Audio Compression for dialogue

Audio Compression is key to creating professional-sounding mixes for post-production projects. I’m Tom Efinger and in this video, I will show you how to optimize compressor settings to improve your dialogue tracks.
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[@SarahThacker]

Thanks for this tutorial!

[@lisan_al-ghaib]

Hey Tom, you really need to let the audience hear what that compression sounds like. Just basing it off of gain reduction is not a good way to start explaining compression to beginners especially when you use phrases like "trust your ears".

[@tomefinger]

I will do that in the future. I appreciate the feedback.

[@stepanchernov7557]

Hello Tom! Thanks for video. Do you use comp before or after de-essor?)

[@tomefinger]

Hey, I like to put the de-esser first, because it is band specific, best to take that out first, then those frequencies won't be causing your compressor to jump, then hit it with a soft compressor.

[@Thinwhiteduke1185]

Dude, the audience needs to hear what the compressor is doing. I know it sounds subtle, but if you don't let the audience hear how subtle, how the hell can they be expected to make good decisions?

[@tomefinger]

Got it! I will make sure to record the sound on the upcoming demos.

[@KeithDuncanSound]

Nice one

[@bladetj]

waves mv2 is nice in conjunction

[@FrugalStreamer]

Another aspect is for broadcast (preaching for instance) where you want dynamics for emphasis but you're trying to maintain a good even level for viewers so they don't have to touch their volume on their device of choice. I tend to lean on soft compression but throw in a vocal rider to bring up the level when they get soft or they have terrible mic discipline and constantly move the mic around. I've learned to offer a headset for main speakers for that reason. Would love to hear your approach for those situations.

[@tomefinger]

Seems like a good way to get the results you want.

[@stephenfothergill3507]

Great! Very clear explanation. I tried it and it works. However, I do agree with @foritiswritten that hearing the effect would be very useful. I look forward to an enhanced future video. Thanks Tom!

[@tomefinger]

Thanks! I realize I should have brought in the sound. I am going to do a new video soon where I demo both the dialogue EQ and compression seating I have talked about.

[@Tyrell_Corp2019]

Perfect video! Is it advisable to use clip gaining to approximate levels between two or more dialogue sources, as you would for a singer? Which would also help prevent "crushing"?

[@tomefinger]

Yes, for sure. I do that all the time. I like clip gain to get the clips in the right approximate volume, then I use volume automation to finesse the levels, usually with a fader.

[@Doty6String]

The real trick is in doing the editing before you compress anything

[@ZimCrusher]

Question: Is it better to cut the tops off (like you did) where you have a threshold of like -11, and a 4:1, or Go for an overall lighter compression over the full range like -25 threshold and a 2.5:1 ratio? I can't really notice a difference between the original, and the compressed, when I use -25 2.5, but it allows for a more stable volume range. Where, when I use a -12 4:1 or 5:1 I can hear a muffled sound in the loud parts, like... it sounds synthetic. Could be my ears. I am new at this. To me, using a limiter at -4 sounds cleaner than a hard compression like -12 6:1 Your thoughts?

[@tomefinger]

Hey, I haven't tried the setting you are using, but now I'm curious to see how they would compare. My key thought is every engineer finds the things that works and sounds best to them. If your ears are telling you that is a good sounding setting then run with it. We all do things a little differently and that is in a way how we have our own style or sound. I'm going to play with your settings though.

[@StudioBuster]

This just isnt serious... How can you demonstrate how the compression sounds with NO SOUND?!? This video is more flexing than educational.