How the Pros Compress a Vocal

[@BobbyHuff]

Hey all ****editing error**** The footage behind me using the attack at around 2:54 is incorrect!! The fastest setting on the attack is 7 not 1! ***That aside*** the settings that I recommended for vocals ARE correct. My intern got the wrong footage up when I was explaining the attack times! My Bad! The patient survived the surgery!!! Ha!!! Doc

[@RambowMusik]

Haha came here to see all the "YOUR WRONG" comments, would have wondered if you hadn't caught up on the mistake :D

[@BobbyHuff]

@@RambowMusik Mistakes….I’m make a few every day! Haha

[@RambowMusik]

Haha me too, as long as they are learning opportunities and no one dies or is harmed we're all set. Btw thanks for your amazing content:)

[@BobbyHuff]

@@RambowMusik it’s all my pleasure friend! Thanks for keeping me in check!!!

[@slowpokeproductions]

@@BobbyHuff HAHA, made the same mistake in this video!!! 😂🤣😂 Didn’t even realize what I was doing, and I wasn’t about to redo it!!! 😭😭 kzbin.info/www/bejne/gqGYnJKQl9ZjnM0

[@gauthiermatt1]

Great tips but I disagree about compressing vocals on the way in. When a singer sings with compression on, they use the compression as part of their performance. The performance is generally smoother and the end result is more even and cleaner vs not tracking with compression. I do 100% agree that if you overcompress you are screwed but like everything else, you have to listen and trust your ears.

[@BobbyHuff]

I agree Matt and always have them sing and monitor through compression that is NEVER being recorded. Easy to do on the Apollo!

[@gmichaelhall]

I agree Matt. If you know what you're aiming for, know the track, know the vocalist a bit of a squeeze on the grab is the go. It's a level of commitment to final that the voice gets to participate in, and when done properly, it's just better. I don't know who the pros are that are being cited here but every "pro" I've worked with (including myself) is going tap a vocal 3-5db during tracking loud bits to get that performance intensity baked in . I do understand the approach demonstrated, it's safe and easy but it's also hit and miss. IF, I don't know the material or the singer, I'll send the compressed signal to the cans and get the vocalist involved best Im able,while having a raw track available to me. There needs to be a degree of fearlessness in tracking Lv's. Just because we now have the option of playing it safe doesn't mean it's always the way forward. Being more emotionally and mentally engaged with the tracking process can yield results that post processing can never achieve. It's a big decision to completely cut the singer out of the process like that, particularly since it's mostly accommodating limitations or constraints. Even considering that, look for opportunities to bake in confidence,and not always advancing to the rear by playing it safe... Not always but often. Curiosity click rant over. Thanks for the video Doc. Stay safe and well ✌️ 🎶 🎶

[@BobbyHuff]

@@gmichaelhall respect your opinion man but when there are massive amounts of money being spent and the singer has to fly out of town tomorrow back on tour and there are spots that are too “grabby,” in what you’ve recorded…then what? Sometimes you don’t hear how “grabby,” it is until you start to mix with your final compression…then what? I agree that compression can dictate how a singer sings the song but I never print it….just monitor. How can this be wrong?? There is no downside. I’m completely safe and the compression and tone shaping options in the mix are TOTALLY endless. Sometimes the mix stage reveals a different course of strategy than you thought in the vocal tracking stage. Things change when everything is eq’d, compressed, and in place. I ALWAYS want the most important part of the song, the vocal, completely open to possibilities at this stage. Now…I respect your decision and your work flow I’ve just been burned by it. Thanks so much for watching and commenting Michael.

[@jamieschidlowsky3251]

Yup. I track through a compressor plugin so its not commited to the track but the performer has a great time hearing themselves!

[@BobbyHuff]

@@jamieschidlowsky3251 perfect Jamie!!

[@mattdowning]

After thirty years of bedroom production, this 8 minutes has made the biggest difference to how good my vocals sound. Thank you very, very much!

[@BobbyHuff]

Thanks a lot Matt!!!!

