What it is
Riding is the continuous adjustment of a track's volume, word by word or phrase by phrase, to keep it always at the right distance from the backing track. Before digital compression, engineers did this by hand on the fader during the mix; today it is done with volume automation (or clip gain) and with plugins such as Waves Vocal Rider, which adjust the level automatically relative to a reference. Riding does not replace compression: it complements it. Compression controls peaks and fast dynamics; riding corrects slow differences (a weaker phrase, a word that gets lost, a final syllable that drops off).
Why it is essential
- A compressor that has to compensate for 6–10 dB differences between phrases works too hard and squashes the voice.
- The backing track changes density between sections: a vocal that sits well in the verse disappears in the full chorus.
- Some syllables (final consonants, words low in the register) get lost even with compression.
Three-step method
- Clip gain before the plugins (pre-compression): evens out the phrases roughly. Bring all phrases within ±3 dB of each other. In FL Studio: split the audio clip and adjust the volume of each piece, or use the automated audio channel volume before the chain (mixer track with an automated Fruity Balance in the first slot).
- Compression as usual (see “Serial compression”).
- Fader automation (post-compression) in the context of the full mix: word by word at critical points, ±1/±3 dB.
What to automate
| Situation | Action |
|---|---|
| Last word of the phrase that drops off | +1/+3 dB on the word |
| Word that gets lost behind a snare hit | +1/+2 dB on the word |
| Breaths that are too loud | −6/−12 dB on the breath |
| Residual sibilants | −2/−4 dB on the syllable (after the de-esser) |
| Chorus denser than the verse | +0.5/+1.5 dB on the whole vocal in the chorus |
| Very loud high notes | −1/−3 dB on the note |
| Ad-libs and responses | Level decided phrase by phrase |
Vocal Rider and automatic tools
- Waves Vocal Rider: set the target (desired vocal level), the range (how much it can raise/lower, e.g. ±6 dB) and the speed; with the sidechain from the backing track, the target follows the density of the instrumental. It can write the automation into the DAW so you can touch it up by hand.
- Fruity Peak Controller in FL Studio can create an automatic level control, but the result is less precise than hand automation.
- Automatic tools are a first pass; the refinement is always done by ear.
Practical procedure
- Listen to the mix at low volume: every word must be understandable without effort.
- Mark the points where the vocal drops or sticks out too much.
- Draw the automation in the Playlist (volume automation clip of the mixer track) or record it by moving the fader.
- Short moves: 10–50 ms ramps, so the adjustment is not heard.
- Recheck after every major change to the mix.
Riding other elements
The same method applies to: solos (guitar, sax), bass (notes that get lost), reverb and delay returns (throws), backing vocals coming in and out, pads in transitions.
Common mistakes
- Riding in solo: corrections should be decided in the full mix.
- Stepped automation without a ramp: audible volume jumps.
- Heavy compression to avoid riding: flat, unnatural vocal.
- Automation written before finishing the balance: it has to be redone.
- Rider range too wide: the vocal moves constantly and loses naturalness.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Pre-compression clip gain | Phrases within ±3 dB | The compressor works consistently. |
| Post-compression automation | ±1/±3 dB per word | Vocal always understandable. |
| Breaths | −6/−12 dB | Natural but not intrusive. |
| Ramps | 10–50 ms | Inaudible adjustments. |
| Vocal Rider range | ±3/±6 dB | Natural corrections. |
| Chorus | +0.5/+1.5 dB on the vocal | Compensates for the denser backing track. |
Frequencies to watch
| Range | What to do |
|---|---|
| 1–4 kHz | Intelligibility region: if a word gets lost here, raise it with automation instead of adding EQ. |
| 5–9 kHz | Residual sibilants: lower them syllable by syllable after the de-esser. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Clip gain | Audio clip / automated Fruity Balance in the first slot | Phrases evened out | Prepares for compression. |
| Compression | Serial chain | 6–10 dB overall | Peak control. |
| De-esser | Dedicated de-esser | 5–9 kHz | Sibilants. |
| Fader automation | Mixer track automation clip / Vocal Rider | ±1/±3 dB | Word-by-word level. |
| Sends | Reverb and delay | Automated throws | Space. |
How to check the result
- Short-term loudness of the soloed vocal: variation between phrases of the same section within 2–3 LU.
- Short-term loudness of the vocal relative to the instrumental consistent between verse and chorus (constant difference within 1–2 LU).
- Vocal crest factor 8–12 dB after compression and riding (not below 7 dB).
- Listening at low volume and in mono: no incomprehensible words.