UPDATE: Here’s a great technique for adding some stereo width to your vocals: You want your background vocals to sit nicely underneath the lead and support it, without distracting from it. I will practice what i just read. Sometimes boosting the top end with an EQ just isn’t enough, and you need you use saturation to create some new harmonics on the top end. The key is to experiment and try swapping around the order. Now it’s time to use effects to create space and add stereo width. The best place to start is to cut competing frequencies on the other instrument that you boosted on the vocal. You can also use chorus to add depth and shimmer to the vocal. Find the lowest “bump” in the frequency spectrum of your vocal. << /Length 5 0 R /Filter /FlateDecode >> Best article on mixing I’ve read yet! Awesome job bro! Avoid using really fast attacks (below 2ms). With surgical EQ, you want to hunt down any horrible room resonances and cut them out. Aim for another 2-3dB of gain reduction, but this time adjust the threshold until there’s only gain reduction on the loudest syllables. So, if you want to learn the *exact* steps that will take your mixes to a professional standard in under a year…. That way I can avoid compromising the sound with EQ while getting a much more natural sound with pronounced, yet not sibilant consonants. x��K�d�����+b݀B���y -z�1�� (@��,��%��������ܼ�NZ�C�P��̛V'���_n������s��z��z}�����~�O��?�����~��#���������������o�Vn�� �?�W?��ϷG?�zno�z���}��-���}��O|���"߾�d �R��A����|�$�����~��v߶�? Compared to other instrument, vocals have a huge dynamic range. Not everything has to sit at EXACTLY -18dBFS. If you automate the gain at the BEGINNING of the channel, the level going into your compressor will always be consistent. You can do everything just right and still end up with music that sounds amateur if you’re missing a crucial step. You can achieve the same thing with your mouse (but it’s never quite the same). That’s the fundamental. If the singer is covered up by the piano, cutting some frequencies in the piano should help. You want your choices to compliment the genre. My advice is to leave the breaths in. Then adjust the ratio until you see 2-3dB of gain reduction. Use a high shelf for this rather than a bell curve, and use an analog modeling EQ if you have one. That’s because most plugins are based on old analog technology, and their “sweet spot” was always around 0dBVU. Congratulations! This time you can use a slightly faster attack to catch the peaks. This can add interest and fill in the gaps between phrases. There are only two more things I do. But adding a de-esser at the very end of the plugin chain can work well too. The quality is decided in the recording phase. With this new approach, you’ll know exactly where to spend your time and energy. Ive been mixing fir several years now but you really covered alot on this one.. thanks bro.. ive been reaching for the clear clean sound on tracks like Doobie – When the drugs dont work and several Burden tracks.. i appreciate this. He is also an active investor and a successful entrepreneur. I generally find myself adding a couple of boosts in the upper mids. View all posts by this author. So go and check it out now. You can apply another round of compression after the tonal EQ for even more consistency. So, now you know how to get a great vocal tone. 17 ... . Great tips! I don’t recommend using this technique when applying tonal EQ (as it can warp your perception), but for finding problematic frequency buildups it’s perfectly fine. But be careful about going too fast. It’s often around 80-180Hz for men and 160-260Hz for women. I wish you success on your calling and work. Want your mixes to sound pro? You should check the rest of the instruments too. Vocal EQ Cheat Sheet. You don’t need to go that far, though. The cheat sheets are very helpful as they explain why you need to boost or reduce in a certain area. Thanks a lot for sharing! Some pop songs will use a different take for every word. More deessing would just make the consonants thin. End of article. I recommend editing the best parts of several different takes together to create the perfect performance. Start with a good recording. Learn how to use your time more efficiently in this free training video. This is ridiculous. You know how many months I’ve spent trying to find this Lol!?? In a sense, I am altering the original audio less then with the EQ alone. The end result is more subtle. Use EQ before to cut out any nasty elements. Try out a few different microphones if you can. How to Master a Song at Home (in 14 Easy Steps), How to Mix Vocals: The Definitive Guide [15 Steps]. Also, experiment with placing this compressor before EQ. I’ve been reading all your stuff since I found this. Even after automation and compression, you can use limiting for extra consistency. I don’t understand the point of using a deesser before the compressor. You have made it past the hard stuff. Learn how to make radio-ready music at home… without wasting hundreds of hours on YouTube. ContentsWant your mixes to sound pro?Step 1: Get A Great RecordingStep 2: EditingApply Subtle Pitch CorrectionStep 3: Gain Automation (The Secret Sauce)Step 4: Prepare the SessionWorking With Different GenresStep 7: Gain StagingStep 5: Surgical EQStep 6: De-Essing (Optional)Step 7: The First CompressorStep 8: Tonal EQStep 9: The Next Compressor (Optional)Step 10: Saturation (Optional)Step 11: Limiting (Optional)Step 12: Reverb and DelayReverbDelayStep 13: Range AllocationStep 14: Volume AutomationStep 15: Advanced Techniques (Optional)Step 16: Perfecting the Background VocalsCONCLUSION7 Steps to Pro Mixes at Home Adjust the threshold on the limiter so it only engages on the loudest peaks.For more apparent volume, opt for a fast release time. We hear voices every day, so as soon as you start to use heavy EQ it’ll start to sound unnatural. Just like using a fast attack, it pushes things further back. A lot of emotion lives in the beginnings and ends of a phrase. Hella props fam. Every word needs to be intelligible and loud. Want to learn how to gain stage properly? 4 0 obj August 2020. I wish I would have gotten my hands on this when I was younger. Well… I find that a ratio between 1.5:1 and 3:1 works best. At all. If it ain’t broke, don’t fix it. Audio professional, musician and founder of Musician on a Mission. Using a super fast attack time will really squash the transients and beginning of words, making them sit further back in the mix. Depending on the genre, you may want to go for a different tone. Here’s a brief overview of how to mix these different genres: Consider the style. When you have instruments competing with the vocal, sidechain compression and range allocation can help it cut through.