[@1KriticalShoota]

Man YOU ARE GREAT ! I watched more than 100 videos on compression and every attended compression classes from too international pros , but this 8 mins made me UNDERSTAND what compression is ! THANK YOU 🙏🏾

[@gdanila]

For every bedroom producer that says "NO! NO! GOD NO!" to compression while tracking, there is an experienced one that records every vocal with compression and hits billboard top 10. Stop limiting yourself because some obscure "doctor" said so :))). Using compression while tracking will most likely get you a better performance, let you push your preamp and really bring out the color in it and it will bring you some more color from the compressor. With that said, if you don't know what you're doing, experiment before you commit to compression on the way in. Your usual contenders for tracking vocals are: UA1176, EL Distressor, UA LA-2A, Tube Tech CL-1B, DBX 160 VU, but this doesn't mean you should limit yourself to this compressors. Sometimes people use compressors in series, so it's not unusual to see a dbx 160 in series with an 1176 or other combinations. And for the "doctor": stop giving definitive advice to people just because it's not working for you. Better use words like "in my opinion" or "for me, tracking with compression never works". Cheers!

[@DThompson55]

What I learned from this is that I have yet to work with a vocalist that would benefit from this kind of compression treatment,. It's really beautiful what you've done here. It's a great example of how proper compression can add energy and excitement.. But most of the time I'm just trying to tame overly loud parts without damaging the mix. I really liked your first bit of advice about where to place the compresor.

[@starzarusrecords]

Just go through the vocals bro and clip gain them before they hit the aux track with processing, that way the compressor won't have to be working so hard to level the vocals, so go Tru the vocals manually and do it first

[@nathanrapana4430]

The.. “pros” quite often compress on the way in when recording though.. 🤷

[@hermann95]

yeah, because they exactly know what they do. Most people watching this video, including me, probably don't.

[@jamesnyers1721]

You can always compress later and then bounce in place/commit. There you have it. You just compressed on the way in. Unchangeable just like compressing on the way in.

[@NyakzOTSD]

@@jamesnyers1721 not the same that’s like saying let’s cook food once consumed! I bought a compressor and my recording improved 10 fold

[@jamesnyers1721]

@@NyakzOTSD Once you bounce in place in Logic Pro it is baked in. Just like compressing on the way in. You just used different compressors. I still think my opinion stands. Unless someone convinces me otherwise.

[@NyakzOTSD]

I bought a AudioScape V comp + and the vox sound better than any UAD plugin I ever used! Gonna buy a retro instruments 1176 and more hardware! No comparison

[@billyhughes9776]

I've been telling people for years that the "down the throat" approach is the way to go -- finally some affirmation!

[@BobbyHuff]

Hahahaha

[@DavidDiMuzio]

Thanks for the tips Dr. Bob 🤘🏻

[@BobbyHuff]

Thanks David!

[@CurtMcGurt808]

I've been watching a lot of videos on compression and this video finally gave me my "aha!" moment where I get it! Thanks a lot for breaking it down

[@christiankoch5646]

4:34 "But I don't feel like I'm down her throat anymore." Even baby Jesus giggled.

[@chrisbraddock9167]

I knew this had to be here.

[@jhenrymusic7588]

lol I knew someone was gonna say it. I cringed a little. lol

[@Sr.LaGGarto]

my Dr. said no compressor when recording. As always, great advice Bobby

[@BobbyHuff]

Thanks man!

[@longjohnsonshagwell3377]

yes don't record the compressed vocal but all of the pros DO compress the vocal on the way in. It is for the artist to be able to hear themselves in the mix, then they record the dry signal not the compressed one.

[@TheThundersturm]

@@longjohnsonshagwell3377 I made a video about doing this with UA Console. Using parallel compression while tracking. Very helpful to give the artist what they need to perform and the engineer what they need that’s not smashed. (My video is under Studio North console parallel compression trick). 👍

[@DeanWThomas]

I hate compression... I never seem to grasp how it works so I really appreciate this video for showing us a setting that will work.

[@BobbyHuff]

Thanks Dean! My pleasure.

[@hbrookes]

You can actually record to 2 tracks simultaneously, one with slightly hotter level and mild 4:1 comp. The other straight in at lower level. Covers yer arse..Good stuff..carry on!

[@sreaves3240]

Dr. Bob, a lot of times it seems like you know what I'm working on at that particular time. Haha. I don't know how, but ... Thank you. You have a no-nonsense method of getting to the critical details that one can really put to use. You've made a big difference in my production already and I'm sure yours will continue to be one of my favorite channels! Well done.

