Vocal Compression Cheatsheet

Many bloggers will ​tell​ you what the "perfect" vocal compression settings are.

I wish I could do that too. Heck, it'd certainly save me a few keystrokes.

But the truth is, it's not that easy. And I don't want to mislead you.

There is no one-size-fits-all formula to vocal compression. There are no magic settings

that work 100% of the time.

With that being said, it ​is​ possible to quickly dial in the right vocal compression settings, if you
know what to listen for. Here's where to start…

Can You Hear Me Now?

When you're searching for the perfect vocal compression settings, there's one goal worth paying
attention to:

You want to hear every word.

Yes...color and character matter too. But they're far less important, and focusing on them will
often distract you from what matters most.

When in doubt, simply ask yourself the question—can I hear every word?

Let the answer be your guide, and you'll remain on the right track.

Attack Time

Your compressor's attack time will affect the consonants of a vocal performance.

Faster attack times will pull consonants down.​ This can make a vocal smoother and less
aggressive. Often times, it can also push a vocal further back in the mix.

On the other hand, slower attack times will emphasize consonants.​ This can add
articulation and clarity to a performance. It can also make a vocalist sound like they're spitting
out the words. For this reason, slow-attack compression tends to work well on hip-hop vocals,
where clear diction is crucial.
How To Nail The Perfect Attack Time:

1. Start with a moderate setting (~5 ms).

2. Adjust the attack control while listening closely to the consonants. Want more of them?
Slow it down. Less? Speed it up.

Release Time

Your compressor's release time will control how it shapes the tail ends of words and phrases.
There are really only two options:

● Set it as fast as possible

● Time it to the follow the natural dynamics of the performance

Option #1 will bring up low-level details, like breaths and tail ends of phrases.​ This can
make a performance sound more aggressive and passionate. This setting works well on harder
styles of music, like mainstream pop and rock.

Option #2 will reign in dynamics in a more subtle, transparent way.​ This can often sound
more natural and less processed than Option #1. This approach works well with softer, mellower
genres (think folk, jazz, and acoustic). To learn how to pull off this technique, ​watch the video
here​.

Threshold and Ratio

Threshold and ratio determine how much compression is applied, and how aggressive it is.
They work best when tweaked together.

How To Nail The Perfect Threshold And Ratio:

1. Set the ratio to a moderate setting (~3:1).

2. While listening to your entire mix (​do not solo the vocal​), pull down the threshold until the
compressor starts compressing. Add makeup gain as needed so the vocal doesn't drop
in volume.
3. Adjust the threshold, ratio, and makeup gain until you can hear every word of the
performance clearly. If the threshold is down very low but certain words are still getting
lost, turn up the ratio. If the compression sounds too aggressive, turn down the ratio.

Knee

Sometimes, you can ​hear​ the compressor clamp down on a vocal when it hits the threshold.
This can often sound unnatural and distracting.
The solution is to dial in a softer knee. ​This will cause compression to ease in as the signal
approaches the threshold, making the transition from no compression to compression
more subtle and less obtrusive.​ This approach works well on mellower tracks, where
transparent dynamic control is often desirable.

On the other hand, a hard knee will make the compressor react more aggressively when a vocal
hits the threshold. This can help put a lid on vocals that need to be tightly controlled.

While some compressors offer independent control over this parameter, others have fixed
knees. It's worth researching the knee shape of your favorite compressors, as this will play a
large role in the way they react.

How To Nail The Perfect Knee

If the sound of the compressor kicking in is too noticeable, soften the knee until the problem is
solved.

For more mixing tips, visit ​BehindTheSpeakers.com​.

 My 5 Favorite Compressor Plugins

1. Slate’s FG-Grey (part of their Virtual Bus Compressors package)

Slate’s FG-Grey is a souped-up emulation of an SSL G-series bus compressor (perhaps the
most iconic mix bus compressor of all time). It’s got a bright, snappy sound that pairs well with
most modern genres. The added high-pass filter and mix knob can be a lifesaver.

2. Sonnox’s Oxford Dynamics

Sporting an algorithm originally designed by world-renowned engineer Paul Frindle (known for
creating the legendary SSL G-series bus compressor), the Oxford can nail nearly any
compression task with grace and musicality. It’s got an incredibly transparent sound that
enhances mixes without adding any color or tonal shift.
3. FabFilter’s Pro-C 2

Known for its gorgeous interface, flexible sidechain filtering, and wide variety of compression
styles, FabFilter’s Pro-C 2 is the compressor of choice for many modern mixers. While I don’t
find it to be as musical as the Oxford, its auto-release function can deliver better results on
tracks with complex dynamics (like acoustic piano).

4. McDSP’s 6030 Ultimate Compressor

The 6030 features 10 (yes…10!) compressor modules in a single interface. The modules range
from emulations of studio classics like the 1176 and LA-2A, to custom creations like the FRG
444 and iComp. The 1176 and LA-2A are spot on, and a bit more hi-fi than those in Waves’ CLA
Classic Compressors bundle. Also, nothing beats the Over EZ on drums.
5. UAD’s Fairchild 670

The Fairchild’s uber-slow release time can works wonders on downtempo ballads. It’s also got
an incredibly colored sound that will add heaps of character to any mix. This one’s a bit of a
one-trick pony, but when it works, there’s nothing like it.

For more mixing tips, visit ​BehindTheSpeakers.com​.

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