Getting the vocals right in a mix is kind of everything. Even if everything else isn’t perfect, if you nail the vocals, you’re still doing ok and the artist will be reasonably happy. On the other hand, even if everything else is perfect, but the vocals are a touch off, it’s going to stick out like a sore thumb and you might lose the gig. Of course, we strive to get everything right — I’m just stressing the point that vocals are the one element you have to absolutely nail.

My approach to vocals changes based on genre, based on what sound I want — and I experiment with plugins and gear all the time. But there are some plugins I keep coming back to that one would see in a lot of my mixes.

1. FabFilter Pro-DS

FabFilter Pro-DS is easily my go-to de-esser.

Best Vocal VST Plugins: Use These Tools To Process Your Vocals Like a Pro [REVISED & UPDATED] Written by Doug B. On December 17, 2015 Last modified on June 26, 2018 at 13:37.

For a long time, I was actually automating sibilance by hand because I didn’t like the graininess that I got from all the de-essers I tried. FabFilter Pro-DS in wideband mode is as good as automating by hand.

The split band also sounds great and works well on taming harsh tones that can show up around 3 kHz, not just sibilant tones higher up.

2. SoundToys EchoBoy

I spend an inordinate amount of time designing my ambiences, particularly on vocals. It’s not uncommon for me to have three to five delay throws that I automate between throughout a record. EchoBoy gives me the versatility to create a number of delays — from subtle ambience around the vocals to overt effects.

I can do very tight delays for rap vocals, smeared “pa system” delays for rock vocals or highly diffused and spread delays for pop. Basically, I feel like I don’t have many limitations outside of my own creativity.

3. Klanghelm MJUC

I’ve tried a lot of different compressors for vocals, and while there’s a number of hardware pieces I love, I haven’t found too many in the software world. Oddly enough, the one that I keep coming back to again and again is the Klanghelm MJUC, which is one of the least expensive options available.

It’s super versatile with a great tone. It’s transparent enough to not distinctly change the tone, but just colored enough to give the voice a little extra magic. I can’t imagine a genre where this compressor wouldn’t work. And even if I were using some of my very expensive outboard, I would still likely be using this compressor as a parallel return.

4. Waves MV2

There’s usually a point in my mix where I love my vocal sound, but I just want it to be a touch fuller and a hair more forward. This is where Waves MV2 is my finisher. The Waves MV2 has a “low level” limiter which does something really interesting.

Instead of taking level above a threshold and attenuating, it takes level below the threshold and turns it up, keeping the louder signal exactly where it is. This effectively brings the vocal forward without actually turning it up louder. Even setting the low level up to just 2 or 3 adds a distinct amount of body to a vocal.

5. Avid Lo-Fi

Surprisingly enough, the stock Avid Lo-Fi plugin makes this list. Sometimes a vocal comes in too clean to really stand out in the right way. I use very subtle amounts of Lo-Fi to add grit to a vocal or shift the tone ever so slightly darker.

A very common use is for vocals that have a boxy low-mid. I want to get rid of the boxiness so I EQ out the cruddy low-mid, but then I’m missing body in the vocal. I use Lo-Fi to bring some of that body back. Sometimes a touch of distortion also helps the ear find a sound in the mix, so it’s also a good tool for getting a bit of presence in the vocal without having to make EQ changes.

6. Lexicon Vintage Plate

This one is close. I use a lot of different reverbs for a lot of different vocals for a lot of different reasons. And most commonly, I use my hardware Bricasti, but if I had to pick only one reverb to have for vocals in the box, I’d go with the Lexicon PCM Vintage Plate. With this reverb, I don’t believe I’d ever run into a vocal that I couldn’t make sound incredible.

7. Boz Digital Hoser XT

There’s a number of EQs I use on vocals. I use the FabFilter Pro-Q 2 for surgical stuff pretty often. I use Waves Q10 for background vocals very frequently. But if I had to pick one that I use more than anything else, it’s probably the Boz Digital Hoser XT. It’s punchy like SSL-style EQs, but a broader band like API-style EQs, which kind of makes it the perfect vocal EQ in my book.

If the vocal is recorded fairly flat, I love pulling in a bit of “larger than life” smile curve with the broad low and high shelf and then tightening things up by getting rid of any boxy or harsh tone using the two bell bands. It’s a process I do very often.

