"Come As You Are"

I wonder if a de-esser would work to tame those piercing frequencies. Just find out where they live, then set your side chain to those frequencies. I'm also thinking a plugin like the Waves Vocal Rider (which I just bought yesterday and am enjoying) might help with overall leveling.

I might try stripping it back to bass, drums and lead vocal. Do whatever you have to do to get the vocal working in that setting, then bring up the guitars just enough to support the vocal.
 
I'm going to jump in here, but I don't think I have anything new to add, except to agree with the vocal being too loud, when she belts out some notes. It could be just frequencies that are irritating to the ear. There were times when she was holding a note that I wanted to reach for the fader myself and turn it down.

No reflection on her at all, as she was in perfect tune and held the note without any problems. Something else that has already been mentioned is adjusting the mid-range frequencies on these notes so they don't sound so overpowering and irritating. Maybe some frequencies in her vocals could be dialed back on those notes, letting the smoother frequencies of her voice stay as is.

I think the levels of everything else are fine and like you have already said, her dynamic voice is difficult to mix. And you said this is your wife singing? If you hear this voice yelling at you when she's upset, you may be blocking out what really needs to be done. She's a great singer. Maybe you need to cuddle with her more. :)

Also, I don't know how your work habits are, but if you could put this one on the back burner for a while and work on another song, you might have fresh ears for it, when you come back to it. You could be hearing the same thing so much that you don't hear it any more.
 
,,, Hi, to me, for this, it would really help to see the session, or at least some pics of the compression settings on the vocal and mix bus,,, lol...
Sure we all hear the disconnect. But 'exactly' how to get you there could be several suggestions.
How are you compressing, and what compressor(s) are you using ?
Are you using compression after eq ? Did you compress on the way in ?
Not odd to see Cut-EQ, Comp, Sweet/Boost-EQ, Comp, DeSs, Sweet/Boost-EQ
Not odd to clip gain to use less compression.

I think your trying to keep the softer ins and outs of her vocals, to hear the breaths,,,
So, thing is, when she pushes, it will be louder
- More Compression, or a fast attack compressor after your original compressor, to catch the loud peaks... Then fader automation.
- Clip gain control first, then vocal chain. I've cut many dynamic vocals between the louder parts and bring that clip/event down to the softer, or the soft up to the louder. Then automate,,,

Dynamic EQ's can help dive in deeper for Frequency control. To adjust the tone from levels soft to loud, and maintain desired overall tone.
This is if there is some frequency that builds, making the vocal parts seem loud at times
They are great for many reasons,,,

Parallel compress the vocal track can help. Bring it up under the vocal can bring out the softer vocals... and putting both on a Bus will allow for automation on its Fader.

Could use the phattening method Warren Huart has shown...

Could use the stereo space to bring the vocal level down, but hear it more, achieving a more powerful performance, but better level control.
Send the Reverb wide, on the outside, for example.

The performance sounds good, and the capture,,, just needs placement and control... Might find getting the instruments to surround her vocal a thought...

TO me the mix sounds ok, the song sounds good.
Getting the mix to sound great, always the challenge we love, lol...
 
Wow thanks for the in-depth reply. I'll bring the session up in a little bit and tell you the entire vocal chain, it's actually similar to what you described. I haven't split the louder yells to their own track yet, I probably should though.

She is parallel compressed with an 1176, tucked underneath. She's also sent to a SansAmp Aux, and there's also a rear bus for parallel compressing the entire mix minus the drums and bass. I'll go into more detail in my next post.

Thanks again.
 
,,, Hi, to me, for this, it would really help to see the session, or at least some pics of the compression settings on the vocal and mix bus,,, lol...

