For most applications, especially with modern mixing, you're going to focus on dynamic compression. As you reduce the volume of the peaks your track will be perceived as being louder in general, but only after you add back the lost gain. A lower setting (a minimum of 0.0) will have no smoothness, but a more sharp beginning to compression. Home » Columns » Mixing & Mastering » Here. So, to avoid making one sound dull in the mix, you will sidechain it so that it ducks when the other sound is playing. The ratio is used to smooth out the transitions rather than a hard limit, which is what a limiter is for (which is a type of compressor). That's because the spike went 10 dB over the threshold and was divided by five, so only 2 extra decibels of volume were allowed past the threshold. So, in most cases, a multiband compressor is the best choice for dealing with sibilance because it gives you much more control and flexibility. Another common use is to duck the bass guitar behind the kick drum so it can be heard more clearly. You can reduce the threshold a bit more, but more likely you should increase your ratio (or a combination of both). Some de-essers have a fixed bandwidth while others have limited features. The second one is there to round the edges and sometimes to add another color to make the vocal sound a little more 3D and harmonically interesting. For most pop, rap, and rock-based genres you're going to squash the vocals a lot more than you expect, especially due to the mixes being denser. If your compressor has independent control knob on Knee parameter, then you have to adjust it manually by listening to the vocal. To be exact, I use 2 compressors with a limiter at the end of the chain. Vocal compression is a piece of cake once you know how to compress vocals in the first place. It doesn't matter if you're compressing vocals or any other instrument or sound. For rap, pop, and rock styles of singing, go with a fast release. This basically keeps your fader available for real mixing, rather than forcing you to push it all the way up. For instance, if you have a guitar that is fighting for the same space with the vocal in the 1.5kHz – 2.5kHz range. If you have any questions, leave a comment below or if you just want to add something. This means you're concerned with reducing the dynamic range and making the average volume more consistent. Whether you're using hardware or a software plugin, these steps are the same because they're both a vocal compressor. 7) Set the Compression Knee Are they still too dynamic? Aiming for 4 dB to 6 dB in gain reduction is a great starting point. If you don’t do this then your mix will sound thin when the kick is not playing. The point is to push the volume back up in the mix to appropriate levels. Use a multiband compressor to make sure that the affected signal doesn’t over-power the dry signal or add muddy frequencies. That's the only aspect that matters to your listeners. How fast it stops reacting when the volume dips below the threshold is called the release. Those have to get taken care of and a deesser makes it very easy. The same tool does the same job, and that's to minimize the variance in volumes across a recording. Loudness is perceived based on the RMS (root mean square) value of the vocals, which is a kind of average. Sidechain Reverb: The Secret Reverb Trick All The Pros Use, Stereo Widening: 5 Tricks For Making Your Tracks Sound BIG and Wide, Behringer X18 vs XR18: Hands-On Comparison , Samson Q2U vs ATR2100: Hands-On Comparison. Jared has surpassed his 20th year in the music industry. These tricks aren't a must but can take your mixing to the next level in terms of clarity, intelligibility, and presence in your vocal recordings. You can use this trick on multiple occasions, whenever you have two sounds that are fighting for the same space in the frequency spectrum. Today I’ll be talking about the most underused processing tool when it comes to mixing music. Focus with your ears only. It’s always a good choice to have multiple de-esser plugins in your tools for every occasion. Some mixers will push vocals through two or even three compressors, one after another. One Channel, 3 Compressors. So, it’s always a good idea test. Plosives are bursts of air when we make P and B sounds. A noise gate is a compressor that does the opposite of what you'd expect. A deesser (or de-esser) is a type of compressor sidechained to an equalizer in order to target and reduce sibilance and plosives in volume. The higher you set it (a maximum of 1.0) the smoother the compression will sound. The plugin I'm using is a default VST in Logic Pro. If you're using a really deep threshold it can matter but you shouldn't be. I usually choose 1 millisecond here but up to 5 ms to 10 ms can be fine. I usually use more than one compressor on the main vocal channel. MXL 990 Condenser Microphone Review: Worth The Money? He has also mixed, mastered, & recorded for countless independent artists. Unless if you’re using FabFilter Pro-DS which has an option for de-essing both single vocal or a group of vocals. No matter what digital audio workstation you're using (here's the best DAWs), it too will come with a default compressor. In most cases, static EQ is usually the best choice.eval(ez_write_tag([[250,250],'talkinmusic_com-medrectangle-4','ezslot_2',108,'0','0'])); In some cases, a multiband comp will be a better option to use for removing sibilance on a vocal instead of using a de-esser. Example: If you set your threshold to -20 dB and your ratio to 5:1 (five-to-one), then a part of your recording spikes up to -10 dB, that spike will be reduced in volume until it only reaches -18 dB. A higher knee is more "musical" in the sense that the listener won't detect the point where the compressor clamps down. At this point you want to take a serious listen to determine the main point of all of this - how are the vocals sounding in the mix? If it's bouncing around -6 dB then add +6 dB back using the make-up gain knob. Unlike other processing tools, anything that is multiband needs to be treated with care because it can easily change the character and timbre of a sound. Basically, the vocals will only be affected whenever they reach a certain threshold. But most de-essing tools don’t have this option that’s why a multiband compressor will mostly (if not always) be the best option. Always test the compression before the time-based effect and after, to hear where it will sound better. I can't suggest exact settings because again, it changes per track, tempo, song, and genre.