8. Wavesfactory Spectre

I have a lot of techniques for making a vocal sound rich in a certain frequency range. I will use parallel processing — either band-limited compression or saturation — that targets that range. It’s a bit of a process to set up and it’s a little tricky to dial things in just right. Getting a vocal to sound rich is even trickier when the vocal was not tracked in the best way possible. However, Wavesfactory Spectre has made this process much easier. Spectre works like an EQ but instead of boosting frequency content it boosts harmonic energy at a target frequency. This is exceptionally useful when it comes to getting vocals to sound full in the lower mids.

Turn the playback level very low with the entire mix going. Listen to the vocals. If they sound thin or diminished in any particular frequency range, grab Spectre. Set the “Mix” to 100%, and dial in just enough of that frequency range to make the vocals stand over the record. Then turn the “Mix” down to a lower percentage until the vocal seems to glue itself back into the track again. I find a little bit goes a long way. A dB or two boost at 30 to 50% is usually plenty. Experiment with the distortion algorithms — I find myself going to “Warm Tube” very often. And set the Quality to “Best.” Instant rich vocal.

Bonus: PSP B-Scanner

A lot of Pop and R&B vocals benefit from a bit of chorusing/modulation. It gives them some tonal movement, texture and a sense of spread. My favorite choice for this process is the PSP B-Scanner, and I don’t believe this is at all what PSP intended for the plugin. But damn if it doesn’t sound sexy tucked under a vocal 12dB down.

Now, I didn’t list this in the primary seven because I don’t believe this plugin would work well for Rap or Heavy Rock. I can’t exactly call this one a “favorite” for everything, but I had to at least mention it.

If I had nothing other than these plugins listed, I don’t believe I’d have any restriction in mixing any vocal, from Top 40 Pop to grimy Punk-Rock. I’d be happy as a pumpkin in a pumpkin patch, and I’m pretty sure that’s not even a real expression.

Mixing Vocals Tutorials

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Compression… your best friend and your worst enemy.

When used correctly, compression is a key ingredient for vocals that sound professional, modern and radio-ready.

When used incorrectly, compression can quickly ruin a good vocal recording and make your music sound amateur and over-processed.

By the end of this guide you will be able to apply vocal compression with confidence to craft vocals that sound modern and are easy to mix.

We’re going to cover tonal compression, dynamic compression, limiting, multiband compression, side chain compression, parallel compression and more.

But before we continue, I’m guessing you’re here because you want to make music that sounds professional in your home studio.

Getting the lead vocal right is important, but it’s just one piece of the puzzle.

That’s why I created this new free training for people who want the entire framework for pro mixes.

Inside, I share the single most important recording and mixing discovery of my life.

This ONE thing that I discovered gave me the ability to walk into my home studio and finish a track that sounded radio-ready in a matter of hours.

So, if you want a shortcut to pro-quality mixes, watch this on-demand training now:

But if you just want to learn about vocal compression specifically, keep reading.

Contents

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• Before You Load Up a Vocal Compressor…
• Tonal Compression
• Dynamic Compression
• Masterful Multiband Compression
• Does vocal compression really matter?

Before You Load Up a Vocal Compressor…

It’s important to have an understanding of what you are trying to achieve with compression. As with any mixing process, you should have a purpose behind every plugin and decision.

It’s also important to have an understanding of how a compressor works. Let’s look at the anatomy of a compressor:

One of your aims when mixing vocals is to make them as dynamically consistent as possible. They need to sit on top of the mix at all times. Every word should be clearly audible, and every word should be a similar volume.

Modern standards of professional production require crazy levels of perfection and consistency in the vocal. It might seem like this would sound unnatural, but it doesn’t.

You do this with automation, NOT compression.

You do this with automation, NOT compression.

That’s not a typo. I wanted you to read that twice so you really take it in.

It takes time, but it’s a requirement if you want your vocals to sound professional. There are two different types of volume automation, which you will learn about soon.

You may be wondering, then, “why is compression so important on a lead vocal?”

There are two main reasons:

1. To add EVEN MORE dynamic control
2. To shape and enhance the tone of the vocal

In most cases, the genre will require you do both of these things. For some genres, though, you may only need to do one or the other.

It’s important that you consider the style and vibe of the track before you apply compression. Here are some basic vocal mixing guidelines to get you started:

• Pop, R’n’B, Electronic: These styles share similar traits. In general, heavy processing is acceptable and often required. Lots of top-end shimmer, noticeable effects, and highly consistent dynamics are the norm.
• Hip Hop: Similar to Pop, but with fewer effects and less top-end. More presence and aggression in the upper mids. (Though the most mainstream of Hip Hop often has top-end shimmer more akin to Pop).
• Rock: Less top-end, more body, and high mids. Vocals can sit a bit further back in the mix.
• Jazz: Approach with subtlety and taste. Avoid obvious processing and leave the dynamics mostly intact.
• Hardcore/Metal: Heavy compression (several rounds of 6-10dB gain reduction can be warranted) to make the vocals sound aggressive. Check out Hardcore Music Studio for more advice on mixing hardcore music.

