Mutt Lange Background Vocals

peopleperson said:
Anyone remember that VH1 "story of Def Leppard" where Anthony Michael Hall is Mutt Lange? He gets that vocal sound with three takes in about twenty seconds.....wow.
Click to expand...
In reality, Mutt Lange takes a very long time to get the sounds he wants - a VERY long time.
 
hobbestheprince said:
I tried everything ... when i boost the highs, it's really static sounding. that's why i wish voxvendor would come to the rescue.
Click to expand...
According to Harvey's advise, don't boost the highs if it sounds bad. The lower mids that need to be cut will be anywhere from 150hz to about 900hz. It all depends on what the vocals sound like to begin with. Even if Mutt were to tell you exactly how he set everything, it wouldn't work for you because you aren't working with Shania's voice.

Remember that there are more positions on a graphic EQ fader than all the way up and all the way down.

You might want to switch to a parametric EQ instead of a graphic one.
 
i'm gonna have to get more familiar with the parametric eq, i haven't wrapped my head around that one yet.

i can see what you guys are saying, there's no real formula for this sort of thing, it's all in our ears and getting the closest results possible. i looked everywhere for sites on eq and what role it really plays in recording and mixing and such ... but i can't find anything concrete or at least put into lamens terms.
 
Maybe what you need to do is:
1. run a CD through a graphic EQ.
2. one by one push each fader up and listen to what it does, then put it back.
3. do this with every fader.
4. start again, only this time bring the fader down and listen.
5. repeat until you know what the different frequency bands do.
 
Yes, listening to what you are doing is the key.

The crackling noise you got from turning up the highs was most likely due to you clipping the output. If you turn something up, you are raising the volume.
 
hobbestheprince said:
i'm gonna have to get more familiar with the parametric eq, i haven't wrapped my head around that one yet.

i can see what you guys are saying, there's no real formula for this sort of thing, it's all in our ears and getting the closest results possible. i looked everywhere for sites on eq and what role it really plays in recording and mixing and such ... but i can't find anything concrete or at least put into laymens terms.
Click to expand...
Ok, simple explanation:

Treble and bass controls on a hi-fi - they split the audio band into two ranges: highs and lows (with a center point usually around 1 kHz). You can boost or cut all the lows, and you can boost or cut all the highs. The choices are a smiley face, a sad face, a sneer, or a straight line (no boost or cut).

Treble, mid, and bass controls on a hi-fi - they split the audio band into three ranges: highs, mids and lows. You can boost or cut all the lows, and you can boost or cut all the highs, and you can boost or cut all the mids. The choices are now a larger variety of faces.

Simple graphic eq's - just chop the audio band into a few more sections, usually deep bass and very high highs are now controlled. They put each range of frequencies on it's own slider, which is simply a volume control for a specific band of notes.

31 band graphic eq's - just what it says; it breaks the audio range into 31 discreet bands of frequencies. Each band is about 1/3 of an octave wide. As with any graphic eq, there is some overlap between the notes.

Quasi-parametric eq's. Suppose you had less boost and cut sliders, but you could move each slider higher or lower in frequency, letting you cut out or boost just the frequencies you wanted to cut or boost? That's a quasi-parametric eq; You can cut and boost fewer frequencies, but you get to choose exactly which frequencies.

Parametric EQ's. Like a quasi, but you also get to decide if you want a narrow cut and boost, or a wide, broadband, cut and boost. This is the "Q" control, which determines the width of the boost or cut.
 
You must log in or register to reply here.
Back
Top