"Mix" moves where I'm riding entire busses or the Master fader will only happen once all the track processing is sorted out and essentially 'baked' into the audio. I agree with you in general, i would do fader moves on single instrument tracks before processing. depends entirely on the performance itself and the style of music. it's not always a bad thing if the vocal isn't triggering the compressor at all! There are, however, some circumstances where you've just gotta set it to all buttons in and crank it. Sometimes, compression can kill the sound of a vocal and automation will keep it feeling more "alive". In terms of gain reduction, I actually set my thresholds such that there is little to no gain reduction during quiet parts of the song. For instance, if I am automating down a sudden peak in level of a vocal track, that will affect the send to a delay that I might have on the track, causing the delayed vocal to also not sound like it suddenly peaks in volume. It also has the effect of compressing the vocal more when the volume of individual vocal tracks is automated up, for instance in a chorus where there is usually a denser instrumental arrangement and you might need more compression to keep the vocal audible.Īs far as effects go - I have found that riding the level of a vocal track with a post-fader effect send actually helps keep that effect level throughout the song. The vocal bus compressor glues all vocal tracks together, helping the overall vocal level not get out of hand when there are suddenly a lot of doubles, harmonies, etc. and then those vocal tracks will go to a bus that has softer attack/release settings with less gain reduction. and then riding faders to keep the vocal on top of the music. Another vote for "both" - I have been using very fast-release 1176 style compression on the actual vocal tracks themselves - for the "sound" of it, and to catch inconsistencies in breaths or within words.
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