Vocal chain and Compression

[SimonT]

Hi all!

What effects chains do people use here for vocals.

This was a house track (if that makes any difference).

I de-essed first, then added reverb and then simply because the vocal was quiet in the mix I added a maximizer just to add a couple of dB of output gain to bring the vocal up to a nice level in the mix.

2 things though...what about eq and compression?

I would compress first before anything wouldn't I? I know you do in your mastering chain. Where in the chain should eq go and what should I listen for to adjust. This is a male vocal btw.

Also what would I be listening / aiming for with compression here?

Also, would you typically set the decay on the reverb to be in time with the track...say to last 1/2 or 1 bar?

Thanks!

 

[rhythmgj]

It's kind of like a "rule" (though often ignored) to set delay times to match track tempos and rhythms. I think this is best practice.

I would EQ prior to compression, and I would compress before using a maximizer. The goal depends on the style of music, but for most pop styles it is an "upfront"/present vocal sound with smooth dynamics.

De-ess if necessary, but use cautiously and judiciously-- you can squash too much "sss" out of your vox and wind up "with a thinger with a lithp."

GJ

 

[The Funk Junkie]

Generally speaking, if I'm doing non-rap vocals, I de-ess, then eq (taking away specific frequencies), compress, saturate, eq (boosting specific frequencies), reverb, possibly delay... Sometimes I mix it up with additional effects, swapping the order, etc.

Here's an example of the latest track I made with female vocals, pretty sure I used the same order in the chain as I listed above

 

[SimonT]

Generally speaking, if I'm doing non-rap vocals, I de-ess, then eq (taking away specific frequencies), compress, saturate, eq (boosting specific frequencies), reverb, possibly delay... Sometimes I mix it up with additional effects, swapping the order, etc.

Here's an example of the latest track I made with female vocals, pretty sure I used the same order in the chain as I listed above

Sorry only just got back to this thread. The Soundcloud links don't work. I always thought you compress before EQ. I know that's definitely the case when mastering and what does saturation give to a vocal?

So you EQ twice, interesting. What specific frequencies would you be taking away in the first EQ?

Also, you said in non-rap vocals. How would rap vocals differ? You'd not de-ess in rap? I was told in quite a lot of indie music you wouldn't de-ess, like Oasis as the pronouncing of certain sibilance such as S's is part of some bands sound, especially Oasis.

 

[SimonT]

It's kind of like a "rule" (though often ignored) to set delay times to match track tempos and rhythms. I think this is best practice.

I would EQ prior to compression, and I would compress before using a maximizer. The goal depends on the style of music, but for most pop styles it is an "upfront"/present vocal sound with smooth dynamics.

De-ess if necessary, but use cautiously and judiciously-- you can squash too much "sss" out of your vox and wind up "with a thinger with a lithp."

GJ

Yes I thought reverb / delay times being in time with the track is quite essential. Tracks are all about timing and rhythm aren't they. I would've guessed you want the reverb to be a bar mainly but sometimes 1/2 bar or maybe 2 bars depending on what you're aiming for, trying to achieve. Just being willy nilly could muddy things up couldn't it.

 

[The Funk Junkie]

Sorry only just got back to this thread. The Soundcloud links don't work. I always thought you compress before EQ. I know that's definitely the case when mastering and what does saturation give to a vocal?

So you EQ twice, interesting. What specific frequencies would you be taking away in the first EQ?

Also, you said in non-rap vocals. How would rap vocals differ? You'd not de-ess in rap? I was told in quite a lot of indie music you wouldn't de-ess, like Oasis as the pronouncing of certain sibilance such as S's is part of some bands sound, especially Oasis.

As far as the eq is concerned, my thoughts (and others who do this) are that if you cut before the compressor, then the compressor won't be triggered or pushed harder by frequencies that aren't even going to make it into the final sound (b/c they would be cut afterwards otherwise). If you plan on making a significant reduction in lows on the vocals, you want to do it in a way that will let the compressor only "compress" frequencies that you want in the final sound. On the other end, I save my eq boosts for afterward because otherwise the compressor is simply reducing the boost. If I make a big boost in the top end and it goes over the threshold, the compressor would then reduce those frequencies along with the entire track by whatever ratio you have it set for. As a result, you would have to make even bigger eq boosts to compensate for the compressor afterwards squashing them... Hopefully this makes sense. No specific range/frequencies, it depends on the singer and the recording quality.

I saturate because it gives it a thicker and more full sound. The example I linked to is purposefully oversaturated/distorted for a stylistic effect but typically I keep it a little more moderate and tasteful so it's not super noticeable.

In rap vocals, I generally de-ess and compress. After that I might put slight eq and/or saturation on to taste but I almost always leave totally it dry without reverb or delay unless it's a special effect.

That's my general chain, it always changes a bit here and there though. I'm just a guy with a basement studio for fun but I do get mixing jobs occasionally for some spare change so I'm at least somewhat credible haha.