To many music producers, equalizing and compressing an audio recording is quite a job. There is a need to compensate for the noisy and quiet parts of a sound or instrument so that its behavior is a little more predictable. Pressure emphasizes soft elements and tames noisy parts in a recording, so it does not consistently control the mixer volume control (or the standard mixer in DAW). In its simplest form, a compressor, whether in a hardware module or a plugin, compresses the sound so that its vibrations and rises are less clear. For example, you can reduce the size of a compressed trajectory without worrying about losing less smooth parts, or increase the volume without worrying about leaving high parts. It may be useful to consider all compression parameters (attack, release, percentage, and limit) as methods of compression of sound. Insufficient pressure leaves traces that fall out of the mixture at the wrong time or lost due to noise from other machines. Excessive pressure can make the sound path lifeless or uninspired. You should be less aggressive when compressing sound on the way to DAW (because you won’t move on with everything you do) and more aggressive when compressing the plugin (because you can connect it at any time).
An equalizer is an indispensable tool. It can also be the fastest way to distort the sound of a mix. Overuse of EQ comes second after overuse of Echo as a trademark of an inexperienced mixing engineer. The equalizer should be used to capture the sound of the track you are working on so that it blends well with other tracks in the mix.
Since singing is the essential component of any popular music mix, vocal pressure plays a significant role. Getting sound that blends in well with the mix requires a mixture of pressure, equalizer, and volume control, which are often automated. This is a fairly common practice to squeeze a little on the way to your DAW. This should not be an aggressive form of compression, sufficient only to tame some higher parts of the volume so that the total recording volume becomes warmer.
One approach to the audio series is; a microphone on the compressor equipment, and then directly on the DAW. To achieve this set the attack settings on the hardware compressor for about 30 milliseconds, and the release settings for about one second, the compression ratio to 3: 1.play with a threshold and check that they gain limit on the hottest parts sound is a maximum of 3 dB. This leaves me a place in the mix for more compression with the compression plugin. The danger of excessive pressure on the path gets stuck at the end of the pressed song, not being able to change it later.
Sound Pressure in the Mixture
When you sing in the mix, go to the optional compressor to continue singing in the mix without jumping too loud in high places. I recommend finding a compressor with a smooth and transparent sound that will allow you to move the sound a little further (reduce the gain by 3 dB in the highest places) until the music retains its presence. Set the attack to 26 milliseconds and empty it by about 300 milliseconds. If the mix is particularly saturated, and the sound should decrease slightly and show a higher brightness, use a special frequency compressor (for example, Waves C4 in the “Pop Vocal” configuration), which is somewhat more specific in terms of compressible frequencies. Learning how to equalize and compress an audio recording does require not only concentration but also the passion for music.