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Hi everybody, I have some questions regarding compressors & I'm hoping somebody can help me out.

I have a very "dynamic" voice... the volume of my voice fluctuates greatly especially when hitting the high notes.  It's a pain to record my voice.

I bought an AKG condenser mic for $300, but it actually sounds worse than a dynamic mic.  I'm currently using a Beta 57 for recording vocals.  I bought a Behringer Autocom Pro rack unit compressor, but couldn't even figure out which end was up on that thing!  So I don't use it.  Luckily, the Boss BR1600 that I'm using for recording has built in compressors.  As a matter of fact, it has a dedicated compressor for each track, in addition to a bunch of presets.

So, I've been using the factory-set presets for my compression setting, but it really doesn't seem to be doing anything to smooth out my sound.  I bought a book which explains the difference in the settings (Attack, Threshold, Release) and I guess I understand what they mean, but it seems like any time I play with the knobs, it just ends up being a "guessing game."

I have a few specific questions.  I'd really appreciate the help, if someone can answer:

- What does the "Ratio" do?

- What does "Sustain" do?  I've never seen or heard reference to sustain in a compressor, but my Boss unit has it.

- The "Attack" only seems like a tone control... is there more to it than that?

- I've heard that "Hard Knee" compression is most suitable for vocals, while "Soft Knee" compression is more appropriate for cymbals or wind instruments.  If this is the case, why does my voice sound better with Soft Knee compression?  Am I setting something improperly?

Also, would I be better off trying to get the condenser mic to work?  It seems to be distorting at high volumes, but I'm getting barely any gain at all if I turn it down.

Thanks in advance for any help.  I really appreciate it!

I use 3:1 ratio with a -12db threshold.

There is a link to a site that Juan put up in my Reverb/Delay thread that explains how to use compression.

I am just learning how to use it also.

compression is like having your hand on the fader.

the threshold is the level where your hand starts to move the fader.

The attack and release is how fast your hand pulls the fader down then pushes it back up and  the speed at which you move the fader.

The ratio is how much you are going to change the volume from its original setting I think.

My voice is also very dynamic.


After doing a search at Harmony on compression, it all made a little more sense to me.

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http://www.harmony-central.com/Effects/ ... mpression/

Hey Mark - wassup!

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Hey Murlin, thanks for the info!  By explaining the thing about the "hand on the fader" it made more sense... it "puts a picture to it."

Hey Lonnie, it's good to see you here!  Thanks for the link; that site is very helpful.  I might need to shorten my attack time and increase the ratio... we'll see if that makes any difference.  Thanks!

With most compressors, you just want to put it on "auto".

For live vocals, 2:1 is usually enough if the singer has any mic technicque at all. For recording, there are two approaches. Most people think you are better off using a condenser and staying far enough away to not overload it, then using a compression algorithm in the post-processing. Others say "use compression", but those are usually the ones who do rock-type screaming loud vocals.

Merlin did a good job explaining it.

Fersure condensor mics are much more sensitive, therefore compression is usually a must when using one for almost anyone.

Start with too much ratio, then tweek down till it sounds best....The idea is to hear the weak stuff but subdue that  which is too loud.....Compressors squash from the top down, so set it to hear the weak stuff, then stomp what's too loud.

Most music CD's and CD+G's you buy are heavily compressed already, so never compress the main mixer outs, just the vocals....The ratio is the most important part to get right first, then learn to set the attack and sustain.

If you cannot apply a compressor via channel strip insert jack because your mixer doesn't have inserts, then do it via daisey chain where mic plugs into comp then comp into mixer, but never apply it to the main mixer outs.

No matter what, tho.....Proper mic and mixer gain is the very first thing that you gotta get right.....hopefully you have decent metering on your mixer......If so, then start there and groom your gain structure all the way thru to the mixer outs, then tweek the outboard stuff and restore gain as you tweek.