[@BobbyHuff]

I have been spying on you Reaves…Don’t worry I won’t say what I saw you do last night!! Hahahahaha Thanks for watching!

[@E7lamAcademy]

i like what you did but i want to know where is the cubase eq in the chain is it before or after the inserts because it didn`t make sense to compress all of this unwanted low frequencies

[@genephillips4809]

2:37 "the mic is down in her throat".... that is VERY intimate LMAO. You kinky bob!

[@BobbyHuff]

Hahahaha

[@PappaTiempo]

I have an original blue stripe revision B, so I always gently compress on the way in. Just don't ruin it. Don't compress to tape until you know what you're doing. Compressor during tracking does help vocalist, but be gentle.

[@ooowow3908]

Honestly the best compression video I’ve ever seen. All hail doc huff 🙌🏿

[@BobbyHuff]

Thanks a lot!

[@pushfreely5917]

Definitely an Rvox fan and use to love the 76 before I tried the Tubetech CL1B 🔥👌

[@vaughanband]

Nice, I’ve seen Dave Pensado use 2 compressors on the vocal track and then another compressor on an auxiliary but pretty light compression on each plugin. He says to not let 1 plugin do all the heavy lifting.

[@BobbyHuff]

Yea this is a great technique as well. Some guys will send a vocal to 3 or 4 places for compression at different frequencies in the vocal..a whole other topic. This is very straightforward and works great!

[@eranddroory9987]

I saw A waves tutorial featuring CLA where Chris says that his CLA76's sweet spot was around 7db of gain reduction..

[@BobbyHuff]

@@eranddroory9987 that sounds right!

[@BobbyHuff]

@@eranddroory9987 I would listen to about everything he says!

[@RovPrivyTube]

Well Doc, these are the videos I wish I had when I first started working in audio. Four years and a degree later and I still love these vids!

[@BobbyHuff]

Hahaha thanks Rob! I wish I even had the INTERNET when I started!! Haha

[@ernieg]

“ the mic down on her throat “. 😮😂 savage

[@IainThacker]

I recently had a whole pile of compressors on a vocal track - each one staged to grab slightly louder pieces and each only adding a little reduction. The quietest parts had just a feather touch from the last compressor but the loudest were smoothed by the whole chain. The vocal I was working with was a single take and the singer has incredible power but is still learning the mic technique. The track went from whisper to full on. If we'd had time I'd have recorded the parts of the song separately but the serial compression trick saved the day. Probably loads of ways to do this better but I'm still learning! Thanks again for the great content Bobby!

[@BobbyHuff]

Sounds good Iain! Thanks for watching and commenting. That’s an intense vocal session!

[@markshrader7136]

Once again, great gems from the doctor! Coincidentally getting ready to track lead vocals, so looking forward to using these tips! Thanks Bobby!! 🎤💯👍

[@wilcandou]

No compression on incoming vocals hey? Well, that depends on the experience of not only the engineer but ALSO on the consistency and experience of the vocalist.

[@BobbyHuff]

I hear ya but there is NEVER a downside to not compressing and riding the pre input. You will never be stuck with too much compression or a vocal that has tonality from a compressor that you wish wasn’t there..

[@frankwyatt627]

i love, love this girl's voice. a bit of brenda lee which i'm sure she gets all the time..thank you dr. robert.

[@BobbyHuff]

Thanks for watching Frank!

[@pushfreely5917]

I found that leveling vocals out wile tracking by just compressing no more than 2 or 3db is way more beneficial than no compression at all.Also found that using multiple compressors threw out my chain sounds far better and more natural than having one that’s working hard…..To each their own tho what ever works for you.

[@RiggiMediaInt]

I double track. 1st uses hardware, 1073lb > LA-2A > 1176LN > EQP-1A3 > DBX902 > Avid HDIO 2nd is hardware 1073lb > AVID HDIO. Safe and best of both worlds. Honestly I've never resorted to my 2nd. As long as my hardware is set correctly, which NEVER changes except for the gain of the 1073lb. I'm golden.

[@BobbyHuff]

Sounds good!

[@ABS_AD77]

Thanks for a very good video. I saved this setting and named it as 'Dr. Bobby Huff Vox Comp'. Thank you and God Bless.

