How to compress vocals

For most vocals, set threshold around −18dB, ratio 3:1, attack 10ms, release 80ms.

Updated 2026-05-03

Short answer

For most vocals, set threshold around −18dB, ratio 3:1, attack 10ms, release 80ms. This catches dynamic peaks without crushing the vocal. For dense pop production, stack two compressors at lighter settings instead of one heavy compressor.

Threshold: −18 dB, start so it catches the loud syllables
Ratio: 3:1, controlled, not aggressive
Attack: 10 ms, preserves consonant clarity
Release: 80 ms, recovers smoothly between phrases
Knee: 6 dB, soft knee for natural feel

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Set threshold for 4–6dB gain reduction

Pull the threshold down until the gain reduction meter shows 4–6dB on the loudest words. For most vocals that lands around −18dB, but it depends on the singer's dynamic range. Too aggressive (8–10dB GR) and the vocal sounds squashed; too light (1–2dB) and the dynamics still ride the mix.

Ratio 3:1 for control, 4:1 for character

3:1 is the standard pop vocal starting point, controlled but transparent. 4:1 adds character and 'glues' the vocal to the mix. Above 6:1 you start to hear the compressor working, which can be intentional for an aggressive vocal sound.

Attack 10ms preserves consonants

Too fast an attack (1–3ms) clamps the consonants and the vocal sounds dull and lispy. 10ms lets the 't', 'k', and 's' sounds through before the compressor engages. For a more aggressive vocal, drop to 5ms; for a softer ballad, push to 15–20ms.

Release tied to phrasing

Set release so the gain reduction meter returns near zero between words. 80ms works for most pop vocals at moderate tempo. For ballads, push to 120ms; for fast rap, drop to 40ms. If you can hear the compressor 'breathing' between phrases, slow the release down.

Frequently asked

What ratio should I use to compress vocals?

3:1 is the universal starting point. Lower (2:1) for ballads, higher (4–6:1) for pop and aggressive vocals. The ratio matters less than how much gain reduction you actually pull, aim for 4–6dB on the loud syllables.

Should I use one compressor or two on vocals?

Two is usually better. The first compressor (3:1, fast attack) catches dynamic peaks. The second compressor (2:1, slow attack) glues and adds character. Each one only does 2–3dB of gain reduction, so neither sounds heavy.

Why does my vocal pump after compression?

The release is too fast for the vocal's phrasing. The compressor recovers before the syllable ends and you hear the gain swell. Slow the release until the recovery happens between words, not within them. 80–120ms works for most vocals.

Should I de-ess before or after compression?

Usually after. Compression makes sibilance louder relative to the rest of the vocal, so the de-esser has more to fix. The exception is when the singer is heavily sibilant, then de-ess first to prevent the compressor from over-reacting to 's' sounds.

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