How do you use vocal compressions

How to Use Vocal Compressions

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Are you having a tough time to compress your vocals? Do you feel bored by the audio sound due to vocals which are not equalized?  Don’t give up, you are right on time. This article is here to help you learn how to use vocal compression.

When compression is used appropriately, it produces vocals that sound very natural and professional; vocals which are suitable even to be played on radio. Consequently, when compression is inappropriately used then be sure to forget attaining good vocals. A good recording of vocals exposed to incorrect compression will make your audio sound amateur. But don’t be worried, here is a remedy; this article is dedicated to help you achieve good vocals compression. What you need to do is make sure you read it all.

You have to understand what you are aiming to achieve before loading up a vocal compressor.  You should possess knowledge of how a compressor works before embarking on vocal compression.  It’s also imperative that you be comfortable in using the Release Time, the ratio threshold and attack time. If not, get yourself an in-depth comprehension guide to familiarize yourself with these basics.

One of the major goals of mixing vocals is to constantly maintain a dynamic mix. Clarity and audibility of every word should be realized and maintained within the same volume. Modern levels of professional production call for high degree of excellence and steadiness in the vocal. It may appear fictional but it’s very much realistic. Henceforth in your quest to learn how to use vocal compressions, consider the following factors:


When you are in pursuit of ideal vocal compression, make sure you are able to listen to every word. Do not pay very much attention to the color and character of the compressor because your attention may be distracted from the subject matter which is achieving clear vocals. Listening to every word enables you to detect any erroneous aspect within the vocals.

Pay full attention to the Release Time. The shaping of the tail ends of both words and phrases is controlled by the compressor’s Release Time. Only two options exist; setting it as fast as possible and timing it to follow the natural dynamics of performance.

In this dbx 266 xl review, The magnitude and level of aggressiveness applied by compression is determined by the threshold and ratio. In order to attain a high degree of vocal compression, consider to tweak the two together.

Sometimes the compressor is heard when it clamps down on a vocal after hitting the threshold. This produces an unnatural and destructive sound. The solution to this is dialing in the softer knee.  The resultant effect is that the compression will ease in as the signal approaches the threshold. Henceforth making the transition from the point of no compression to the point of compression more fine and of less obstruction. As for the hard knee, it will subject the compressor to more aggressive reaction when the threshold is hit by a vocal. This will aid to put a lid on vocals in need of tight control.









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