How do I get that radio commercial compression sound?
- Thread starter Mofoman
- Start date
chris carter
New member
soft-knee compression with a high ratio (6:1 or greater) and slam it. Then add a limiter.
TomDavids1
New member
limit the hell out of it
deRaNged 4 Phuk'dup
Moderator
I think it would come more from the mic(usually a Dynamic like the SM7b or RE20 and the lo fi radio signal. If you're talking TV commercials, they never sound as saturated as the radio ones.
Cash_Daily
New member
Hire a professional engineer.
Blargh...that's why I'm here I want to learn. I fancy myself pretty good at mixing, considering what I have.
I've been looking at the RE20, but I considered it better for talking rather than music, but I may grab one just to have in my studio.
Thanx
Wha Chu Mean
New member
Radio doesn't use the full spectrum... there for they need to squish and boost the f*k outta the signal. You'll more than likely need to try various eq settings before sending it to your dynamic affects.
chris carter
New member
I've done sound for about 40 tv commercials. And probably most of them were shouty car/truck commercials. I've also done a number of radio-only spots.
Trust me, it's not so much about the mic. I used all kinds of stuff and I've seen others use all kinds of stuff. SM7s and RE20s are common for radio spots mainly because they are good broadcast mics (they are pretty uniform, handle plosives, not too sensitive, durable, etc.) so they just happen to be there already at the stations. But radio spots in pro studios, I've seen everything from dyanmics, to U87s, so shotguns... doesn't seem to matter too much for the end result. In fact, when having logistical difficulties with a certain key V/O talent, I've litterally recorded the guy (who was awesome and well worth the money) in a freakin' parking lot with a medium grade lav (wireless even!) and it was all the same.
There are two main factors:
1) the talent. You either have good v/o talent or you don't. It's not a technical thing. That voice is that voice. There pretty much isn't anything you can do if they can't give you the voice.
2) As I mentiond before, slam it with compression. Soft-knee works best and a high ratio. Follow it with a limiter. You might be able to get away without the limiter if you use agressive enough compression, but I prefer adding the limiter (which can be a better approach if you have broadcast spec reqs). One other thing I might add is that even though they often sound deep voiced, you still often have to do some rather serious HPFing. Like 150Hz. The reason being that you typically have to cut through a bed of music and you typically are recording with a lot of proximity effect. The deep sound is generally the v/o artist so it will still sound like a deep voice.
So assuming you have v/o talent you like, the key is just the compression as I mentioned. And depending on the voice/usage possibly some heavy HPFing.
Trust me, it's not so much about the mic. I used all kinds of stuff and I've seen others use all kinds of stuff. SM7s and RE20s are common for radio spots mainly because they are good broadcast mics (they are pretty uniform, handle plosives, not too sensitive, durable, etc.) so they just happen to be there already at the stations. But radio spots in pro studios, I've seen everything from dyanmics, to U87s, so shotguns... doesn't seem to matter too much for the end result. In fact, when having logistical difficulties with a certain key V/O talent, I've litterally recorded the guy (who was awesome and well worth the money) in a freakin' parking lot with a medium grade lav (wireless even!) and it was all the same.
There are two main factors:
1) the talent. You either have good v/o talent or you don't. It's not a technical thing. That voice is that voice. There pretty much isn't anything you can do if they can't give you the voice.
2) As I mentiond before, slam it with compression. Soft-knee works best and a high ratio. Follow it with a limiter. You might be able to get away without the limiter if you use agressive enough compression, but I prefer adding the limiter (which can be a better approach if you have broadcast spec reqs). One other thing I might add is that even though they often sound deep voiced, you still often have to do some rather serious HPFing. Like 150Hz. The reason being that you typically have to cut through a bed of music and you typically are recording with a lot of proximity effect. The deep sound is generally the v/o artist so it will still sound like a deep voice.
So assuming you have v/o talent you like, the key is just the compression as I mentioned. And depending on the voice/usage possibly some heavy HPFing.
acetheface954
Active member
I knew it. while in my car I heard zedd's new song with selena gomez on the radio and said this can't be how he mixed this song. the shit sounds horribly compressed. then I went to youtube (still in my car) and no shocker the track was in full spectrum. everything sounded clean and crisp. but why do it???
Paschalis I.
MusicProductionTips.net
+1 for the Shure SM7b, this mic is giving this ... "radio sound" without even adding post-process. Great mic for this kind of sound.
Raz Klinghoffer
New member
They're probably trying to level all of the songs or something, instead of a technician changing the volume all of the time
No real reason they're probably just moron
