Ideal compression settings

[Funkwave]

I'm not happy with my Nuendo compression presets. Do you guys have any favorite or "standard " settings that you use to equal out volumes in vocal tracks? Ratio, attack, threshold, release, etc.

 

I'm getting alot of vocal tracks where the chorus is sang much louder than the body. I would appreciate any advice on starting point settings.

[TonyCrazyMan]

In most modern music, compressors are used to make the sound punchy and in-your-face. The trick to getting the punch out of a compressor is to let the attacks through and play with the release to elongate the sound. Fast attack times are going to reduce the punchiness of a signal, while slow release times are going to make the compressor pump out of time with the music. Since the timing of the attack and release is so important and it's rather difficult too, it can be difficult sometimes to get it right, so you need to have some kind of method. Do the following:

 

1) Start with the slowest attack and fastest release settings on the compressor.

 

2) Turn the attack faster until the instrument (snare) begins to dull. Stop at that point.

 

3) Adjust the release time so that after the snare hit, the volume is back to 90-100 percent normal by the next snare beat.

 

4) Add the rest of the mix back in and listen. Make any slight adjustments to the attack and release times as needed.

 

The idea is to make the compressor "breathe" in time with the song.

 

A good starting point for a lead vocal is a 4:1 ratio, medium attack and release and the threshold set for about 4 to 6dB of gain reduction.

[Daniel Smart]

You would do yourself the biggest favour by learning how to use the compressor as a tool, rather than just having different presets.

Here's an article which might help Compressor Info

 

As far as volume differences go for different sections of the song, the ideal is to get the singer to track with the desired volume for each section to start with - generally easiest if you're either doing it all together or tracking the vocal after the main parts are done. The next step should be riding the faders/volume automation if necessary - and is a more preferable option for what you describe. It gives you control over the volume for the sections without sacrificing the dynamics that you want in a track.

 

As far as guidelines go, I'm no expert but my preference is to do everything you can to make the track sit in the mix right first, then be light-handed with whatever compression you may need after that. For backing tracks and pad/backdrop type stuff you generally want much less dynamic range so you might want to use more compression there.

 

-Daniel

[Funkwave]

 

Originally posted by Daniel Smart As far as volume differences go for different sections of the song, the ideal is to get the singer to track with the desired volume for each section to start with - generally easiest if you're either doing it all together or tracking the vocal after the main parts are done. The next step should be riding the faders/volume automation if necessary - and is a more preferable option for what you describe. It gives you control over the volume for the sections without sacrificing the dynamics that you want in a track. -Daniel

 

 

Daniel, That was my first thought, ride the faders on automation. I was certain someone would say why do that if you can level out the dynamics through compression. Im not for overdoing effects But it makes me think, why do all of the high end, multi thousand dollar mic pre's have optical compressors on them??? Is it to level out dynamics or more for vocal effect??

 

I doubt there are any singers who can do a whole song with their voice riding the EXACT same DB level throughout??