Front End Automation

Detailed automation can take some time, but it’s time well spent. Mutt Lange (AC/DC, Def Leppard, Lady Gaga, Muse, Shania Twain) has been known to spend a whole day just riding one vocal part.

Most people use basic volume automation to make the dynamics of the lead vocal consistent (the best way to do this is with a physical fader, using a control surface like the PreSonus Faderport)

But I propose an alternative – gain automation.

The key difference between ‘volume automation’ and ‘gain automation’ is that volume is at the end of the signal chain whereas gain is at the beginning of the signal chain.

This means that the vocal is dynamically consistent BEFORE it hits your vocal compressor – not after. Before the vocal touches ANYTHING else, it’s already consistent.

This takes a lot of stress off your compressors and limiters. It helps all of your plugins to perform better because the vocal will always be around that -18dBFS sweet spot.

By automating the vocal early on, we also make it a lot easier to mix. We can be more subtle with compression.

Big wins early on will increase your confidence, too, which means better mixes.

Then, later in the mix, you can use volume automation to make sure the levels are consistent with the feel of the track (for example, louder in the choruses).

Here’s a step-by-step breakdown of this great trick:

When To Use Your Vocal Compressor

Best Eq For Live Vocals

To achieve subtle, natural sounding compression on your vocal it’s best to use multiple compressors throughout the mixing process (this is called ‘serial compression’).

Best Software Eq For Vocals Youtube

Rather than using one heavy compressor with a 10:1 ratio that’s applying 10+ dB of gain reduction, it’s better to use multiple compressors that each chip away at the vocal applying 2-3dB of gain reduction.

Don’t do this!

That’s why it’s good to apply light compression with outboard gear when recording if you have the equipment (don’t worry if you don’t).

For some genres, only one compressor is needed (Jazz, some Rock, Acoustic etc). But when heavy processing is necessary (Pop, Hip Hop, R’n’B, Electronic etc) it’s better to apply compression in stages.

Here is an overview of my usual mixing system for mainstream, modern vocals:

(You can learn all about this system in my free ‘Vocal Mixing Formula’ class)

Mudda mandaram serial 3 3 2018. As you can see, I use compression before AND after EQ.

The first compressor uses ‘tonal compression’ to shape the tone, lightly tame the dynamics and add or remove aggression from the vocal.

The second compressor uses ‘dynamic compression’ to catch the loudest peaks and add more dynamic consistency. We can also shape the tone here too.

In a second we’ll take a look at those two different approaches in a bit more detail. But first, you need to decide on your purpose.

It’s Crucial to Have a Purpose

Think about the feel and vibe of the track before you apply compression.

What genre does it fall under? Does it require a modern, mainstream, in-your-face vocal sound like you would hear on the radio? Or does would it suit more subtle, musical compression?

How dynamic is the vocal? Does it need a lot of control, or does it already sound consistent? Do the dynamics of the song vary drastically?

How is the tone of the vocal? Does the vocal sound aggressive and full of energy, or does it sound boring a lifeless? Does it sound TOO aggressive for the vibe of the track?

Ask yourself these questions and come up with an idea of what you are trying to achieve with compression. Once you have a clear idea in your head, you can follow the procedures outlined in the rest of the guide to achieve your goals.

How to Use a Compressor

Before we start talking about dynamic compression and tonal compression, let’s look at how to use a compressor:

Once you have an understanding of how to set up your compressor, move on to one of the secret techniques of vocal mixing: Tonal Compression.

Tonal Compression

This lighter approach to compression is about shaping the tone of the vocal and adding a small amount of dynamic control just to smooth out the levels.

This approach should use quite a slow attack and release time. You don’t want to compress the transients too much, as this will push the vocals further back in the mix.

Adjust the threshold so that the compressor is engaging on almost every word, but then use a low ratio to make sure you are only applying 2-3dB of gain reduction.