[@BobbyHuff]

Hahaha! That’s awesome!!

[@crudemutant5584]

Your videos are so helpful! I learn so much

[@rawknrolloutlaw]

Thank you for all the tips you give us, these are the very best how to videos out there.

[@BobbyHuff]

Thanks Rawk!

[@gaddosavi743]

thank you so much ... sometimes I get lost and I need someone to show me the way ....

[@BobbyHuff]

Thanks for watching Gaddo!

[@charliekent-barker4903]

Late to the comments party, but why not simply use a mult, get the best of both worlds? Lately on vox I’ve been going into the Mult - got the dry track straight from the pre ensuring that it’s never peaking w/o compression (as you’re describing Bobby), then I’ll often have conservatively compressed signal (the one that I’m most likely to use), then a slammed track (which I’ll sometimes use as a parallel), then sometimes another going through saturation or a different compressor. Still doing the preamp gain riding and - if possible - asking singer to break performance into parts if it’s highly dynamic…but some people insist on signing the whole song, and are not concerned about engineering difficulties, they just wanna be able to perform in their element. I find this a useful workaround - sometimes I do only use the dry track and compress from the ground up…sometimes the slightly compressed one was just right…sometimes I blend 2 or 3 or all 4 signals together. I dunno…that’s one way to have your cake and eat it too, but I do see the appeal of simply doing it dry and focusing purely on volume riding and gain staging and worrying about comp later…if you’re someone who can control rabbit holes and won’t just get lost in all the post-possibilities (that would be me!)

[@dannyroe1697]

This video was perfect timing i was having an absolute mare with some female vocals, and these settings have just saved my arse

[@BobbyHuff]

Fantastic Danny!!

[@TheeRocker]

Thanks for answering "compression print?" the other livestream Doc... RIght off the bat,,, NOoooo lol. Awesome !!!

[@theeouapolal7262]

What DAW are you using that you're stuck with effects baked into the audio when recording??? Because I use REAPER and the audio files are COMPLETELY intact no matter what fx I put on the track when recording. I can remove ANY effect from any audio that I record including compression on vocals. I can also take a copy of that audio file and put in on another track with NO effects at all. It will be a completely clean wav of the recording EXACTLY as simple audio recording with only a microphone and nothing else.

[@chadjohnson-authormusician8072]

I think he's talking about using HARDWARE compressors on the way in - not plug-ins.

[@GloveBunniesVideos]

Very cool, thanks!

[@toddscotdrumcovers2341]

Awesome. Just played with the CLA-76! thanks for simplifying this!

[@BobbyHuff]

Thanks Todd!

[@Max10_B]

Really hard to believe there’s no comp on that vocal on the way in? It sounds mixed already before the start. Maybe the preamp or mic is just really working for her

[@Yahoomediaclub]

Yea..I’ll go with that.

[@enduromusicproductions2351]

Nailed it 💪🏼

[@cdauterive1]

Dr Bob, would you choose a channel strip like the 6176 or a 500 series rack with pre, comp and eq? Thx

[@BobbyHuff]

Sure! Obviously I would try to hear one first or at least read as many reputable reviews I could find before I spent the money. I’ve used the 6176 before and it’s great. There are a lot of fabulous 500 series rack pieces that are great too. Good luck Cornelius.

[@tonysalpinoiii5063]

Great tutorial ,clean and to the point, the eq pass before the compression is also worth noting. Awesome

[@BobbyHuff]

Thanks Tony!

[@jayxsnipes]

False compressor before if you want clearer

[@failnerdddddd]

I know plenty of Platinum and Grammy winning recording and mixing engineers that compress on the way in. Do you need to know what you’re doing when doing so? Yeah, like all things with recording music. If you compress on the way in, don’t stop doing it just because someone said don’t do it. Do what’s best for you, what sounds the best and gets you the sound you’re going for.

[@longjohnsonshagwell3377]

100 percent correct, they compress on the way in additionally for the vocalist, so that the artist can hear themselves in the mix properly but then record the DRY signal

[@BobbyHuff]

Do it your way but know that there is NEVER a down side to not compressing on the way in. You will never get compression artifacts or unwanted coloration that you realize in mix mode are boxing you in. There is NO un-compress button. I do let the singer monitor the compression on the way in but NEVER print it.

