Vocal Mixing Guide

Learn how to mix vocals like a pro

Any singer any microphone

Whether you’re an independent artist mixing at home or a self-producing songwriter, this guide will help you understand EQ, compression and tone-shaping so your vocals sound powerful and cut through the mix.

Learn the method

Start with compression, then put an EQ before the compressor and EQ into compression. This helps top-end and midrange boosts sound more natural.

DIALLING IN COMPRESSION

Choose any compressor plugin with adjustable attack, release, and ratio settings. FET, opto, and vari-mu compressors are popular, but your settings will impact the sound more than the plugin type.

INITAL SETTINGS

Attack: 3ms Release: 100ms Ratio: 4:1 Gain Reduction: 6-12db

Play with the attack and release times. At slower attack times and faster release times you'll hear the vocal gets more in your face and energetic. If your vocal starts to get too sibilant try using a faster attack time and slowing your release time.

ATTACK TIME

1–3 ms: Catches peaks and sibilance, helping to get a vocal under control.

3–7 ms: A medium attack time allows some of the transient through while still controlling the vocal.

7–15 ms: A slower attack time that starts to emphasise transients and consonants, adding clarity to the vocal.

15+ ms: Natural sound at low gain reduction levels, aggressive and punchy at high gain reduction levels

RELEASE TIME

0-1ms: Super high energy / aggresive / spitty sound.

1-100ms: Fast release with control over the tail end of words

100-200ms: Medium release for a natural and controlled sound

200+ms: A medium to slower release which will 'grip' the performance in place

DIALLING IN EQ

Weight goes up to 500hz and brightness starts at 1k. A shelf in these areas will likely sound more natural than a 6db bell at 10k. If your vocal is too dark try using a subtractive low shelf at 1k, you might be surprised!.

LOW PASS

We are EQing into the compressor, so all the moves we make affect how the compressor works. We don’t want the compressor to react to any rumble so use a high pass filer and place it somewhere between 60 and 120hz. The goal here isn’t to affect the sound, it’s to eliminate the low rumble of the singer tapping their feet or any busses going by.

HARSH MIDRANGE

We are EQing into the compressor, so all the moves we make affect how the compressor works. We don’t want the compressor to react to any rumble so use a high pass filer and place it somewhere between 60 and 120hz. The goal here isn’t to affect the sound, it’s to eliminate the low rumble of the singer tapping their feet or any busses going by.

The Vocal Frequency Breakdown

Each frequency range adds something different to a vocal. Understanding these areas will help you shape warmth, clarity, and presence without introducing muddiness or harshness.

Frequency

80-150

150-300

300-600

600-1k

1-3k

2-4k

5-7k

8-16k

Positive characteristics

Adds depth and fullness

Provides warmth and body

Adds proximity and intimacy

Brings vocals to the front of the mix

Enhances presence and vocal clarity

Very sensitive and cuts through the mix

Adds articulation and clarity to consonants

Adds air, sparkle, and an open quality

Frequency

80-150

150-300

300-600

600-1k

1-3k

2-4k

5-7k

8-16k

NEGATIVE characteristics

Can introduce unwanted rumble or excess low-end

Excess can cause a “muddy” or “boomy” sound

Excess can make vocals sound muddy or muffled

Can sound honky or clouded

Too much can make vocals sound harsh or nasal

Can contain harsh, whistle-like tones

Can cause harshness or exaggerated sibilance

Excess can lead to a brittle or overly bright sound

Dialling In Compression

Compression is what turns a vocal from raw to radio-ready.
Start by inserting an EQ before the compressor and EQ’ing into compression keeps boosts sounding smooth and natural.

Typical Compressor Settings

Attack: 3 ms

Release: 100 ms

Ratio: 4:1

Gain Reduction: 6–12 dB

Attack Time Guide

1–3 ms: Catches peaks and tames sibilance.

3–7 ms: Lets some transient through for a natural tone.

7–15 ms: Emphasises clarity and consonants.

15 ms+: Adds punch; more aggressive with higher gain reduction.