This is how to compress vocals using a lighter, more musical approach:

1. First of all, load up a compressor. Any will do.
2. Next, lower the threshold and raise the ratio to extreme settings. This allows you to clearly hear the compressor working.
3. Start with a medium attack time around 15ms and adjust to taste. A fast attack (5ms) will make your vocals sound thick and heavy. A slow attack (30ms) will make your vocals sound punchy and aggressive.
4. Dial in a medium release time of 40ms and adjust from there. Try to get the compressor pumping in time with the music.
5. Once you’ve settled on an attack and release time, bring the ratio down to somewhere around 1.5:1 and the threshold back up to around -24dB.
6. Finally, adjust the threshold and ratio until you are averaging 2-3dB of gain reduction (or higher for heavier music).

The main parameter that dictates the tone of the vocal is the attack time. Spend plenty of time tuning that in, and adjust it in the mix after you have set the compressor.

You could also try using a fast release time, or even setting it to as fast as it can go. This makes the vocals sound loud and aggressive. My good friend Jason Moss explains this well in this video.

Most of the time, though, it’s best to use a slower release time and adjust the timing until the compressor seems to breathe with the tempo of the track.

Remember, this approach to compression is about shaping the tone of the vocal, so try a few different compressors and compressor types if you have them.

Spend plenty of time adjusting the attack and release time until you are happy with the vocal. Use a fast attack time for thick, heavy vocals and a slow attack time for punchy, aggressive vocals.

I also recommend using a soft knee compressor for this approach if possible (just turn up the knee parameter if your compressor has one). This sounds more natural and musical. You don’t need a hard knee for dynamic control here.

Vocal Compression Settings For Light Tonal Compression

Here are my go-to vocal compression settings:

• Ratio: 1.5:1
• Attack Time: 15ms (but up to 30ms for more punch)
• Release Time: 40ms
• Threshold: -24dB
• Gain Reduction: 2-3dB
• Knee: Soft
• Makeup Gain: 2dB

Remember that these settings are only a starting point. A lot of tweaking will be needed, and sometimes you may have to use completely different settings. But this is what I start with 80% of the time.

Dynamic Compression

This approach to compression is about catching the louder peaks and reducing their volume. For lighter genres, this type of compression might not be appropriate.

To do this, a faster attack time and higher ratio are needed.

As we are only trying to catch the louder peaks, a higher threshold is also needed. You don’t want to compress every word (like with tonal compression), you only want to compress the louder peaks.

You still need to be careful not to compress the transients too much, as this will put the vocals further back in the mix. Use a faster attack time, but try not to go below 1ms.

Adjust the release time so that the compressor breathes with the music, or use a fast release time for more loudness and aggression.

This time, the process is slightly different:

1. Load up a compressor (any will do).
2. Set the ratio to 10:1 (and the knee to ‘hard’).
3. Adjust the threshold until the compressor is only engaging on the louder peaks, not every word.
4. Start with a medium-fast attack time of around 3-10ms. You can try using a slower attack time for more aggression, or a faster attack time for more weight (but don’t go too far below 2ms as you will put the vocal further back in the mix).
5. Set the release time to 20ms and adjust until the compressor is breathing in time with the music. Try using a fast attack time for more aggression.
6. Lower the ratio to somewhere around 2:1 until the compressor is applying 2-3dB of gain reduction (or 6-10dB for heavier genres).

Vocal Compression Settings For Dynamic Compression

• Ratio: 2:1
• Attack Time: 5ms (medium-fast)
• Release Time: 20ms (medium)
• Threshold: -24dB
• Gain Reduction: 2-3dB
• Knee: Hard
• Makeup Gain: 1dB

Combining Tonal and Dynamic Compression

These two approaches work best when combined. As I mentioned earlier, compression sounds more musical and natural when applied in several stages (serial compression).

For lighter genres where little compression is needed, tonal compression is more appropriate. But for other genres where heavy processing is needed, apply both tonal compression and dynamic compression with two different plugins (or hardware units).

I rarely use dynamic compression on its own for vocals (as it’s normally used in combination with tonal compression), but I often use tonal compression on its own for lighter genres.

Here is my go-to plugin chain for mainstream vocal compression:

1. Light tonal compression when tracking
2. Surgical EQ
3. Tonal compression (slower attack, lower ratio, lower threshold)
4. Tonal EQ
5. Dynamic compression (faster attack, higher ratio, higher threshold)

You can also experiment with using the faster dynamic compressor BEFORE the slower tonal compressor. This means that your slower compressor isn’t thrown off by any loud peaks, as the fast compressor will catch them first.

My buddy Justin Coletti from SonicScoop explains this well in his video on serial compression.