[@WAZA___]

Why you use black c76 instead of the blue 76? I read blue was better than black for vocals?

[@BobbyHuff]

They are both great. The Blue is a bit grittier if you want that tone. This particular singer sounded better on black.

[@RolandDeschain1]

Would this be effective on a vocal buss with harmonies and backing vocals, or is it best to treat each vocal track seperately?

[@BobbyHuff]

Try to Treat every track separate.

[@TylerRifleyOfficial]

Most of the pros I received training and took classes from (Greg Wells, Andrew Scheps, CLA) to name a few all compress on the way in. The trick is.. not using too much. But committing to a sound and making it “sound like a record” before its even been to mixing, is something I’ve seen almost every pro do pretty much always. There are a select few that don’t. And that’s okay.. there isn’t any right or wrong way. If you’re a fan of no compression on the way in that’s totally cool! Some pros don’t use compression during recording. But in my opinion.. and probably in the opinion of ANY pro.. it would be incorrect to teach that “it’s the right way to do it” one way... when there really isn’t a right or wrong way. Add to that the fact that most pros do in fact compress lightly on the way in.. I’d just like to clarify for everyone here that there is no right or wrong way. Whatever sounds good and whatever you’re comfortable with is the right way! I compress with a hardware EL8 distressor on the way in very lightly just to catch peaks. And then I go 1176 to LA2A or CL1B during mixing almost 90% of the time. That’s also the chain that I see most pop/rock/hip hop producers using for mixing vocals and sometimes even tracking. No right or wrong way!! Just do what you’re comfortable with and what sounds good to your ears. The pros I look up to compress on the way in.. so I do too! And I love the sound.

[@BobbyHuff]

I respect your opinion! Just know this. There is NEVER a downside to not compressing on the way in. You will never have an overly compressed vocal that may get too grabby once or twice and you will never have a tonality of a compressor that you wish you didn’t have in the mix stage. I’ve seen this happen and had it happen to me. You’re basically using the same chain I do. Try just using it in the mix, the most critical stage, and you’ll have more options. Thanks for watching. Ps.. I’ve also had CLA tell friends that their vocal is too compressed and he can’t mix it.

[@FromTheHipp]

@@BobbyHuff he never said that there wasnt a downside. he said that 1)telling people that there is a right/wrong way is inherently ridiculous and 2)a lot of pros 100% compress on the way in. you have your way. others have their way.

[@BobbyHuff]

@@FromTheHipp I agree. Just know you can’t undo compression. That’s all I’m saying. There is no wrong way but no compression on the way in does give you more options later for sure and many pros do it both ways. Find the way that works for you. I’m just here to make sure everyone understands their options. Every technique I show on the channel is there for you to decide if and how it works for your process. There are also many people that aren’t pro that watch the channel and I want to show them how to not get themselves into a hole when it comes time to mix.

[@dheindejesus6306]

Hey master. I like your tutorial 😊

[@timsh4208]

Great video and for me this always works ! Your content is Great. Hope to see even more from You Bob.

[@BobbyHuff]

Thanks a lot Tim!!

[@boobo3763]

This vid would kick ass if you showed how to do the second round on compression/ what the settings would be on an actual LA2A emulation and not the R comp. Still great vid though and very helpful. Thanks, Dr. Bob

[@hankslapper]

Thanks Bobby

[@NealMiskinMusic]

I do sometimes compress before tape, but only when I know that that's the sound I'm going to want. I don't use aggressive compression before tape (unless I'm splitting the signal and running the compressor in parallel). But there are times when I want to crank a preamp up real hot without clipping the converters so a compressor is good for taming those peaks so your distortion remains analogue and pleasant without unpleasant digital clipping. But this is not an every day thing for all songs, only when I want that specific sound. This is something of an advanced technique, it's easy to over cook it. So if you're new to compression I would recommend getting a handle of it in the mix first, where you're not committed to it, and don't put a compressor before tape until you're really confident in the sound you want and how to achieve it. But if that is the sound you want and you know it go for it.

[@BobbyHuff]

Thanks for the comments Neal

[@fivesixspins]

I really, really appreciated this video. Super helpful and the editing was entertaining.

