My 2¢ on EQing vocals

What's a "cut"?

There are more parameters in EQing than just the frequency and the amount - there's the width, or Q, presuming we're talking parametric EQing here, which most would be. Saying you "cut" by 3db at 500Hz or whatever doesn't give the full picture.

And "cut below 80Hz" isn't a very useful instruction - are you HPFing, using a reverse low shelf, a standard parametric as above etc. etc.?

Where, and how you deal with low frequencies depends a lot upon the nature of the voice, the mic and how close the singer is to it (proximity effect, assuming a cardioid pattern, different responses in different mics), the song, the other instrumentation and the nature of the sound that's being aimed for.

And what's "close to the mic"? - 10cm.... 2cm... 20cm? There are consequences of any position in front of the mic that affect the EQ balance of a track.

Whilst we all have starting set ups, I'm pretty sure experienced recordists change them as they need to.

And do you really use an EQ pedal to change the guitar frequencies on the fly in a song whilst tracking? Sort of what you're saying...

Oh. Welcome... :D
 
I just wish we could have another 'CLA' type forum topic, where completely irrelevant mixing techniques could be blasted upon others, so that they could have an understanding of what never works everytime-in any situation. LOL

@ OP:

No one eq, or mic, or environment, or performer, or..works on every situation. It is kind of like describing how you like a girl/man to please you. There is no point in giving direct advice, unless you have the performer in your own room. And your wife/girlfriend/boyfriend is cool with that..lol

Suggesting EQ settings is just short of telling someone what color of crayon to use. It varies with each voice, and the room it is recorded in. Not even worth getting into what mic is best for any particular environment or voice.


The suggestions you made are based on your personal setup and the voices you recorded. Let me guess-you?. Since we all do not record in your room, have your monitors, your mics, your room treatment, your voice, we cannot exact the same outcome.

This being said, we all appreciate the basic advice you are giving, and I am sure you posted it with good intention. But especially in the home recording environment, where there are many variables that cause issues, there is no real way to make suggestive EQ settings. There are so many variables before even approaching an EQ, that make it pointless to give advice.

Ok, I may be a dick, but I am honest and correct here. IMO. :)
 
Any time someone puts up EQing specifics for a vocal....it never works right on anyone else but them. :D

I mean, the overall tips are fine that the OP posted and well intended, but with vocalists there's just never one-shoe-fits all.
You could have more generic tips apply for guitars or what have you, like if you were going for a specific tone/style.... but the human voice is so damn unique that rarely do two people sound the same or sing the same.
 
jimmys69 said:
No one eq, or mic, or environment, or performer, or..works on every situation.
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Wait . . . does that mean I shouldn't write a post asking, "What's the best way to record, mix and master my music?" I was sure there was a simple answer to that question. :)
 
PTravel said:
Wait . . . does that mean I shouldn't write a post asking, "What's the best way to record, mix and master my music?" I was sure there was a simple answer to that question. :)
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You will need to contact my attorney in regards to that question.







Oh, wait, hello sir! I didn't expect to hear from you here! :)

By the way, I sent your retainer check last week. :D
 
the OP stated in the opening sentence

FourKiloHz said:
thought I’d share my usual vocal EQing routine
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the OP never implied that this is the only way to eq vocals, the OP only gave his/her typical approach to vocals, nothing more nothing less

the remarks in this thread are nothing less than disgusting, the purpose in this forum is to share ideas not criticize and belittle someone for what works for them

I myself dont usually (almost never) use an eq on vocals, instead I use compression, i typically START OFF with a basic multiband compressor with some presets of (for example) low band <200, mid band 200-1500, high band > 1500 all at a 24db per octave attenuated slope, with the comp on a 3:1 ratio at double the average threshold (typically i adjust the vocalist to -12 and set the threshold around -24 global) I then let the vocalist do a quick audio check to get a feel of the rooms dynamics, if the room doesnt have alot of natural reverb ill throw in the reverb first, then i'll move around in the audience to get a good roundabout feel of the sound imaging in relation to the vocalists neutral position. Then once I have a good listen to how the room suits the vocalist, I'll dial in the ratio and threshold per band, i find myself typically putting a healthy dose of compression on the bottom end, on the top end i usually use light compression with a bit of gain (effectively equing that range), i aim to keep the midrange intact, since that is your actual vocal band.

keep in mind, with live performances the speaker placement will greatly effect the overall sound, i always place the speakers at the singers level as far out as reasonably possible, and i cross aim them directed at the opposing outskirt or wall, that usually returns the truest imaging, if the audio setup runs an active (3 band) setup, I almost always have to fix their crossover points, especially in night clubs and bar rooms where a nobody spends the time to dial in the rooms dynamics so you end up with multiple frequency peaks based on the rooms harmonics.

hope this helps
 
I always use Plate Reverb on vocals. At 20% Wet as an AUX send with level at -12db. I think you should use this setting if you want it to sound right.
 