NOTE: Always experiment with plugin order. Depending on what you are trying to achieve, applying plugins in a different order can make a big difference to the sound.

Best Compressors for Vocals

Let me make something clear…

The stock plugins that come with your DAW are INCREDIBLE.

Don’t buy plugins until you really see the need for better plugins.

If your mixes don’t sound as good as you would like, and you are blaming stock plugins – you aren’t ready to upgrade yet.

But when you are ready, I have a few favorite compressors for vocals.

• FabFilter Pro-C 2 – An incredible compressor that is versatile and always sounds great.
• Waves Renaissance Vocals – This plugin just has one control and it’s AWESOME.
• Waves CLA2A – Any LA2A emulation is perfect for lighter tonal compression.
• Slate VMR – I like to use the 1176 emulation included in this plugin for faster dynamic control when needed.

Using a Limiter

After applying automation, tonal compression AND dynamic compression, the vocal should be pretty consistent in volume.

But for mainstream styles, you can go one step further and apply a limiter to catch any peaks that slip through your compressors.

Be subtle with limiting. As little as 1-2dB of gain reduction is sufficient in most cases, and you only want to affect the very loudest peaks.

For heavier styles or dense mixes, you can experiment with more aggressive limiting to squeeze more volume out of the vocal.

Start with a fast attack time of 2ms and a medium release time of 80ms and go from there.

Sibilance Sucks… Seriously

Although you can remove some sibilance with EQ, it’s better to use a de-esser.

Most vocalists will require some degree of de-essing. Not all will, though, so this step is optional.

If you record with a dynamic microphone, sibilance probably won’t be an issue. If you reduced sibilance during the recording phase by placing the mic off axis, a de-esser might not be necessary.

De-essing is better than cutting sibilance with EQ as it will only have an effect when the vocalist says words that contain ‘S’ sounds.

Rather than cutting frequencies out the entire vocal, a de-esser uses multiband compression to limit the volume of those ‘s’ sounds. By compressing a targeted frequency range (usually a small range somewhere between 4-7kHz), those frequencies can never rise above a certain volume (as the de-esser will compress them when they start to take off).

Sometimes using a multiband compressor to create your own de-esser is more effective and gives you more control.

If you have a particularly sibilant vocalist, it’s worth going through the track and manually reducing the levels of sibilant words with clip gain.

Try inserting a de-esser early in the plugin chain. Later in the mix, experiment with moving it to the end of the plugin chain as this sometimes works better.

Powerful Parallel Compression

If you are struggling to make the vocal sit on top of the mix, or effects like reverb and delay are putting the vocal further away, you can use parallel compression to make sure the vocal sits at the very front of the mix at all times.

Here is the step-by-step process for applying parallel compression:

1. Create a new aux called ‘Vocal Compression’. Load up a compressor and send your lead vocal to this new aux. Change it’s output to the ‘Lead Vocals’ aux.
2. Dial in some heavy compression (aim for 6 dB’s of gain reduction or more). Start with an attack time of 5ms and a release of 30ms and go from there.
3. Bring up the new aux underneath the lead vocal until it starts to increase the volume of the vocal. As soon as you notice an increase in apparent volume, stop. That should be enough.
4. You can push it even further than that if you want – it depends on the style of music.

This is a form of upward compression. With normal compression (downward compression), you make the peaks quieter and then increase the overall volume of the track. But with upward compression, you’re making the quietest bits louder.

This means that your vocal will never drop below a certain volume.

It’s more time consuming, but it gives you a lot more control over the amount of compression.
Here are some general tips for using parallel compression:

• It can sound more subtle than applying compression directly to the main vocal – great for lighter genres. Just keep the volume low.
• It gives you a lot more control over the amount of compression. You can make extremely subtle changes by moving the channel fader up or down.
• Some mixers don’t use any direct compression on the lead vocal at all and ONLY use parallel compression.
• You could even add a limiter after the compressor to further control the dynamics.
• Watch out for any resonant frequencies that become apparent due to the high amount of compression. Apply EQ or multiband compression if needed.

Masterful Multiband Compression

Multiband compression isn’t the easiest thing to use. It’s easy to go from ‘adding energy and control’ to ‘completely over the top and ruined the mix’.

But by applying subtle multiband compression you can easily add energy to the vocal and effectively control specific frequency ranges.

There are two ways to use multiband compression on vocals:

1. Compress two or three wide frequency ranges individually
2. Target specific frequency ranges to either enhance or reduce them

Let’s go over each technique in a bit more detail.