[@BobbyHuff]

Thanks a lot for watching!

[@peacekeeper3743]

since you are hitting high levels with the rvox, how to you manage to get the level right on the mixbus ? are you taking down the fader of the vocal track?

[@BobbyHuff]

Yes. Correct

[@beatprocess]

Wow that sounds definitely professional

[@chillsmith9622]

I feel like if you're recording aggressive vocals such as Hip-hop compressor on the way in is the way, I wouldn't risk playing around with the gain knob

[@ryKirwan1]

Awesome vids, simple straightforward useful ✊🏻✊🏻✊🏻

[@BobbyHuff]

Thanks Ryan!

[@RP2134]

good vid. I respectfully disagree about the 'not compressing on the way in.' I understand why you would tell the average person that, but to anyone who has their own home studio and enough time to spare, running through the analog chain is unparalleled (pun intended lol). If you don't like your take, simply re-do it until you like the recording and settings etc. I usually do hundreds of takes until I get my performance to my liking. The settings you can dial in pretty quickly if you are used to your own setup.

[@charlesrocks]

I always compress on the way in

[@beatprocess]

Great video.

[@andrewkratz226]

Great stuff man thanks

[@BobbyHuff]

Thanks Andrew!

[@mikeymadeit9990]

This really works, like in the video, when you have 1 a great talent singing, 2 a good mic, 3 a great pre for your mic.. A lot of people will try this and think it sounds terrible when its really the nastiness of that cheap ass mic and preamp coming out! Compression exaggerates what lies underneath! Remember that! And also invest in your craft

[@BobbyHuff]

Good point Mikey! She sang through a great SM7 and a Neve pre but is a great singer!

[@mikeymadeit9990]

@@BobbyHuff Awesome input chain!! I lean towards the API pres for vocals... or anything for that matter..

[@frankwyatt627]

one huge tip you might want to consider. don't sing directly into the mic. stand in front of it obviously but, turn your head 30 to 45 degrees to either side and all your pops and plosives disappear. try it, you'll like it...........

[@BobbyHuff]

Good one Frank. I’ve also had good luck with a P Popper!

[@frankwyatt627]

@@BobbyHuff p popper? hmmmm. let's try to keep this convo above the waist there mr huff n puff....hee hee

[@BobbyHuff]

@@frankwyatt627 hahahahaha!!!

[@audiomez]

I think there is something to be said for both approaches (and and I've always believed old school analog techniques) focusing upon mic selection, teaching the vocalist about effects of "working tbe mic" eg: azimuth, proximity, demonstrating amazing increases in vocal control at lower amplitude I was consistently in awe of the benefits of extra time spent carefully setting their phone mixes which seemed to foster their mastery of novel vocal register and loudness control techniques allowing them to truly appreciate the subtle nuances of their bocals (when not trying to fill the room with voice. Compression when necessary to apply to the front end of gain staging I usually interpreted as an indication I needed to spend more attention on capturing a more accurate and/or transparent audio product. Now that's all together different as instruments were subgrouped in and mastering was undertaken.

[@BobbyHuff]

Extremely well put George!!

[@thegermansat]

This lesson is pure gold!

[@BobbyHuff]

Thanks for watching!

[@dyonissiszoes3747]

I think Renaissance Vox is a kind of low level compression. It sounds like it to me at least... What do you guys think?

[@BobbyHuff]

I feel like it’s taming the spikes..

[@dyonissiszoes3747]

@@BobbyHuff yeah you’re right, there is some “limiting” being done for sure but the makeup gain sounds a bit more “harmonically charged” and present so there might be something done to the low level stuff too. That’s usually what’s going under the hood of the plug-ins that make things more “forward” and “in your face”.

[@BobbyHuff]

@@dyonissiszoes3747 agreed! It’s a really good one!

[@timoti2]

@BobbyHuff - [or anyone out there] care to suggest actual settings for the second comp when using an LA2A - for the Waves-Business-Model-UnChained amongst us? The R-Comp settings don't really provide much to go on there. (Thanks heaps in advance - loving the serious practicality of what you'r'e sharing on this channel)

[@marquispaige1341]

Where can I get a free compressor

[@mikecurry2903]

Excellent! Thanks, buddy!

