Need help with my vocal

W

whitechild

New member
Hi guys,
I'm Ivan, and I'm totally new to this forum. I am a singer and composer, and I need an advice about vocal.
I'm baritone. The most difficult part for me is to make my vocal sit nicely in the track, because it's pretty deep and it's fighting with bass. If I cut lower frequencies, it often becomes empty and unnatural sounding. I also can't make my vocal "pop" in those higher frequencies, so it sometimes sounds muddy.
So, I'm experimenting a lot, and sometimes I get good results with lots of compression, equalization, deessing etc...but sometimes, when I work on a loud tracks (like dance/electronica genre) I can't get satisfactory results.
I found out that "sprectraPhy" works nicely to bring my vocal out of the muddiness, but I was wondering if any of you has some advice when these kind of deep male voices are in question.
Thanks in advance!
Ivan
 
Experiment with taking things out of the mix (temporarily) that might be masking these lower ranges, this give clues as to where you might want to cut/trim/tone balance or reduce the volume of those tracks, and second, insight as to how the vocal might need to be eq'd to fit.
Usually somewhere between those two is a mix'.
BTW, welcome. :drunk:
 
Thanks for your quick answer! I understood what I have to do.
What about higher frequencies? Is there any frequency range that I have to bring up to open my vocal a bit? Does it differs from tenors, altos and sopranos?
I read somewhere that I have to bring up frequencies around 3KHz a bit?
 
Hey Serbia?, for real? Wow. :)
3k is part of the presence/brightness’ range, but only part of it. Look at live' mic curves -rises in the 4-7k band, sometimes higher.
But I'm from the 'each frequency band has it's tone and place in the spectrum, and each is what it is and dose what it does 'universally' and what’s needed is case specific school-of-thought.
Sometime it’s ‘clear out room around the track first, other times it’s gentle broad lifts’ on the track, sometimes a narrow focused boost..
 
Yes, Serbia :) I abandoned my dream to make music because I graduated veterinarian medicine, but soon I discovered that I can't leave music. Now, few of my songs are accepted at PumpAudio.com recently, and I became very motivated to make music again. :)

Thanks for advices. I thought it depends on arrangement, but I thought maybe there is something that is a must.
 
A voice like any instrument is made up of the fundamental note you are singing and all the harmonics that resonate through your nose, chest etc. While you might be competing with the bass (I can't actually believe you would compete that much) fundamental - the trick is to emphasise the different harmonics of your voice and the bass instrument and they will never compete.

Two things to consider Waves Ren Bass or other bass harmonic exciters and 'The Croak'. Get this book it is outstanding, I think he a Serbian Ausi actually! BTW does the Serbian football capt still have an Ausi accent?

The idea of 'The Croak' is that you crock like a frog and record as many atonal sound as you can with your voice then look at the frequency through a spec and see where the peak might be (avoiding the fundamental if you actually intoned) the idea is that you will discover the unique EQ print of your resonating cavities and it is those that you should emphasis in your EQ rather then just adding' presence' or boasting the notes you are singing.

HTH

Burt
 
I would highpass (remove lows) on vocals.

In fact I would highpass untill it sounded the way you want it.

Recently Ive been highpassing things like backup vocals as much as 1K...I know 1 K is a lot however depending on voice it helps a lot for backups...Im sure the same can be applied for lead vocals as well.

I would highpass untill it sounds half decent then I would boost vocals at 5500 K and at 16000 K and see how that sounds.
 
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