over 30 years and still found a few things to glean from this… nice job and thank you for sharing these tips! Man thanks for the tips but i have to ask where you get them compressors from. Later in the mix, experiment with moving it to the end of the plugin chain as this sometimes works better. Start with a medium-fast attack time of around 3-10ms. Copy the same settings to every other band. That’s the truth. Thank you so much!!! So go and check it out now. Any will do. If you’re having problems with a particular frequency range, multiband compression is sometimes better to use than EQ. With this new approach, you’ll know exactly where to spend your time and energy. Ask yourself these questions and come up with an idea of what you are trying to achieve with compression. Thanks again! Over-compression usually eliminates all (or most of) the dynamics. I understand better now how you work your attack and release on vocals, Thanks for this, helps a lot. If there are instruments battling the vocal for space in the mix, you can use sidechain compression to get them out the way. You can decrease elements by compressing them and then not bringing the gain back up. If you have a guitar part that gets really quiet during the verses, don’t compress the life out of the whole track just to turn the loud parts down. But I propose an alternative – gain automation. Once you’ve settled on an attack and release time, bring the ratio down to somewhere around 1.5:1 and the threshold back up to around -24dB. I watched your video with great interest, but honestly, for a beginner like me, none of it made any sense at all, it was just too complex and high level. Then I use 4 sends: The way you teach and create instant aha moments with your fluid explanations and easy to follow methodology has revitalized mixing for me. The truthfulness in your lecture is what makes it very priceless. That should be enough. In short, when the vocalist sings louder than you want, the compressor decreases the volume. To do this, a faster attack time and higher ratio are needed. It gives you a lot more control over the amount of compression. But what if I told you that you don’t have to be an expert (with years of experience) to make professional music at home? You do this with automation, NOT compression. Rob hi! Rob, Also find out what you need to do days before the service. Thank you so much! My mixes sucked for years until I discovered this ONE THING that gave me the ability to make professional quality music at home.

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