[@alexandre7634]

Even Al Schmitt compresses when tracking, what are you talking about ?

[@jettjaguar8150]

thanx Doc

[@heythere6983]

Thanks for the demonstration. Really noticeable difference. I have a question , the song by switchfoot , meant to live . I absolutely love the vocal sound ok that song , it’s actually kinda silibant and on paper I never liked silibance but I feel without it, the vocals wouldn’t have the presence and Character that seems larger than life in there song. I’m trying to find my own mic, maybe a 251 style, like a GAP or mojave1000. The Mojave seems a bit silibant by nature Do you think that song sounds like it was recorded with a silibant mic, as opposed to Chris trying to boost silibance with compression? I figure if it was recorded with a smooth lush mic, he couldn’t pull all that silibance out . To me I kinda feel like it was recorded on a mic that had that hissyness baked in. What do you think? I want vocals to feel soaring over the guitars and not super thick and forward/mid heavy . That song basically does what I hear in my head . I also feel since a lot of the presence is in the silibance and the vocal is a bit soft otherwise and warm, that let the guitars sound huge and forward instead , aswell as drums and bass. Idk of any other track where the silibance was highlighted so much and worked nicely . Thing is the mic does sound warm, it just has the “hiss” silibance that really gave the vocal another dimension . I’m wondering if I should go for a mic like Mojave that seems more silibant OR if you think silibance and detail like that can be pulled out of a mic that sounds somewhat normal otherwise? This would help me figure out in what direction to go with my mic . I feel the Mojave is a bit flat sounding but the gap seems a little rounder to me but I really would love to get in the ballpark of what those vocals sound like. I can’t think of another song where the vocals sound like that and miX that well. I Wish I knew what mic was used, I think it was recorded in the singers house , atleast part of that album was so idk if the silibance was on purpose or not but honestly it’s instantaneously captivating in terms of tone . I’m also a rock musician and to me this is a gold standard vocal, Chris’ other mixes don’t have this character to em on the vocals so I am really trying to understand how to get an effect like this . I’d love to hear your thoughts!

[@midiot777]

I wouldn't think of recording a vocal without compression. But - I know my compressor and always compress a little less than I'll probably want on the finished vocal. I won't know the final compression till I get into the mix which I can tweek then. My waveforms are never flat lined and retain enough dynamics to be compressed again in the mix. My advice is to learn your favorite compressor. I'm usually using an Avalon vt737sp. The heart of it's sound is hi gain mode and the opto compressor. Great channel - thanks

[@BobbyHuff]

Respect… I have just seen too many nightmares where the vocal has been over compressed or the compression has colored the sound in a bad way and the transients are out of control. Not gonna say you are wrong as you seem to have it under control and there are really no rules…but…it’s never wrong to not compress the vocal going into the DAW as the possibilities are wide open to carve the vocal and detail it to what’s best for the mix. Thanks for watching Midiot!

[@midiot777]

@@BobbyHuff This is something we could talk about all night, or at least as long as the tequila lasts. Thanks for the reply. From Vegas.

[@rome8180]

Titles the video "How the pros compress a vocal" and then immediately says not to compress on the way in, despite the pros compressing on the way in constantly.

[@amfk8079]

Im ready for a date in that jeep lol! Thank you for this loving it all!

[@BobbyHuff]

Thanks for watching!! It is a fun Jeep!

[@beachboyvince]

Can't help but feel this sounds like something they would've done 10 years ago. Nowadays I'm hearing less compression (probably 5-6dB of GR tops) and the vocal is just mixed higher in the mix with a more natural EQ to give it that intimate sound. Would like to hear your thoughts.

[@BobbyHuff]

Hey Marvin that’s interesting. I’m not hearing that at all in pop, country, or rock. What genre are you hearing less compression on vocals?

[@beachboyvince]

@@BobbyHuff the billie eilish stuff, the new cardi b mixes by leslie brathwaite, olivia rodrigo, and that heartbreak anniversary song by giveon

[@BobbyHuff]

@@beachboyvince man to my ear these vocals are compressed like crazy. The Billie stuff is super super compressed…in a cool way. I’m hearing it all over pop.

