Vocal Compression

TACTIK

The most unique producer on here
ill o.g.
Battle Points: 527
I use Ableton Live for recording vocals and adding compression now (using Sidechain when multiple vocals overlap with back ups n stuff) because it's short, simple and sounds legit with a good mic like my Rhode NT1-A in a booth! I will never pay $2000 for a ProTools class when I could just make new EP with all that time I would rather utilize then being in a classroom. But I just came across a really dope note I wrote 10 years ago for Pro Tools 8 I was using after one of my first MC homies named Nigel AKA Concept Ill told me exactly how to do it just right and feel like there are a few producers could utilize this recording vocals. For short we called it Nig's compression:

KNEE: 10dB
ATTACK: 1.2
GAIN: 20.8dB
RATIO: 5.2.1
RELEASE: 175ms
THRESHOLD: -40dB
 
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OGBama

Big Clit Energy
Every recording is different, there really isnt a one size fits all setting for compression.
We have to rely on our ears as we add compression, which depends on recording levels and how dynamic the recording is. When it comes to attack, you have to listen to how the transients are affected by the compression as our ears need to hear the transients on vocals to know what words are being said and if the attack is too fast then we lose them. Release can be fairly quick on vocals, less than 100ms.
As a starting point, a ratio of 4:1:1 is a good starting point. 100ms attack is a good starting point as well as 100ms release. Then tune it until it sounds how you want it. You want to listen to the transients and when you can hear them disappearing then you pull back on the attack.
The threshold is entirely dependent on the level going in to the compressor, the ratio is dependent on how dynamic the recording is, and the gain is entirely dependent on how much compression is taking place to bring the level that comes out up to the original level going in.
It does take a while to be able to hear compression, and to understand what compression is, and why its used and when to use it. Its great on vocals as they can be pretty dynamic, and using compression can prevent some parts disappearing into the mix and keeping it at a consistent level.
The key with compression is that once you bring up the makeup gain IT SOUNDS LOUDER EVEN THOUGH THE ACTUAL LEVEL ISNT LOUDER, ITS THE SAME. It tricks our ears into thinking it sounds louder, when in reality its the same and often slightly less, but it shouldnt be more.

There are no real rules when it comes to creativity, only guidelines, they are flexible, what matters at the end is does it sound good.
I hope this can be helpful.
 

TACTIK

The most unique producer on here
ill o.g.
Battle Points: 527
Those settings for your sidechain compressor???

They sound extreme for vocal processing ngl
Just Pro Tools. I will have to make a tutorial video on sidechain. That's what I mentioned I do on Ableton first then said those numbers at the bottom are for pro tools. Sidechaining on Ableton is easy to figure out if the same audio track is selected for everything you want to Sidechain. Gotta play everything simultaneously with headphones on to determine how the levels blend just right so your not getting twice as much volume for 2 tracks is my best example for now!
 
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when putting fx on the main vocal, I send to a channel that has a delay and/or reverb and on that channel I put a sidechained compressor, I then sidechain my main vocal to that compressor, so that when the vocal drops out, then the delay kicks in to fill the empty space. Its a great way of putting delay/reverb on a vocal without it being always on and sounding shit and muddying the whole vocal. Its a more advanced side chained compression technique, but its very powerful and it sounds really good.
 
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