Advanced Vocal Compression

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Dive Deeper Into Compression

Are you tired of singers who want you to keep adding more compression to their vocals?

Did you (or your client) hear a nasty rumor that ALL vocals are supposed to be slamming the meter on the compressor?

Rather than trying to accomplish all your “squishing” with just one compressor Fab Dupont shows you how to use multiple compressors, in a more civilized manner, to get a great compressed tone and level without such a smothered sound.

From peak limiting to gently compressing, Fab goes deep into the art of compression. He shows you how to compress vocals using both the classic holy chain of vocal compression (1176 into a LA-2A) and a powerful modern day compressor (the Dangerous Music Compressor).

Then Fab follows his ear and turns a compressor into a de-esser using the compressor's sidechain input.

Be sure to also check out Transparent Vocal Compression

This video is part of our ultimate compression bundle. Check it out!

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Equipment & Software
  • Dangerous Music Compressor
  • Universal Audio UAD 1176LN
  • Universal Audio UAD LA-2A Silver
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Fab Dupont

Fab Dupont is an award-winning NYC based record producer, mixing/mastering engineer and co-founder of

Fab has been playing, writing, producing and mixing music both live and in studios all over the world. He's worked in cities like Paris, Boston, Brussels, Stockholm, London and New York just to name a few.

He has his own studio called FLUX Studios in the East Village of New York City.

Fab has received many accolades around the world, including wins at the Victoires de la Musique, South African Music awards, Pan African Music Awards, US independent music awards. He also has received Latin Grammy nominations and has worked on many Latin Grammy and Grammy-nominated albums.


David Crosby

Queen Latifah

Jennifer Lopez

Mark Ronson

Les Nubians

Toots And The Maytals

What do you have to say?
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2022 Aug 14
Nice reminder that modern tools are just as and sometimes more valuable than romanticized vintage recreations and original vintage hardware.
2021 Dec 10
So is it safe to say I can now start a 1176 of fastest attack and release for peak control or will those settings only work on some vocals & not most? The other mentor on here says he uses the slowest attack and fastest release all the time so which one is more accurate? I do rap and r&b btw. I'm struggling with this part. Pls help! :-(
2021 Feb 28
This video seems a bit hasty, and not as thorough as other ones.
2019 Aug 11
Dig the comparison between the vintage and the dangerous.
2019 Feb 03
What are the double connections of the Dangerous (to use the two channels in dual from the mono)? Directly Left out to Right in? Or 2 separate inserts?
2018 Feb 13
Highlands Recording Arts
2017 Oct 11
Alo Fab! how did I miss this video? I am now de-essing through my Dangerous compressor as you suggest, with a side chain (And being very careful with the color circuits of the Dangerous 2 Bus Plus, lest you put a curse upon me for seven generations! Au Voir! Cindy
2016 Dec 08
Very helpful. Unfortunately I do not own a Dangerous Compressor. Is the UAD Manley Stereo Variable MU Limiter Compressor Plug-In also regarded as a transparent Plug-In compressor? What I did not understand Fab: you suggest to double the vocal track and then De-ess the doubled track. Does this mean you leave the original track with the 1176 and the LA-2A untouched concerning the S-sounds?! Aren't the S-sounds still hearable in the original track? And why not put the De-Esser on the original track instead of making up a second track only to De-Ess? I did not catch that up ... :-(
2016 Aug 30
Fab, you are the best audio production teacher ever. you give us exactly what we need to know and nothing else! thank you
2016 Feb 10
Excellent! However, contrary to what Fab said, I believe that the volume of Dangerous was a little stronger than that of DSUs. We still feel superior clarity of Harware side (at least in video, so mp3). But that does not change the lesson. ............................. Excellent ! Toutefois, contrairement à ce que dit Fab, je crois que le volume de Dangerous était un peu plus fort que celui des UAD. On sent tout de même une clarté supérieure du côté Harware (du moins en vidéo, donc mp3). Mais ça ne change rien à la leçon.
2016 Feb 08
Is a genius! and very fun teacher
Saul Santilli
2015 Dec 14
Great video, thank you.
2015 Oct 13
Please in Spanish or Portuguese! =)
2015 Aug 06
Both methods work great for me! And Fab is right...the Dangerous Comp IS pretty magical, if you can bite the bullet and get it. Never tried the dbx160 on vox...interesting.
2015 Jun 04
Thank you Fab. Actually it works great for me with the Dbx160, but now I'm going to try various pairs. The dangerous comp seems really awesome.
2015 Jun 04
Awesome vid, Fab.
Fabulous Fab
2015 Jun 02
@davpla: it's a question of taste if you like the DBX160 better go for it. I enjoy being able to adjust attack and release sometimes so 1176 works for me. The smart dyn circuit of the Dangerous comp has pretty much let me forget about attacka dn release ont hat comp. Unless I'm struggling with something particularly adverse. It's pretty magical.
2015 May 30
An idea: why not using a dbx160 instead of the 1176? Still for catching the peaks, but in a more transparent maner. Maybe the result would be somewhere between the two ways Fab demonstrated??? Also I have a question When you've done it with the 2 dangerous The 2 dangerous comps have pretty much the same settings ( attack and release parameters). Fab why havent you put a fast attack on the first comp?
2015 May 25
Hi I've used the technique with the two compressors, the peak limiter (1176LN) and the "color & texture" (LA-2A), it's great! Thanks Fab!
2015 May 20
well nice video with the UAD compressors however normal people like me doesn't have access to Dangerous Compressor cause it's way to much money i feel like the focus was more on the Dangerous Compressor I expected more from the UAD how about a video on the Avalon 737 that would of been nice