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Singing and spoken word (narration, podcasting, audiobooks) involve the human voice, but have different needs for dynamics control.
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For singers in a band, vocals are crucial with any song and must be heard over the instruments at all times. So, most engineers reach for a dynamic range compressor like RVox. This evens out vocal levels by lowering the peaks and increasing the level of soft sections. It is the best choice for a vocal sitting in the context of a mix alongside several other musical elements.
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When doing voiceovers for commercials or recording an audiobook, however, good intelligibility requires a high average level and strong peaks. For this application, limiting can be a better choice. Check out these waveforms to see why.
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The top wave is the original narration. RVox processes the middle waveform. The L2 Ultramaximizer processes the lower one. The two processed waveforms have identical LUFS (perceived level) readings. The peaks for all three waveforms reach the maximum available headroom.
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The L2 takes good advantage of the available headroom, by trimming peaks more than RVox. Although the L2’s soft sections are a little softer than the same sections processed by RVox, note how the RVox’s waveform looks more “squeezed” than the L2’s waveform. This is ideal for singers in the musical context of a mix, but sounds less natural with solo narration. So, the L2 gives the best of both worlds for spoken word: perceived loudness that’s equal to the RVox’s compressed audio, and wider dynamics for a natural sound quality.
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Although occasionally compression can be more suitable for spoken word applications, you may find that overall, limiting often gives the best results—try it next time you’re doing a spoken word project.
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