A Discussion About Voice Recording and Mixing
Rob Sommerfeldt (@RobSommerfeldt) suggested that a Twitter discussion Jason Miller (@JasonMiller0607) and I had Sept 7 about recording and mixing voice might be worth sharing. So I collected our conversation here.
Jason Miller: Do you use much parallel compression with voiceovers?
Randy Coppinger: Not tracking, no. I experimented with it. It seemed like a better idea than it turned out to be.
For pre-mastering and mixing dialog I use parallel compression all the time. Just yesterday as a matter of fact.
I seem to recall you’re a fan of parallel compression…
I use it on vocals when I mix almost 100% of the time. Never when tracking. Just wasn’t sure what protocol for DIA was…
I’m not sure if there is a protocol, but I know my colleague & I are both fans for mixing. I like serial compression too.
I find that if I de-ess the compressed channel a little too much, it allows the uncompressed “esses” to poke through
Which is one reason why I think it can make an awfully compressed vocal still sound natural.
Serial is inevitable in my chain, as I always compress on the way in. Then the parallel comp, and sometimes one more.
Not to mention my mix buss…
Interesting strategy. De-esser before or after compression? For sibilance I like to move and/or swap out the mic.
Sounds like we both like many layers of a little bit of compression.
I tend to parallel compress submixes rather than the main mix buss. It feels more controlled to me.
My typical dialog pre-mastering chain is: EQ cuts > parallel compression > EQ boosts > limiter. For mix, lose the limiter.
De-essing hasn’t been a huge problem for me lately. But when I do use it, it is always after the comp.
Sometimes it’s on the parallel compressor, sometimes it’s after the two are summed… depending on how much I need
Though, I find myself using de-essers more around 2-3k for harshness rather than “esses”
Cool. So it’s more like a multi-band compressor set to only knock down a narrow band of mid-range. I like it.
Whenever I have a voice that just tears through regardless which mic or where placed, my fav de-esser is the LilFreq.
They spun off the de-esser in to a half rack (pic). http://ow.ly/6nTU5
I’m sure that de-esser rocks. I refuse to work with analog gear in a mix, so I enjoy the Waves De-esser.
I use it for tracking. The LilFreq is typically in my acquisition chain anyway so I can just pop in the de-esser if needed.
De-essing to tape scares me… but then again, if I was ONLY recording/listening to a voice it would be much less terrifying
It’s like compression: go easy because you can always add more later. Most de-essers scare me. This one works very well.
As I said, I prefer to swap and/or move the mic. I *rarely* use the de-esser. Nice to have in a pinch.
I think I find them to be less predictable than compressors. Also, I find them most effective at the end of the chain.
I was trained to use gates and de-essers as early as possible. To each his own.
In my experience, [large amounts of] compression tend to undo any de-essing you may do early on.
That hasn’t been my experience, but I know a really quick release can make a voice seem brighter, so not hard to imagine.
—–
Thanks for reading. What thoughts / questions do you have? Leave a comment, please.
love the discussion.
agree with most.
my vocal chain is: deesser first (Massey plugins), digi eq3 or flux epure to treat the mud/honk/harshness/. Then a Sidechain compressor or multiband like C1 or C4 to treat the harshness of midrange (so that the vocal can be more upfront without being a pain in the ear). Then a hardware eq to tone/tailor/boost as needed. (usually a Chandler Germanium EQ)
from there it goes to a parallel output. I compress lots with Purple MC77 parallel. The vocal master bus is then limited with Retro 176.
Good thoughts Harmoko. LOVE the MC77. Are you typically mixing voice recorded by someone else, or is it recorded by you too?