Have gotten a lot of great advice here, but haven't applied much yet, as I was giving the song a break for a few days. So the mix that is up is still the current mix. There was plenty of Clip Gain adjustments made at first, trying to get it as even as possible by ear. Here's the current vocal chain:

1. Slate VMR (Virtual Mix Rack): Just the mic emulation (C-12) and a 1073 preamp. (used the Slate VMS Mic)

2. Pro Tools EQ3: Hi-passed at 100hz, -1db @ 508.4, -2.1db @ 1.02, -2.3db @ 2k, and -3.0db @ 2.39.

3. Slate VTM (Virtual Tape Machine)

4. CLA-76 Blue: 4-1, Attack @ 4, Release @ 7 (getting about 1-3 db of compression)

5 Slate VMR again: Virtual Channel (VCC) on the Brit 4K G Series SSL (entire mix is on this setting)
FG-N (Neve EQ): 12Kshelf +1.82, and +.63 @ 4.82
FG-A (API EQ): +2.0 @ 5K, and -2.0 @ 50hz (vocal preset)
Revival: Shimmer +4.35

6. CLA-2A: Getting 1-3db's of compression.

7. Eiosis De-esser: (set to "Female Vocal Smooth Split" preset)

8. Waves MV2: Low Level @ 2.0, High Level @ -0.2

9. Waves L2: Literally not doing anything; high ceiling set to -0.2, threshold at 0.0.

SENDS:

1. Plate Reverb: send level at -9.9, decay at 1.65s, pre-delay at 47ms.

2. SansAmp: send level at -17.2

3. Slap Delay: send level only at -14

Parallel Compression Track: CLA-76 Blue: 4-1, Attack @ 3, Release @ 4. (Getting 3-7dbs of compression) Track level set at -19, compared to main vocal track at unity, 0.0.

Vocal Double Track: So low it's practically non-existent. It's set at -16 and barely audible. It has nothing but the same mic sim, the same EQ cuts, but a lo-pass all the way down to 5K (no boosts) and a CLA-76 Blue set to 8-1, Attack-3, Release-4, getting 3-5db of compression.

The 'RearBus' also has a CLA-76 Blue, at 4-1, Attack-3. Release-4, getting 3-7db's of compression. Sent everything minus the bass and drums, all sends at unity, RearBus track level at -17.4.

I think that's everything. Was giving the song a few day break to go at it fresh. Could just be that it needs more Clip Gain adjustments, and that's it. Or maybe split the loud sections to their own track and compress them harder...
 
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1. Slate VMR (Virtual Mix Rack): Just the mic emulation (C-12) and a 1073 preamp. (used the Slate VMS Mic)

The only thing about this... is you're already recording into a mic. That input has that mics properties automatically instilled in the track. It can't possibly be the same as using THAT virtual mic, because it's affected by what mic the sounds were picked up with. If you used a sm57 on one track, and an sm7b on another, then put the virtual mic thing onto both tracks, they wouldn't possibly sound the same (like whatever mic model you're choosing) because their properties are different, seeing as they're recorded by two different mics altogether.

Extreme example - you took a mic that had a drastic roll off, or some type of telephone quality to it. There's no way that virtual mic makes it sound anything like the model you've chosen. Sure, that's an extreme example, but what it means is that each mic picks up sounds differently, so I just don't see the processed sound could be exactly how that virtual mic would capture it.
 
Hard to explain, but that's how the Slate VMS works. If and when I use a 57, I wouldn't use the simulation. Only use it when I use the VMS. The VMS mic and pre's are completely flat, meant to be used with the sims.

I see what you're saying, but it's not meant to be used with other mics. Check out a few vids on it, it's pretty sweet, we love it.
 
Don't know the mic, but I'm guessing it's engineered to have a very flat frequency response, while the modeler boosts or cuts to emulate various classic mics. How does the mic input sound if you turn the modeling off?
 
Hard to explain, but that's how the Slate VMS works. If and when I use a 57, I wouldn't use the simulation. Only use it when I use the VMS. The VMS mic and pre's are completely flat, meant to be used with the sims.

I see what you're saying, but it's not meant to be used with other mics. Check out a few vids on it, it's pretty sweet, we love it.

So it comes with its own mic? Then that's different, and I misunderstood. I thought you use any mic you have at home, then slap that plugin on the vocal channel.
 
Comes with it's own high quality condenser, the preamp, and the software. It goes for $999, but I caught it on sale for $799 a few months back.
 
Another tune from that Addison Lane record I'm producing. We're actually about 8 songs in, and I've only posted 1 or 2 already, but this vocal is throwing me for a loop.

It's all over the place, so I'm having a little trouble keeping it consistent. I think I'm close though, so any feedback would be great. I've totally lost perspective, so I need a break. (My wife did the vocals, and I can only handle her yelling at me for so long...)

