Hello Group--
 
I'm about to use the VocalSync feature for the first time with two passes of the same vocal part to get a doubling effect. I am planning on one vocal being more out front than the layered part. The main vocal I'll call take A, and the layered double take I'll call take B, which will be more subtle as far as level is concerned.
 
I have a question about also applying compression. In order for the lead vocal to sit well in the mix, and all the lyrics to be clear, I need to use some compression. The question is, should I apply compression on both takes of the vocals I'm going to double, or just the main "A" take?
 
Also, at what stage do you apply the compression? I'm guessing the Vocalsync will be more accurate after compression, however, if there are any artifacts added from the Vocalsync, the compression may exacerbate those.
 
How do you use Vocalsync and compression?
 
BTW, the dynamics of my vocal takes are not too dramatic. Just a little compression should do. Also, the current syncing isn't too off either. Maybe a phrase here and there may need a little bump.
 
Thanks!!

I don't believe compression in the FX bin is detected by vocal synch or any of the Region FX.
I could be wrong but unless you are using it on a track that has compression embedded (frozen data that is copy/pasted, bounced track, The Track FX bin exc).
ARA happens before the FX bin (Pre FX). this is what I have noticed at least.
 
Mixing down is a totally different story. personally I do compress both tracks (the lead and the dual) but that's because im often looking for a greater effect than just one compressed vocal. So it all comes down to taste really.

You should not need compression on the B track if is lower in level. Compression is to push things louder without going over. I would try it with A only and B without first. It will give a more dynamic part B.
It's all about experimenting with different stuff to see what sounds the best to you. Like for me I'm not a fan of doubled voices. Always reminds me of porta studio days.  Kinda cheesy. But I had better results using effects to widen a vocal. Try chorus or I do believe there are doubler's available. You'd even clone track A and then only pitch correct and vocal sync the second track.. all sorts of tricks. 

razor
...two passes of the same vocal part to get a doubling effect. I am planning on one vocal being more out front than the layered part. The main vocal I'll call take A, and the layered double take I'll call take B, which will be more subtle...

 
If you have a transient shaper plugin you could use it to reduce the amount of attack on "take B".

Do the alignment first, along with any pitch correction if you're going to do that too. Then bounce the clip(s), apply EQ and finally compression. Compress the "B" track, too. It may not need as high a compression ratio as the main vocal, or it might need more; listen to the blend between the two tracks to decide. But it should be compressed. 
 
I'd also suggest using the lightest touch on the vocal alignment you can get away with. It's possible to get them too closely in sync, in which case you lose the thickening effect and can even thin the vocal due to phase cancellation. The opposite of what you're going for!
 
Another tip: roll off the extreme highs and lows on the "B" track. That'll help with the blend.

Cactus Music
You should not need compression on the B track if is lower in level. Compression is to push things louder without going over. I would try it with A only and B without first. It will give a more dynamic part B.
It's all about experimenting with different stuff to see what sounds the best to you. Like for me I'm not a fan of doubled voices. Always reminds me of porta studio days.  Kinda cheesy. But I had better results using effects to widen a vocal. Try chorus or I do believe there are doubler's available. You'd even clone track A and then only pitch correct and vocal sync the second track.. all sorts of tricks. 

Thanks. This is probably what I'll start off with because this is a technique I use for other instruments to keep the human dynamics in there.
 
The double vocal sound I'm going for is going to be subtle. I try not to paint with a broad brush when it comes to what is or isn't good in music. It's what sounds good regardless of how I do it. I've had to break out of my traditionalist only mindset to get placements and try to earn some money (not easy--I agree. It took me years to accept copy/pasting parts and not playing them all) I often think about the time we were scouting talent and one ad said the were looking for material to produce, but they won't accept any music where the guitar uses a whammy bar. What a broad statement that was. Obviously they had a negative experience with a whammy bar song or two, but where would songs like Pearl Jam's Even Flow be without a whammy bar?! Lesson learned for me.
 
Thanks!

bitflipper
Do the alignment first, along with any pitch correction if you're going to do that too. Then bounce the clip(s), apply EQ and finally compression. Compress the "B" track, too. It may not need as high a compression ratio as the main vocal, or it might need more; listen to the blend between the two tracks to decide. But it should be compressed. 
 
I'd also suggest using the lightest touch on the vocal alignment you can get away with. It's possible to get them too closely in sync, in which case you lose the thickening effect and can even thin the vocal due to phase cancellation. The opposite of what you're going for!
 
Another tip: roll off the extreme highs and lows on the "B" track. That'll help with the blend.

Thanks BF

You may get different answers because the intent of doubling can be to make it sound like two people singing, or to make it sound like one person singing but with more depth.
 
For case 1 (classic doubling), I don't like to roll off too much high end because the timing differences between the high sounds give the feeling of two people.  Of course, that is ia stylistic decision on my part.  It sounds like you are after case 2.

konradh
You may get different answers because the intent of doubling can be to make it sound like two people singing, or to make it sound like one person singing but with more depth.
 
For case 1 (classic doubling), I don't like to roll off too much high end because the timing differences between the high sounds give the feeling of two people.  Of course, that is ia stylistic decision on my part.  It sounds like you are after case 2.

 
Thanks. At certain points of the track I want the vocals thickened, but I don't want to use a delay effect. I've used vocal doubling before, but just haven't used the VocalSync app to line up the parts. Since my parts aren't largely off to begin with, if the VocalSync adds any noticeable artifacts, I'm not going to use it at all.

You could sum the vocals to one auxiliary bus and 'glue' them by using them with one compressor such as a 1176 or LA2A.