[@beachboyvince]

@@BobbyHuff I think you can agree that vocals today sound/feel completely different than, say, 5 years ago when hyper produced EDM-pop was all the craze, and 10 years ago during the Katy Perry era. I don't want to call your mix here "dated", but, let's just say the vocal reminds me more of Fearless Taylor Swift and less Evermore Taylor Swift. What do you think is causing this shift in the vocal sound, if not less compression? Would like to hear your thoughts. I love the sound of that new Evermore record. Serban did that one too.

[@BobbyHuff]

@@beachboyvince I think the song and the content is fooling you. This is a country song so it’s going to feel more like a Taylor Swift vocal. I think styles of production change and even the kinds of songs that work as hits change but Billi Eilish and Taylor Swift and Ariana Grande are all very compressed vocals. Obviously their voices, range, melodies, they’re singing are quite a bit different but there is quite a bit of compression and eq going on to make them fit into these mixes.

[@Owl-qh2rh]

If you're vocalist is singing loud then quiet punch him! Could have sworn I heard that lol! Great vid thanks doc!!! 👍

[@ALIMU]

This was a great video helped a bunch

[@BobbyHuff]

Thanks Ali!

[@primee5730]

Did it with my dbx 266xs and 266xl and it sounds better... Thanks a lot

[@BobbyHuff]

Great Prime!

[@thaddeusodonnell3986]

When I got this comp I really didn't understand it. But it's basically my go to comp now.

[@BobbyHuff]

Yes Thaddeus! It’s a great one!

[@madmuso5]

I could be wrong but when you were showing howva fast attack time clamps the vocal you actually had the atrack dial completely anti clockwise which is the slowest attack. On an 1176 all the way clockwise is fastest setting.

[@georgecain123]

You used eq b4 the 1176?

[@caltezza]

Another great video Doc!

[@BobbyHuff]

Thanks for watching Calvin!

[@ZigzagTheMusicwalaYT]

Great video

[@callehellstrom]

Love your work man. Maybe complete the series with a smooth vocal settings?

[@ErickT_MX]

Love the Waves R series! Always on my mixes

[@BobbyHuff]

Absolutely Erick!

[@skate24ish]

R vox makes a sound like an opto Comp...

[@benperry490]

Doc show us more of your songwriting tips and tricks collabs and such

[@BobbyHuff]

You got it!

[@AyoMillz]

I don’t feel like im down her throat anymore 🤣🤣😮‍💨 im clearly watching and responding in real time

[@Sangejzer]

what is the name of the DAW you're using?

[@BobbyHuff]

Cubase.

[@johncostigan6160]

Thanks for the correction Bobby. The controls on the 1176 have always confused me. (I've got UAD, NI, and Cubase; I get confused a lot)

[@billirwin1726]

I'd be interested in knowing which vocal mic you used Nice job btw

[@BobbyHuff]

Hey Bill. SM7 and a Neve mic pre.

[@MiguelGH23]

Great video and well explained 👏🏻

[@BobbyHuff]

Thank you Miguel!

[@prblm1784]

Is it possible if we can go over how to subtractive eq bad frequencies on pop vocals then use additive eq to bring up the good frequencies with the SSL E channel

[@Arufured0]

Beautiful song. Can I mix it, pls?

[@Mikey__R]

Ok, so assuming you've got a stereo soundcard, and maybe two mic preamps, why not split the signal at the mic, and record a second track at -6dB or so? You can track each song in one go, and you've got a backup track in case the first clips on the louder sections.

[@WAZA___]

Why you use black c76 instead of the blue 76? I read blue was better than black for vocals?

[@lvndo2094]

Great video ! How do I monitor with Apollo? I press the monitor button but I can never hear the compressors and eq’s when it’s on.

[@BobbyHuff]

Thanks man! Try this kzbin.info/www/bejne/ZnrGg36IbMx4o68

[@Coalbucketlist]

Great stuff..glad I found your channel. Subscribed!!!

[@BobbyHuff]

Thanks so much!!

[@souldubafroculture1437]

Thank you

[@BobbyHuff]

Thanks for watching Anele!

[@jbkivontop]

Great insight, thanks. What would the typical order of plug in be on a vocal track. and dose it make a difference?

[@BobbyHuff]

Typically…deesser, eq, 1176, Soothe, r vox. Then if needed another eq and another deesser. Thanks for watching John!