Mix was totally done on headphones, had to rearrange the studio for some rehearsals, so I don't trust the speakers where I temporarily have them set up.

I did all the guitars/bass/drum programming, and helped with the arrangement. The wife on lead vocals and both of us on backgrounds.

The drums could definitely use more fills probably, and maybe just be 'busier', not sure yet, but I'll get to that later. Trying to get this vocal squared away.

Where am I at?

Dropbox - ComeAsYouAreMix3Demo.wav
really good song. i can tell you i'm tired of hearing my daughter yell at me also for her vocal recordings. i think the vocals need to match the brilliant sheen of the track . a little manual editing would help. i use the aphex aural exciter on vocals a lot and it not only brightens up the vocals but also somehow manages to reinforce the vocal delay. just my thought, i liked it.
 
really good song. i can tell you i'm tired of hearing my daughter yell at me also for her vocal recordings. i think the vocals need to match the brilliant sheen of the track . a little manual editing would help. i use the aphex aural exciter on vocals a lot and it not only brightens up the vocals but also somehow manages to reinforce the vocal delay. just my thought, i liked it.

By 'yelling at me' I meant in the track while I spent hours trying to mix it lol.

I think if I brighten up the vocal any more it will be even more out of control, as I'm trying to make it more consistent level-wise. I've been on a break from it for a few days mixing other stuff. Will get back to it soon though.

Thanks for the listen, Sparky!
 
Don't know the mic, but I'm guessing it's engineered to have a very flat frequency response, while the modeler boosts or cuts to emulate various classic mics. How does the mic input sound if you turn the modeling off?

Sorry Robus, didn't see this post at first. Actually, all the vocal tracks I've sent you have the modeling off. I think the mic still sounds great without the modeling. But when I toggle it on and off, it does seem to be missing something with it off, who knows...

I love the C-12 on my voice and hers, it's very warm with a super smooth top end. But it also comes with a 47, a 67, a 251, an SM7, and a few more, and they do all sound a little different. The C-12 is nice though, love it on my voice and acoustics (I use the same mic to record my acoustics as well)

I was tempted to render the C-12 into the tracks I sent you, but I figured I'd just leave it completely raw. Maybe next time, but like I said, I think the mic sounds pretty damn good on it's own.
 
Sorry Robus, didn't see this post at first. Actually, all the vocal tracks I've sent you have the modeling off. I think the mic still sounds great without the modeling. But when I toggle it on and off, it does seem to be missing something with it off, who knows...

I love the C-12 on my voice and hers, it's very warm with a super smooth top end. But it also comes with a 47, a 67, a 251, an SM7, and a few more, and they do all sound a little different. The C-12 is nice though, love it on my voice and acoustics (I use the same mic to record my acoustics as well)

I was tempted to render the C-12 into the tracks I sent you, but I figured I'd just leave it completely raw. Maybe next time, but like I said, I think the mic sounds pretty damn good on it's own.

Can i ask you, are you able to record vocals through the mic plain, then switch back and forth between the mics while mixing, for the obvious purpose of picking the "better" fitting mic?
 
Can i ask you, are you able to record vocals through the mic plain, then switch back and forth between the mics while mixing, for the obvious purpose of picking the "better" fitting mic?

Yep. I usually record with the C-12 on, but you can toggle through them after recording to pick the one you like best.
 
Downfall is you'd need an iLok. I know you hate those things.

Warren Huart (Produce Like A Pro) has a great video on it also, two actually, one with Steven Slate in it, and one on his own where he un-boxes it and starts using it right away.
 
Sounds great to me..I thought at first the music without vocals was a little dull sounding, but the vocals are adding a nice top end that fills the spectrum out. I think some of the guitar fills could come up in the second verse? (1:30ish)
A few spots where she's belting it out maybe a touch over-i might try turning down the second (harmony) vocal during those parts, it seems very close to perfect but maybe just sticking out too much with the second vocal. Overall sounds great, real tight mix with great playing and singing. I might just emphasize a few of your nice arpeggios and licks a bit and try to tame the vocals in a few spots. If i wasn't listening critically i would probably have no complaints at all so...
 
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