I always grab the singer's face in one hand and the soundguy's face in the other and clack their heads together in the middle of the room to check the natural room sound and ambience. Then I compress their chests with my feet using a 3:1 ratio because the soundguy is usually fatter. Then I EQ both with a wide cut of gaffer's tape so neither are audible at all.
 
Decipha said:
the remarks in this thread are nothing less than disgusting, the purpose in this forum is to share ideas not criticize and belittle someone for what works for them
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We're a bunch of rogues...... :(

:D

Chill out.
Your take on the remarks is a bit....over the top. :)

Yes, he talked about his vocals, but the implication was more about "how to get a consistent vocal" in general.
Look....people who use/do something that is very specific to their voice/sound and then post about it, is OK....though without any sound clips, it's generally meaningless to anyone reading.

Even with sound clips, when it's about a vocal, it's pretty much just applicable to him/his vocal, and while sharing that with people is not necessarily a bad thing (I said his intentions were good)....it can often be misread as some "formula".
Newbs around here are always looking for "formulas" to use, so the less that is given as such, the better.

Also...like Greg said....we don't really talk about "live" sound reinforcement here...it's a recording forum for the most part.
 
Decipha said:
the OP stated in the opening sentence



the OP never implied that this is the only way to eq vocals, the OP only gave his/her typical approach to vocals, nothing more nothing less

the remarks in this thread are nothing less than disgusting, the purpose in this forum is to share ideas not criticize and belittle someone for what works for them

I myself dont usually (almost never) use an eq on vocals, instead I use compression, i typically START OFF with a basic multiband compressor with some presets of (for example) low band <200, mid band 200-1500, high band > 1500 all at a 24db per octave attenuated slope, with the comp on a 3:1 ratio at double the average threshold (typically i adjust the vocalist to -12 and set the threshold around -24 global) I then let the vocalist do a quick audio check to get a feel of the rooms dynamics, if the room doesnt have alot of natural reverb ill throw in the reverb first, then i'll move around in the audience to get a good roundabout feel of the sound imaging in relation to the vocalists neutral position. Then once I have a good listen to how the room suits the vocalist, I'll dial in the ratio and threshold per band, i find myself typically putting a healthy dose of compression on the bottom end, on the top end i usually use light compression with a bit of gain (effectively equing that range), i aim to keep the midrange intact, since that is your actual vocal band.

keep in mind, with live performances the speaker placement will greatly effect the overall sound, i always place the speakers at the singers level as far out as reasonably possible, and i cross aim them directed at the opposing outskirt or wall, that usually returns the truest imaging, if the audio setup runs an active (3 band) setup, I almost always have to fix their crossover points, especially in night clubs and bar rooms where a nobody spends the time to dial in the rooms dynamics so you end up with multiple frequency peaks based on the rooms harmonics.

hope this helps
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No one belittled the OP's technique.

Placing opinion of ones personal technique should not be left without criticism, if in fact that approach leads a new member to think that is the only way.

There are so many variables that are involved that make this type of opinion impossible to impose or be effective for another persons setup. Every situation is different. It is best for any member reading this to know that there is no 'absolute'. No 'right' way. No 'perfect' mic. No 'compression' setting. No settings or basic standard works with every voice, every genre, every studio, every room.....

Now, I will comment (my personal opinion) on your post:

Remarks in this thread 'nothing less than disgusting'? Coming from someone who recommends a multiband compressor as the first in the vocal chain?

Sorry, here is some of my disgusting advice to you; Stop giving it. This is my opinion.
 
Greg_L said:
I always grab the singer's face in one hand and the soundguy's face in the other and clack their heads together
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The Three Stooges!! Man, I used to love that show when I was a kid. :) Right afte the Little Rascals. And if the singer is one stooge and the sound guy is the second stooge then that means you're the third st..... Well, you get the idea. :D

From the OP said:
Onto specifics. Here’s what I do:
> Cut around 500–1000 Hz by 3–6 dB (cuts out some of the mud/nasal sound)
> Boost around 4–8 kHz by 3–6 dB (increases the presence and puts it in the forefront)
> Cut below 80 Hz
> And, perhaps above all, sing directly into the mic. Nice and close.
If I have access to the soundboard, I’d start by cutting 500 Hz by a lot (say, -12 dB) and then, while singing, scrolling up to 1000 Hz and back down to hear what frequency sounds best cut.
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Well, it's nice that you want to share how you do things. I think that's okay. But I also think it's nearly useless for anyone else. You don't mention the singer or the mic. Both are gigantic factors in which knobs you're going to turn. Also,"Nice and close" on a condensor mic is not such a nice idea. Maybe there are some stage condensors where you can do this. I know the cheap chinese condensor mics I have would yield a horrible track if I got up close to it.

Anyways, welcome to the site. Come back and take your lumps and then enjoy the rest of the site. You need some thick skin here.
 
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