Mixing boyband -- need help.

[chessrock]

So I just did a recording for three kids . . . ages 13-14. Total boyband. Reminds me of the old New Edition stuff that was popular when I was a kid. I hear a little ABC in there, as well.

Any suggestions on what to do with the vocals? I hate this kind of crap, but the kids are pretty talented. Solid three-part harmonies, etc.

Right now I'm just planning on approaching it the same way as I do everything else with the whole delay and reverb thing, etc. But in terms of what I'm working with, this is just waaay out of my element.

Any suggestions / words of moral support would be much appreciated.

 

[Tukkis]

What I do when I record bands where I hate the music is take breaks more often then usually as I don't fustrated as easily.

For the vocals you should pan them so they are not totally on top of each other. Try putting a different type of reverb on each voice.

Any suggestions on what to do with the vocals? I hate this kind of crap, but the kids are pretty talented. Solid three-part harmonies, etc.

At least the performance didn't suck then you would really be angry.

Tukkis

 

[twonky]

Teach them how to smoke cigs and swear!

 

[Seanmorse79]

you're a stronger man than I

It's out of my element too, but my kids do subject me to more of it than I'd like. I seem to consistently hear slight but audible delay on the vocals (timed carefully with the song, of course). Other times I'd swear I hear an Autotune type of effect - some of it just seems way too perfect.

 

[JuSumPilgrim]

Chess,

I would go easy on the delays and verbs. Dont do both on the same track. Keep the reverbs mostly panned. The general sound right now as far as boyband stuff (and all other pop except dance) is tight harmony so that means longer predelays, lower early reflections, etc

Vary the mics so you dont get frequency buildup.

Comp the vocals separately with an attack of probably not less than 15ms and a fairly short release of bet 50 and 100ms then togeather on a bus with a slower attack of 50ms or 75ms and whatever release sounds good. Probably a long one like 300-500ms with a modest 1.3-1.8 ratio.

Dont forget the presence peak.

 

[chessrock]

Dont forget the presence peak.

Thanks for reminding me.

I just got done with the project this afternoon. It doesn't sound too bad, actually. I did do a little of the very short slapback stuff on the rap parts mostly. Everything else I used a little delay (just 2-tap with 0 feedback), timed to the beat of the music . . . followed by a plate reverb with pre-delay double that of the original delay time - if that makes any sense. Anyway, this allowed the vocals to at least develop nicely before they became awash in verb.

I added presence peak only to the initial delay (which is just a very short, chorusy, slapback kind of thing) so it isn't so overbearing. I also made sure to have the lead singer sing in to the Dagonfly, head-on with no angling (for maximum annoying sheen / presence peak effect).

The result: Not bad. Sounds very typically annoying and polishy, much like all the N-sync and Backstreet Boys stuff that I can't stand. The client was very happy, so I guess I must pat myself on the back for having the objectivity to churn out something I am otherwise diabolically opposed to.

My work actually sounds like pure top-40 Radio shit. I'm so proud!

 

[Henri Devill]

My work actually sounds like pure top-40 Radio shit. I'm so proud!

ROTFLMAO....Just think now guys in your local area are gonna come to you for this style!!Your gonna be working ! You don't pick your clients... they pick you!



Don

 

[chessrock]

Hey, work's work!

How you say . . . it all good ?

 

[Henri Devill]

Hey, work's work!

How you say . . . it all good ?

Thats what I ment

Don

 

[littledog]

I often do this even with styles I'm familiar with, but it's critical when working in an unfamiliar style:

I ask the artist to bring me some commercail CD's that have a similar sound and style to what they would like to hear on their mix.

Then I take some time to critically analyze what is going on in those reference mixes: EQ, delays, reverbs, other effects, panning, compression, relative levels of different components, etc. That usually gives me a lot of clues as to how to treat the client's material.

 

[demensia]

kill all of them.

 

[jake-owa]

Yeah, kill them all and make a KILLING off the posthumous album release. Actually get a few albums of material out of them before you kill them.

Good thinking demensia.

 

[demensia]

I heard if you kill them, then spell out the name of the band using only their blood soaked intestines for the cover art... you'll definatly sell more albums.

Just think of the possibilties.

--Edible Placenta.

 

[Seanmorse79]

 

[dafduc]

I heard if you kill them, then spell out the name of the band using only their blood soaked intestines for the cover art... you'll definatly sell more albums.

Just think of the possibilties.

'S'why I love this bbs. Happy New Year, guys.

Daf

 

[geekgurl]

Thanks for reminding me.

I just got done with the project this afternoon. My work actually sounds like pure top-40 Radio shit. I'm so proud!

Glad it turned out OK ... I'm interested in knowing what vocal mic(s)/pre on vox channel you used.

 

[skaltpunk]

this is where the recording (be it home or professional) industry needs to hold itself accountable. why record something if your heart is not in it? we all know that the music business is driven on money but i've personally seen a side that knows no figures and would have none of it. perhaps that is not a consideration or option of yours. my point is, the music you produce will have an effect on the market. if you are comfortable releasing, or holding a part in the release of, music that has little appeal to you, then thats your choice. i prefer honest music.

 

[chessrock]

this is where the recording (be it home or professional) industry needs to hold itself accountable. why record something if your heart is not in it?

Because it was work and I got paid.

we all know that the music business is driven on money but i've personally seen a side that knows no figures and would have none of it.

I'm not particularly driven by money, but unfortunately my creditors are.

perhaps that is not a consideration or option of yours.

No, I don't consider turning down work to be a wise option for me at this juncture.

my point is, the music you produce will have an effect on the market.

Don't I wish.

if you are comfortable releasing, or holding a part in the release of, music that has little appeal to you, then thats your choice.

Having work appeals to me. Not having work doesn't. Having a choice between the two, I'll take the former.

Although I'm not a huge fan or their music, I enjoy recording and mixing to no end. I don't particularly like my day job (advertising / marketing). I derive about 1000 times more enjoyment out of tracking/mixing (my evening job) a band that I don't like . . . than I do on my day job working with a client that I like a lot.

 

[Light]

I seem to be late on this one, but here is my advice. What ever your studio is, you wil need to ernt twice as many compressors as you have, and they should all be toob, and they all need to be used. Your trying to sound like pop radio, right?



Light

"Cowards can never be moral."
M.K. Gandhi