![]() Now, I have found that a good ratio for vocals is 3:1. So, if the previous two paragraphs just went over your head, head back up there and read them again until it ‘clicks’. I could have just started by giving you a ratio setting that works well for vocals, but it is important that you understand what is actually going on. So, up to -3dB will be allowed to pass through the compressor. Since our 3:1 ratio allows a 1dB tolerance for every 3dB over the threshold, there is now a 3dB tolerance. If the signal from the vocal hits +3dB, it is now 9dB over our threshold of -6dB. If the signal from the vocal hits -3dB, the compressor will allow up to -5dB to pass through because of the 1dB tolerance. Basically, for every 3dB the signal exceeds the threshold, the compressor will allow a tolerance of 1dB to pass through.įor example, let’s say that the threshold is set to -6dB and the ratio is 3:1. When talking about a ratio of 3:1, you may be wondering what the figure actually means. 12:1) will compress much more aggressively than a lower setting (i.e. The ratio setting on a compressor decides how aggressive the compressor will respond. On vocals, I have found that they begin to sound lifeless and over-compressed when compressing more than 6dB. The gain reduction meter shows you how much the compressor is compressing the signal. However, I recommend setting the threshold so that the gain reduction meter rarely reads more than 6dB. ![]() I can’t give you an exact number for setting the threshold because every situation is different. This is much like using the fader on the soundboard to bring the volume down on a singer’s big note but then bringing it back up when they begin to sing at a normal volume again. If the signal from the vocal hits -6dB, the compressor will ‘activate’ and push the signal down according to the ratio. 20dB), it will remain untouched.įor example, let’s say that the threshold is set to -10dB. If the signal is quieter than -10dB (i.e. So, if the threshold is set to -10dB, it will compress anything louder than -10dB. In other words, it decides how loud the signal has to be to activate the compressor. The threshold sets the height of the loudness ceiling. So, let’s go through the settings on a compressor one at a time and how to properly apply them to vocals. When compression is set correctly, you reap all the benefits without any of the drawbacks. A compressor takes this wide range of volume and makes it as narrow as you want it to be.īut, keep in mind, dynamic range on a vocal is good, so you do not want to cut it too much, you simply want to make it manageable. Vocals have a wide dynamic range – they can sing really soft or really belt it out. The compressor will do this for you, automatically. No longer do you have to ride the fader up and down so that the peaks and valleys of the vocal fit in the mix. ![]() It allows you to bring them to the front of the mix while not having to worry about their ‘power note’ making everyone in the room cover their ears.
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