there is one developed by Butch Vig who is a member of the. But when mixing I always like to adjust my ratio to 5:1 to start and threshold in so your sitting at around 6 db of gain reduction, then I like to roll out the attack so the sharp sounds of the consonants just start to peak through the mix, readjust the threshold as required and then roll in the release so the compressor let’s completely go just after each word (or phrase if the lyrics are strung together quickly) is sung. Each of their signature plugins is a stand-alone pack with a unique visual design and tons of options to tweak. With Compression I’ve always been a fan of some medium to heavy compression while tracking Vocals because I feel it just adds that special little something, something to that character. For De-Essing just find your go to De-Esser with your go to settings and adjust for the vocals you are currently treating. The day before Nirvana were due to record demos for Nevermind with producer Butch Vig at his Smart Studios in Madison, Wisconsin, in April 1990, Kurt was hastily putting the finishing touches to. Now onto compression, it’s always an argument with almost every sound guy I know on what order should the EQ and Compression go in, here’s my take… (THERE IS NO SET ORDER) the order is whatever sound goods with what you are personally doing for the mix, don’t be afraid to experiment with that order to find new and interesting sounds, but for my go to sounds, I like to use a De-Esser followed by Compression and then EQ, sometimes I’ll chuck the De-Esser after the EQ depending on the sounds I want to create for that mix.
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