FourKiloHz
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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.No one eq, or mic, or environment, or performer, or..works on every situation.
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.
FourKiloHz said:thought I’d share my usual vocal EQing routine
This is why instrumentals are best.
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
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
I always grab the singer's face in one hand and the soundguy's face in the other and clack their heads together
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.