Vocal Mixing Cheat Sheet - Before Mixing - EQ - Compression - Reverb vs Delay

Oct 13, 2026

Vocal mixing guidance focused on achieving consistent volume and tone through automation rather than relying on compression alone. It outlines pre-mixing steps such as lip gain automation, target-channel routing to an external track, and detailed vocal listening to identify overly quiet or loud sections. The sheet covers surgical and tonal EQ, common frequency adjustments, layered compression strategies with specific ratio, attack, release, threshold, and gain-reduction starting points, and dynamic compression concepts. It concludes with reverb and delay choices for lead vocals, effect-throw automation, and creative processing suggestions.

LanguageEnglish

CategoryPresentations

FormatPDF

Pages4

Reading Time2 min

AccessFree to download

Before Mixing

Compression

Reverb vs Delay

Effect Throws

VOCAL MIXING CHEAT SHEET BEFORE MIXING ● We eʯpeƺt to heaɨ ʤoƺals that aɨe supeɨ ƺonsistent in ʤolume-eʤeɨʰ ʥoɨd and sʰllaƹle should ƹe loud and ƺleaɨ ● This isnԇt aƺhieʤaƹle ʥith ƺompɨession alone ● Instead, automation is needed ○ Manuallʰ tuɨn up ɧuiet ʥoɨds/phɨases and tuɨn doʥn loud ʥoɨds/phɨases ○ Ideallʰ, this automation oƺƺuɨs BEFORE ƺompɨession, so the ƺompɨessoɨ gets a moɨe leʤel signal ƺoming into it ■ Makes the joƹ foɨ the ƺompɨessoɨ muƺh easieɨ ■ Feʥ ʥaʰs of doing this ● Automate the ƺlip gain ● Automate the lead ʤoƺal ƺhannel, send to a neʥ auʯ tɨaƺk and add ƺompɨession theɨe ■ Can automate manuallʰ ʥith mouse, oɨ ʥith a ƺontɨol suɨfaƺe ● I pɨefeɨ to do it ʥith the mouse and dɨaʥ in the automation ● Moɨe aƺƺuɨate [www.musicianonamission.com](www.musicianonamission.com) ● Moɨe detail ■ Listen to eaƺh seƺtion oɨ ʥoɨd ● Is anʰthing too ɧuiet/loud? ● Aɨe ƺeɨtain in-ƹetʥeen ʥoɨds lost? ● Do the opposite of the ʥaʤefoɨm ■ Do this ƹefoɨe ʰou staɨt miʯing, as paɨt of the pɨep phase EQ ● Suɨgiƺal EQ ○ Remoʤe uglʰ ɨoom ɨesonanƺes ○ Remoʤe loʥ end noise ӯhigh pass filteɨӰ ● Tonal EQ ○ Adjust the tone of the ʤoƺal to taste. ○ Keep it suƹtle and staɨt ʥith ƹoosts and ƺuts of aɨound јdB oɨ less. ■ We heaɨ ʤoiƺes eʤeɨʰ daʰ, so as soon as ʰou staɨt to applʰ heaʤʰ EQ moʤes the ʤoƺal ʥill staɨt to sound unnatuɨal. ○ Top end ƹoosts aɨe the eʯƺeption to this. ■ When miʯing pop and otheɨ mainstɨeam genɨes itԇs ƺommon toapplʰ aggɨessiʤe ƹoosts to the top end of a ʤoƺal. This adds aiɨ and makes the ʤoƺal sound moɨe eʯpensiʤe. ■ Staɨt aɨound іѕkHz ○ Common adjustments ■ Remoʤing muddiness aɨound їѕѕ-њѕѕHz ■ Boosting uppeɨ mids ӯmaʰƹe aɨound іkHz, oɨ aɨound љkHzӰ to ƹɨing the ʤoƺal out in the miʯ Compression ● Use tʥo ƺompɨessoɨs ○ Sounds moɨe natuɨal than using one ƺompɨessoɨ doing all the ʥoɨk ○ Staɨt ʥith a fasteɨ, higheɨ ɨatio ƺompɨessoɨ to ƺatƺh peaks ○ Then use a sloʥeɨ, loʥ ɨatio ӯї:і oɨ lessӰ ƺompɨessoɨ to applʰ ƺonstant soft ƺompɨession ■ Also use a sloʥ attaƺk time heɨe to add moɨe aggɨession to the ʤoƺal ● Tonal ƺompɨession ● This appɨoaƺh uses a loʥeɨ ɨatio and sloʥ attaƺk times to shape the tone of the ʤoƺal, as ʥell as ƺontɨolling dʰnamiƺs. ● If ʰou just use one ƺompɨessoɨ, use this appɨoaƺh. ● Fast attaƺk time foɨ thiƺk heaʤʰ ʤoƺals ӯƹut ƹe ƺaɨefulӰ, sloʥ attaƺk time foɨ aggɨessiʤe, punƺhʰ ʤoƺals ӯthis is usuallʰ pɨefeɨɨedӰ . ● Heɨe aɨe mʰ go-to ʤoƺal ƺompɨession settings foɨ this appɨoaƺh: ● Ratio: ї:і ● Attaƺk Time: іњms ӯƹut up to јѕms foɨ moɨe punƺhӰ [www.musicianonamission.com](www.musicianonamission.com) ● Release Time: љѕms ● Thɨeshold: -їљdB ● Gain Reduƺtion: ї-јdB ● Knee: Soft ● Makeup Gain: їdB ● Dʰnamiƺ ƺompɨession ○ This appɨoaƺh is aƹout ƺatƺhing the loudeɨ peaks. ○ Reɧuiɨes a fasteɨ attaƺk time and higheɨ ɨatio. ○ If ʰou use tʥo ƺompɨessoɨs, take this appɨoaƺh ʥith one of them. ○ In teɨms of plugin oɨdeɨ, this appɨoaƺh often ʥoɨks ƹest BEFORE tonal ƺompɨession. ○ Reƺommended staɨting settings: ■ Ratio: ј:і ■ Attaƺk Time: њms ӯmedium-fastӰ ■ Release Time: їѕms ӯmediumӰ ■ Thɨeshold: -їљdB ■ Gain Reduƺtion: ї-јdB ■ Knee: Haɨd ■ Makeup Gain: іdB REVERB VS DELAY ● Geneɨallʰ, ʰou should ɨelʰ moɨe on delaʰ than ɨeʤeɨƹ to ƺɨeate spaƺe aɨound the lead ʤoƺals ○ BUT ɨeʤeɨƹ is making someʥhat of a ƺomeƹaƺk in mainstɨeam musiƺ ● Mʰ go-to effeƺt ƹusses foɨ lead ʤoƺals ○ Steɨeo Delaʰ ■ Slapƹaƺk, loʥ feedƹaƺk ӯѕ-іѕ%Ӱ ■ Diffeɨent times on left and ɨight ӯњѕ-їѕѕmsӰ ○ Mono Delaʰ ■ Timed mono delaʰ ■ Can haʤe higheɨ feedƹaƺk if desiɨed ӯѕ-јѕ%Ӱ ■ Whole note ӯƺɨotƺhetӰ oɨ minim ■ Time manuallʰ if ʰou ʥant it to stand out moɨe ○ Plate Reʤeɨƹ ■ Reallʰ shoɨt deƺaʰ time ■ Foɨ steɨeo ʥidth and sʥeetness, not notiƺeaƹle ɨeʤeɨƹ ○ Reʤeɨƹ Thɨoʥ ■ Long deƺaʰ time ■ Can ƺut all the highs and ƹoost the loʥs foɨ a deep Ԇsuƹ ɨeʤeɨƹ thɨoʥԇ ■ Use as a spot effeƺt ӯautomate the sen

FAQs

Why is automation recommended before compression in vocal mixing?

Automation helps the compressor receive a more consistent level signal. It also makes the compressor’s job easier by turning up quiet words/phrases and turning down loud ones.

What are the key EQ approaches for vocals?

Use surgical EQ to remove resonances and low-end rumble, then apply tonal EQ to adjust vocal tone subtly with careful boosts/cuts. Start with guidance such as around 1.5kHz and address muddiness in the roughly 500–900Hz area.

How should reverb and delay be chosen for lead vocals?

Delay is generally emphasized to create space around lead vocals, while reverb can add a mainstem feel. Common lead-vocal choices include stereo/mono delay, plate reverb for short smooth sustain, and reverb through for deeper effects when used as a spot send.

Oct 13, 2026

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