For most vocals in Logic Pro, start the stock Compressor at a ratio of 3:1 to 4:1, an attack of 10 to 30 ms, and a release of 50 to 150 ms. Set the threshold so the gain reduction meter shows 3 to 6 dB on the loudest words. Then match the volume with makeup gain and adjust by ear.
I'm Warren Young, and I mix vocals in Logic every week. This page covers the settings only. For the order of every plugin on the channel, see my full vocal chain for Logic Pro. For the theory behind the controls, read what vocal compression is and why it works.
Every number below is a starting point. Voices, mics and songs differ. Use the values to get close, then trust your ears and the gain reduction meter.
Pick a Compressor circuit type first
Logic's Compressor has several circuit types, and each one reacts differently. Choose the type before you touch any knob, because the same settings sound different on each one. You pick it from the circuit type menu at the top of the plugin.
- Opto models: slow, smooth and gentle. A good fit for ballads, soft R&B and sung vocals that need to stay natural.
- FET models: fast and punchy, with some bite. A good fit for rap and any vocal that should sit forward in the mix.
- VCA models: clean and precise. A good fit for taming level jumps without adding much colour.
- Platinum Digital: transparent and flexible. A good fit when you want control without a sound of its own.
If you are unsure, start with a VCA model. It is the most predictable. Switch to Opto or FET when you want more character.
Threshold: set it from the gain reduction meter
Do not set the threshold by a number. The right value depends on how loud the recording is. Instead, play the loudest part of the vocal and lower the threshold until the gain reduction meter moves.
For a natural sound, aim for 3 to 6 dB of gain reduction on the loud phrases. Quiet phrases should barely touch the meter. If every word hits 10 dB or more, the threshold is too low or the ratio is too high.
Ratio: how hard it squeezes
Ratio sets how much of the signal above the threshold gets reduced. At 2:1, a signal 4 dB over the threshold comes out 2 dB over. At 4:1, it comes out 1 dB over.
- 2:1 to 3:1: gentle levelling. Keeps the performance natural.
- 4:1 to 6:1: firm control. Common on pop and rap vocals.
- 8:1 and above: heavy. Use it for a deliberate, dense sound or for a second stage that catches peaks.
Attack: let the consonants through, or not
Attack is how fast the compressor reacts after the signal crosses the threshold. A slower attack lets the start of each word pass through before the compressor clamps down. That keeps the punch and the consonants. A faster attack catches the start of each word and makes the vocal flatter and more controlled.
For most vocals, start around 10 to 30 ms. If the vocal sounds dull or pushed back, slow the attack. If the loud syllables still jump out, speed it up a little.
Release: match it to the phrase
Release is how quickly the compressor lets go. Too slow, and it is still squeezing when the next word starts, so the vocal sounds choked. Too fast, and you hear the level pump up and down between words.
Start at 50 to 150 ms. Watch the gain reduction meter. It should fall back to zero, or close to it, before the next phrase begins. On faster rap flows, a shorter release usually works better. On slow, sustained notes, a longer release sounds smoother.
Knee, makeup gain and mix
Knee. A soft knee eases the compressor in as the signal approaches the threshold. A hard knee grabs the signal right at the threshold. Soft knees sound more natural on vocals. Logic's Compressor has a Knee control; start with a soft setting on vocals.
Makeup gain. Compression lowers the level, so you raise it back with makeup gain. Compare the vocal with the compressor on and off at the same loudness. A louder version always sounds better, so match the volume before you judge. Logic's Compressor also has an Auto Gain option that does this for you. It is a handy starting point, but I still check by ear.
Mix. The Mix knob blends the compressed signal with the dry signal. At 100 percent you hear only the compressed signal. Lower it to blend in some of the original dynamics. That is parallel compression, and it keeps a heavy setting from sounding squashed.
Starting settings by vocal style
Use this table as a first pass. Set the threshold by the meter, not by a number.
| Vocal style | Circuit type | Ratio | Attack | Release | Target gain reduction |
|---|---|---|---|---|---|
| Pop lead | VCA | 3:1 to 4:1 | 15 to 30 ms | 60 to 120 ms | 3 to 5 dB |
| R&B and soul | Opto | 2:1 to 3:1 | 20 to 40 ms | 100 to 200 ms | 2 to 4 dB |
| Rap | FET | 4:1 to 6:1 | 5 to 15 ms | 40 to 100 ms | 4 to 8 dB |
| Trap and melodic rap | FET or VCA | 4:1 to 6:1 | 10 to 20 ms | 50 to 120 ms | 4 to 7 dB |
| Soft singer-songwriter | Opto | 2:1 | 20 to 40 ms | 100 to 250 ms | 2 to 3 dB |
| Background vocals | VCA | 4:1 | 10 to 20 ms | 60 to 120 ms | 4 to 6 dB |
These are starting points, not rules. A quiet mic or a loud room changes everything, so move away from the table as soon as your ears tell you to.
Use two compressors in series
One compressor working hard sounds heavy and unnatural. Two compressors each doing a little give a smoother result. This is serial compression.
- Stage one: a fast peak catcher. Ratio 4:1 to 6:1, fast attack, fast release, only 2 to 3 dB of gain reduction on the loudest peaks.
- Stage two: a slow, gentle leveller. Ratio 2:1 to 3:1, slower attack, slower release, another 2 to 3 dB of gain reduction.
The total reduction is about the same as one compressor doing 5 to 6 dB, but each stage works less, so artefacts are harder to hear. A FET model for the first stage and an Opto model for the second is a common pairing.
Where the compressor sits in the chain
A common order is a high-pass filter and any corrective EQ first, then compression, then a de-esser, then tone EQ and effects like reverb and delay. Compressing after corrective EQ means the compressor does not react to rumble or harsh resonances.
The de-esser placement is a matter of taste. A de-esser after the compressor catches the sibilance the compressor brings forward. See the vocal EQ cheat sheet for the EQ side, and the Logic Pro vocal chain guide for the whole signal path.
Common mistakes
- Setting the threshold too low. The compressor works on every word and the vocal loses life. Use the meter.
- Judging at different volumes. The louder version always wins. Match the level first.
- Attack too fast on every vocal. It flattens consonants and removes punch.
- Release too slow. The compressor never recovers and the vocal sounds choked.
- Using one heavy compressor. Two light stages sound more natural.
- Copying settings without listening. The numbers depend on the voice and the mic.
Skip the setup with a ready-made chain
If you would rather start from a finished chain, my Logic presets load a full channel strip with compression already dialled in. The Logic Pro X vocal presets collection includes the Vocal Preset Mega Bundle - For Logic Pro X. Open one on your vocal, then adjust the threshold to your recording.
Want to try one first? Download the free Toronto Warmth vocal chain preset for Logic Pro X.
FAQ
What compressor ratio should I use on a vocal in Logic Pro?
Start between 3:1 and 4:1 for most lead vocals. Use 2:1 for soft, natural singing. Use 4:1 to 6:1 for rap or when you need firm control. Set the threshold so the meter shows 3 to 6 dB of gain reduction.
What attack and release settings work for vocals?
Try an attack of 10 to 30 ms and a release of 50 to 150 ms. Slow the attack if the vocal sounds dull. Shorten the release if the compressor is still squeezing when the next word starts.
Should I compress a vocal before or after EQ in Logic Pro?
Fix problems with a corrective EQ first, such as a high-pass filter and any harsh resonances. Then compress. Add a tone EQ after the compressor if you want to shape the sound.
For the complete signal path, return to the vocal chain for Logic Pro.
