Re: Compressor novice... need starting point for rock vocals
Hello!
I BE a similar kind of act that has an extremely powerful female vocal. The timbre of her voice also changes fairly drastically across her dynamic range. When we are not out on tour carrying equipment, I am occasionally stuck in rooms with limited amounts of dynamics processing, so I understand your situation.
If you don't understand the premise behind the typical compressor controls you cannot really use them effectively. If you are unfamiliar with what the typical knobs do (threshold, ratio, attack, release, makeup gain) then there are some great resources online that will give you a LOT of insight on how to use your ears to set the knobs.
I would also make myself aware of the different topologies of compressors... (VCA, Opto, Vari-mu etc) as this has a drastic effect on how they operate and what controls may be available to you and why.
Some basic compressor tips:
When you are using compressors or limiters you are typically trying to accomplish one of 2 things:
1. Create an effect. (e.g. Making drums sound larger than life, extending the sustain of a guitar or bass, etc)
2. Reigning in dynamic range (evening out the volume differences between words, etc)
For vocals, I tend to prefer ratios of 3:1 or 4:1. I generally look for around 5 dB of gain reduction on the loudest of passages as a GENERAL starting place. With the vocalist I work with, I can sometimes hit upwards of 15 dB of GR if I am not paying careful attention!
Start with a moderately fast attack and short release. Attack and release times are extremely important, and can really make the difference between tasteful dynamic range reduction and all out pumping and breathing. Start with the threshold all the way up and slowly bring it down until you see the desired amount of GR. Bring the makeup gain up to compensate for the loss of signal.
Compressors are not necessarily set it and forget it. Don't be afraid to adjust the compressor during the show, or ride the fader manually with your finger or both!
When I have limited numbers of compressors (like 2 channels) I typically set my console up like this:
I take my lead vocal and mult it to 2 busses. I compress one buss but not the other and during the show I ride the mixture of the compressed and un-compressed vocal. This is parallel compression.
I then take all my BGV and send them to another buss which has the other compressor on it. I personally like bus compression on vocals.
Often times for larger shows with more channels of compression or on digital consoles I may take 3 or 4 splits of my lead vocal and compress and EQ each differently to suit the different timbres of her dynamic range. I then ride these faders during the show to keep the vocal sound as prestine and clear as possible. I prefer the manually ride these, instead of using a traditional multiband compressor.
If you are runnings mons from FOH be very aware of your gain structure and where your inserts sit on the console. Are the inserts/compressors pre or post your monitor sends? etc etc etc
Good luck!