Pro Vocal Compression Tips & Tricks
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- čas přidán 16. 12. 2020
- In this video, you will learn how to add Pro Vocal Compression. This chapter is part of the Pro Vocal Mixing course via Slate Academy - slatedigital.com/vocal-mixing...
You’ll learn:
🎛️ Series vs. Parallel Compression & why choosing the right one matters
🎛️ The right way to use EQ to get clearer, present vocals
🎛️ How pros use Reverb and Delay to add life and depth to their tracks
-and so much more.
You’ll discover how pro’s set vocal levels to make them fit perfectly in the mix. You’ll see how to add movement and excitement to your vocals throughout your entire track. And you’ll learn advanced tips on how to get exciting, present background vocals.
In less than 45 minutes, you’ll see exactly how to get the same vocal sound used by professional mix engineers to cut hit records. And you’ll hit the ground running with a vocal template that contains 8 readymade vocal chains that cover dozens of styles.
Get the Vocal Mixing Deep Dive masterclass and the incredible vocal template for your DAW when you get the Slate Digital All Access Pass. It includes $5000 worth of award-winning plugins, the industry’s most game-changing synth, ANA 2, and masterclass courses from the biggest producers and engineers in the industry like Just Blaze, Justice League, and more - starting at just $9.99 per month.
Check it out:
➡️ slatedigital.com/vocal-mixing...
#VocalMixing #SlateAcademy #HowToMixVocals - Hudba
I love what the LA 2A did to the vocal
Thank you for the amazing videos guys. If it is possible to work on the vocal in Solo mode in the next videos so we can hear the effect more clearly, it would be amazing! Thank you so much!!
Great info 🎼💥
I’m still interested in the choice of whether to put a 76 or 2A first in a serial vocal chain. Seems to me the peaks would trigger the compression but the 2A would react a bit slowly so it would make more sense to put the 76 first to control the peaks, then the 2A to smooth everything out, yet I see a lot of people do it in reverse.
Same here. I usually do the 76 first and get the needle moving just on the louder peaks. Then I'll use the 2a to actually compress and level the signal. But I've seen pro engineers like tumay and Ali do it in reverse and it sounds amazing so idk 😂. I feel like when the 2a first it just to brings the dynamic range closer together and then your second compressor could be faster, med, slow, depending on what you wanna bring out in the performance
@@Adzer-di1mf Certainly there’s no right or wrong. If people far more talented than me go 2A first, it can’t be bad. But I guess my logic here is the same as why I high-pass (or sidechain) a source before applying compression: I don’t want unnecessary information overloading the circuit. I’m hoping some others will chime in here!
Some use a de-esser 1st
I like a slight slower attack on my first compressor because it can help listeners hear the words being sung. But it of course depends
@@bboymac84 I've already done plenty of searching. 76 first sounds better to me, so that's how I do it. My clients are happy. End of story. But I'm still interested in the theory of why people do it the other way around. Haven't found an answer that seems satisfactory to me yet and this is a good place for that discussion. Shame that this bothered you enough that you had to enter the thread.
Please guys create a complete 1073 neve console with its respective compressor , that would be great 👍
FG-2A is v smooth but sounds congested in low mids on high compression, not having clarity.
Can you make more vocals mixing videos ?
Actually liked the song
Chorus: "With the Power of a Psycho - Move it, Heart of Stove"
¯\_(ツ)_/¯
Thanks for the vid. 👍
...I'm aching now to bake the store steak.
Do you hear the compression 'more', the more Db you reduce it? - and / or does that depend on the type of compressor you use? I've hear someone say that some compressors are very transparent and "clean", and there fore you don't hear the sound of the compression, even when compressing vocals down 10Db.
🙏🙏🙏🙏
how about gain matching on A-B?
literally reading my thoughts
Slate is a great company with great stuff, but this kind of marketing only working on newbies, anybody who knows about gain matching is getting pissed off by those comparisons
Dear Slate crew, it shouldn't be perfect you know (even though we all know you can do that), but at least not a 10dB difference
Track name?
Trove - Cyclone