I don't care for harsh or extreme here personally, but I am not generally working in genre's where that would be used anyway. But generally, I use a modest amount of softer or fairly transparent compression, and then decide if/what might be necessary to push the vocal forward. Some have a touch applied upon recording, so that would effect the decisions. I usually consider compression after corrective EQ, and sometimes some further lighter EQ after compression, but again, it varies.Īnd the compression decisions would rely on the specific track and project. Next any corrective EQ, such as strong cuts to unwanted freq's that shape the desired sound and/or make for a better fit in context of the music. But this is just my workflow for my style. It may be unnecessary or overkill for some styles, especially styles where heavy vocal compression is going to be applied anyway. Next I like to do a very detailed vocal fader ride to even things out further, instead of relying on a compressor for the job. And phrases that are in need of it get adjusted in level to roughly even things out.

Get any timing edits and compositing edits sorted out. I start with careful editing to clean up any unwanted noise, ranging from background, mouth noises, excessive breath noises, etc. But typically, (similar to Erik's answer I think) I'd answer that it depends very much on the specific vocal performance, recording and project characteristics. The question states 'effects' but I suppose you might intend to refer to a vocal processing chain type of question. Compress them, cut obnoxious frequencies with a parametric, and boom.Īfter you get that down, add the 'fruit salad,' delay, reverb, chorus, etc. The paradox about processing vocals is that taking things away makes them sound louder in the mix. May not sound like much reading it here, but dang, try it and see.Īfter you get that set up, notching out the 'honk' frequency with a parametric will make your vocal tracks really jump out. Fiddle with the Peak Reduction knob until you see about that amount of gain reduction on the meter. Then after that in the chain (I put it in the FX rack of my 'Vocals' submix) is an LA-2A clone set so that its needle is bouncing around 3 dB of gain reduction. The first is directly on the vocal track, a dbx 165 clone set to 4:1 ratio, with the needle bouncing around 3 to 5 dB of gain reduction. In greater detail, I use two compressors on vocals to make them pop in the mix. Tom said it succinctly, yes, compression is vitally important to my vocal processing.

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