Jack in your mic, reduce the mic strip gain to bottom and mic strip slider to bottom, center all mic strip EQ knobbies, .....raise mixer masters to 0dB "infinity".....Then  raise mic strip slider to about -6 dB, then sing loudly into mic while while you crank up the mic strip input gain twisty knobbie at the top of the mic strip....do all this with amp power off and while you watch mixer meters........Learn how to use mixer metering to meter masters and PFL just that strip........As you are doing this keep cranking mic strip input gain until you see the meter peaking strong @ 0dB, then reduce mic slider only and turn on the power amp.

You just set the mic strip gain thru the mixer  but with no strip EQ....So now set strip EQ as you listen and watch meters, then reset input gain if your cuts and boosts on EQ cause the meter to read hi or low.

Now you have set proper gain for the mic thru the mixer.

And now you can deal with compression......however, IF your compressor also has EQ, then, then any tweeks you make there can upset mic gain so you have to learn to also keep gain structure thru the outboard stuff proper.

Don't be skeered....keep tweeking....you will learn as you go.

Yeah, I've been putting it on auto, but most of the time, it's not good enough... it depends on the song, though.



That would be me... rock type screaming, .  Thanks for the help!

Thanks, Keith!  That's one hell of a detailed explanation!

The BR1600 digital studio I use has dedicated compressors for each track... I've been compressing the stereo CDG track as well, so I'll have to stop doing that.  Thanks for the tips!  Much appreciated!

The problem is, there really isn't just one setting that will work as "set and forget". Which is why if you are picky about the sound, the way to do it is to turn your level down, back away from the mic a bit for very loud passages, and make sure your noise floor is low. Then use post-processed compression where you can vary the attack based on the passage and normalize the vocal to fit the rest of the recording.

(This is just what I have read and heard in the pro audio forums and newsgroups. I am not really an expert at this, but I have studied it a bit.)

Sounds complicated... but I'll see what I can do.  Thanks again for the help... it's much appreciated!

Is that what you are in essence doing when you record a vocal track dry and do the FX in the PC?








Perhaps that is the missing link for me....Speaking from a recording point of view...

I should normalize both the canned text and the vocal track seperately to zero, and then mix them...

I need to study up on normalizing...

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Imagination is more important than knowledge.

Knowledge is limited.

Imagination encircles the world...

I use a compressor... and very seldom tweak it.  The problem is...  there is no "magic" setting for all singers.  Let's face it... in karaoke we have WAY too many singers who do not know what mic technique is... and who don't understand/respect/follow music dynamics.

Mic Control?  You mean I can't keep the microphone at the same distance all the time?

To me, the compressor really helps... but sometimes I still have to "tweak" when I have a really loud singer.

Another trick I use is...  I run a dual mix:  One mix for the house, another for the singer.  I usually run the singer's input about 10% higher than the music on the stage.  This usually keeps people from oversinging, if they have ANY clue of dynamics.

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Let's say you are recording from an old 8 track into a cassette Certain drum beats are pegging the vu meter. So after eq'ng you run it thru a compressor The threshold is set near the ave music level. The ratio setting is determined by how high the drum beats are. After compressing the drum beat down now you can turn the record level up and hear and record  the quiet sounds and get a richer mix.

Vocal compression is the same It is used so the overall level can turned up to hear the vocal harmonics that are buried in the music and give the vocal richness and fullness. A good singer with rich full harmoncs and good mic tecniques does not need much compression  A lower ratio is used on a good singer about 2:1. Bad singers require a higher ratio.

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But beware of mix inflation:

 * The Loudness War

Oh thank you for that link, it really helps me understand alot more what Compression is used for and the proper use of the tool.

I believe that in todays noisy environment, compression is a necessary tool...

But one has to learn how to use it properly...

I always hated watching a movie where I was constantly on the volume button on the remote.  These needed compression bad.

Late at night, in an apartment, one could not just turn up the volume and keep it there, you would have the cops come calling soon...

Same goes for music.  But I can see that it takes lots of experience to learn how to get it right.

Very good link....

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Imagination is more important than knowledge.

Knowledge is limited.

Imagination encircles the world...