Wide Frequency Range

By simply adding a multiband compressor with the same compression settings over each frequency range you can add energy to the vocal.

Load up any multiband compressor and dial in 1-2dB of gain reduction on one of the bands. Copy the same settings to every other band. Experiment with moving the bands around. You might not want to compress the super high or low stuff, so try having one band compressing 100Hz-2kHz and another band compressing 2khz-10kHz using the same compression settings.

Another way to do this is to use the free OTT plugin (top of this list). Try using a depth of 10% and a time of 100%. Keep it subtle.

Targeted Frequency Range

If you’re having problems with a particular frequency range, multiband compression is sometimes better to use than EQ.

That’s why it’s better to use a de-esser (a form of multiband compression) to remove sibilance than EQ. Rather than cutting those frequencies out of the whole vocal with EQ, you are just taming those frequencies when they appear with targeted multiband compression.

Here are a few ways that you could use multiband compression to control specific frequency ranges:

• Create your own de-esser by targeting the sibilant frequencies (this varies between singers but is usually somewhere between 4-7kHz)
• Tame room resonances with multiband compression rather than cutting them with surgical EQ (especially if the resonances only appear when the vocalist starts singing loudly)
• Apply a broad compression band from 3-5kHz to reduce harshness
• If the vocalist sounds nasal on some words, find the guilty frequencies and target them (somewhere around 800Hz to 1kHz)
• To compress the lows and bring them up so that they’re always present (to add thickness and warmth)
• Approach multiband compression in a similar way to EQ. Think about how you would like to increase or decrease different elements and emotions of the vocal.

You can increase elements by compressing them with a band and then increasing the gain. You can decrease elements by compressing them and then not bringing the gain back up.

Try adjusting the tone of the voice with multiband compression instead of EQ. Some words sound different to others, and this is a great alternative to using EQ automation (it’s much faster, too).

Super Sidechain Compression

If there are instruments battling the vocal for space in the mix, you can use sidechain compression to get them out the way.

Applying sidechain compression to guitars, pianos or other midrange instruments is a quick and easy way to create space for the vocals.

You can even sidechain everything to the vocals for a quick and easy fix.

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Create a new aux channel called ‘Instruments’. Send everything but the lead vocal aux to this new stereo channel.

Load up a compressor on this new ‘Instruments’ aux and sidechain it to the lead vocal. This provides instant space for the vocal when it needs it (just make sure to keep it subtle with less than 1dB of gain reduction).

How to Compress Backing Vocals

Your main aim with the backing vocals is to make them surround and complement the lead vocal.

To make them sit further back in the mix, try applying fast compression with an attack time of 1ms or less. This will squash the transients, so the backing vocals won’t sound as aggressive.

You can be more heavy-handed with backing vocals in general, and in most cases, it’s easier to simply apply one compressor with 5-10dB of gain reduction.

Does vocal compression really matter?

Best Software Eq

So, now you know how to compress vocals.

But this is just one small part of the process. You can do this perfectly and still end up with mixes that sound like bedroom demos if you’re missing this one crucial aspect (it took me 10 years to learn this).

There is SO MUCH that goes into a good mix. It’s actually pretty overwhelming.

Once you’ve learned how to mix vocals properly, there’s a lot of other stuff you need to get right if you want your music to sound professional.

But what if I told you that you don’t have to be an expert (with years of experience) to make radio-ready music at home?

Well…

That’s the truth.

It’s likely that you’ve already wasted time, money and effort on the wrong things. I know I did. I wasted years focusing on the wrong things.

So, what should you focus on if you want fast results?

Inside this new on-demand training, I share the secret to making radio-ready music at home.

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After I stumbled upon this new approach, I knew exactly where to spend my time and energy. I was no longer confused and overwhelmed by the recording and mixing process.

Honestly, I was annoyed I didn’t learn this stuff sooner. It would have saved me at least 7 years.

This new approach hasn’t just worked for me either…

One of my students – his name is Patrick – was pretty new to home recording when he came to me for help. I shared this idea with him and he went from his first ever home recording to high-quality, professional mixes in just 2 and a half months.

This same approach has worked for hundreds of other musicians too.

Now it’s your turn.

If you want to learn the *exact* steps that will take your mixes to a professional standard in under a year…

Best Eq Settings For Vocals

Watch the on-demand training now:

It’s only playing for a limited time – we’re always updating the site and this could get removed soon. So go and check it out now.

Best Software Eq For Vocals Download

Best Software Eq For Vocals Free

Audio professional, musician and founder of Musician on a Mission.