G
go fight x kill
New member
im just wondering what kind of distortion to put on screaming to make it sound less dry and more full...
Cyrokk
Farce of Nature
Full sounding vocals are created at the tracking stage, when the singer is singing in a mike that suits his vocals in a decent vocal booth.
Since you posted this in the mixing forum, I am assuming you already tracked the singer's voice and there is no chance of re-tracking.
Mixing it right will mostly depend on what frequencies he is screaming/singing. The first thing I would do is do a mix with just his voice and drums. Get it to sound as good as possible and then carve the bass and guitars to suit his voice. This will allow you to maximize the low and mid-range vocal frequencies.
Once you have the best tone you can get out of your mix, apply reverb. I prefer slap back echo or short delay so that the vocals don't get lost in the wash.
Since you posted this in the mixing forum, I am assuming you already tracked the singer's voice and there is no chance of re-tracking.
Mixing it right will mostly depend on what frequencies he is screaming/singing. The first thing I would do is do a mix with just his voice and drums. Get it to sound as good as possible and then carve the bass and guitars to suit his voice. This will allow you to maximize the low and mid-range vocal frequencies.
Once you have the best tone you can get out of your mix, apply reverb. I prefer slap back echo or short delay so that the vocals don't get lost in the wash.
F
flanneljammies
New member
Try Digital Fish Phones Blockfish compressor with the Industrial Vocals preset. (http://www.digitalfishphones.com/main.php?item=2&subItem=5)
C
Cloneboy Studio
.
IMHO if you want the vocal to sound distorted in that metally way I recommend a combination of the following:
1.) Forget a distortion pedal--this always makes the vocal sound small to me. Unless you add the slightest (like under 5%) of distortion with a lot of clean boost going on.
2.) Let the singer "cup" the mic and just wail on it like they do live. They are more comfortable this way and the cupping allows the mic to get really close to the singer--increasing the amount of diaphragm distortion going on which is, IMHO, an essential ingredient to that type of sound.
3.) Run an analog mixer in the red. This will add some distortion to it! In general the more higher end the mixer the better it will sound clipping.
4.) NEVER clip the recorded output if the recorder is digital. Leave a good 6 db of headroom or more like you would with all signals.
5.) However, if you have a good reel to reel analog recorder feel free to let it clip into the red! This will probably give you the best 'distorted vocal' tone of all. This is a major argument for the continued use of analog machines--tape saturation. Generally, if you record in the red you probably don't want the mixer to be in the red. However, if you really want some major overdrive run both into the red like they used to do it.
6.) Somewhat borrowed from industrial bands is the idea of 'compressor distortion' such as Al Jourgenson from Ministry. Run a number of compressors in a row set to squash the crap out of the signal--it will end up making it sound pretty distorted, yet still maintain clarity, which is why I prefer to use compressors for distortion over any distortion pedal/device/plugin. Instant Ministry voice if you run enough of them. I've red that Jourgenson uses six sequential compressors to achieve his distorted tone.
7.) Distortion plugins sound wretched to me for vocals. If you want something to sound distorted RECORD it distorted. That's my policy.
In essence, my argument is that you can use a combination of microphone, mixer, compressor and analog recorder distortion to yield a distorted sound.
1.) Forget a distortion pedal--this always makes the vocal sound small to me. Unless you add the slightest (like under 5%) of distortion with a lot of clean boost going on.
2.) Let the singer "cup" the mic and just wail on it like they do live. They are more comfortable this way and the cupping allows the mic to get really close to the singer--increasing the amount of diaphragm distortion going on which is, IMHO, an essential ingredient to that type of sound.
3.) Run an analog mixer in the red. This will add some distortion to it! In general the more higher end the mixer the better it will sound clipping.
4.) NEVER clip the recorded output if the recorder is digital. Leave a good 6 db of headroom or more like you would with all signals.
5.) However, if you have a good reel to reel analog recorder feel free to let it clip into the red! This will probably give you the best 'distorted vocal' tone of all. This is a major argument for the continued use of analog machines--tape saturation. Generally, if you record in the red you probably don't want the mixer to be in the red. However, if you really want some major overdrive run both into the red like they used to do it.
6.) Somewhat borrowed from industrial bands is the idea of 'compressor distortion' such as Al Jourgenson from Ministry. Run a number of compressors in a row set to squash the crap out of the signal--it will end up making it sound pretty distorted, yet still maintain clarity, which is why I prefer to use compressors for distortion over any distortion pedal/device/plugin. Instant Ministry voice if you run enough of them. I've red that Jourgenson uses six sequential compressors to achieve his distorted tone.
7.) Distortion plugins sound wretched to me for vocals. If you want something to sound distorted RECORD it distorted. That's my policy.
In essence, my argument is that you can use a combination of microphone, mixer, compressor and analog recorder distortion to yield a distorted sound.
N
nicolaad30
New member
Try mixing a couple of takes, do not hard pan... about 50 % left and 50 % right... try putting a little reverb on one of those two, o addin g a thir take with revern in the middle and fading it in as he screams... it gives me very good results...