Need advice with processing/EQing/mixing a vocal track

[vladobizik]

Greetings to all of you, fellow musicians. I've been composing and recording my music on and off for years now with a moderate degree of success now and then. I've always specialized in instrumental music and especially solo piano stuff - not too difficult to EQ/master once you know the drill. I don’t have a professional studio, I record music in my bedroom, just with my MacBook Pro and an RME Fireface 400 sound interface. I always thought I'd gotten the hang of producing music more or less pleasing to the ear, until now, that is, when I started incorporating vocals into the pieces and going a little pop for once. With a great friend of mine, a wonderful female singer (you'll have a chance to hear her beautiful voice), we started writing and recording some tunes together for a possible release later this year. When I started processing the first batch of vocal tracks, I quickly realized, though, that I have a problem getting a really good sound out of it. It just doesn’t sound right and although I tried virtually anything, it’s still somewhat lacking. I use Logic Pro 9.
I used the following effects, in this order: Noise Gate, Compressor, Pitch Correction, Match EQ, Channel EQ, Space Designer, Adaptive Limiter, Stereo Spread. The whole output is then mastered in Ozone 5 (i.e. EQ, Maximizer, Exciter, Dynamics, Imager). I'm attaching the isolated vocal track as well as the whole song as it currently sounds for some perspective.

There’s a lot to be desired, especially in the vocal track, but I’m clueless about my options. It seems kind of distorted in some areas (especially during longer and louder vowels), it sounds as if it could use some trimming in the higher frequency areas, but then it starts to sound too muffled. Or is it just something a more careful automated mix would help? As I said, I’m not a pro, just an enthusiastic amateur and this is the first time I’m recording “serious” vocals in my music a I really don’t know what to do and where to go now. I’ll be thankful for any advice and for some confidentiality, of course, this being an unfinished, work-in-progress project.
Thank you very much,
Vlado

 

[MariosParadisis]

Sounds good but I could not download the isolated singing file, which would be more helpful. Some tweaking is needed in the upper high frequencies but nothing too radical. Maybe you could boost the low/mid a little to make the vocal more imposing. Also you could try adding an early reflection impulse response of a very small space (like a vocal booth), something very subtle just to give another dimension to your sound.

 

[vladobizik]

Thank you very much for the tips. I'll definitely try tweaking the EQ as you suggested and also chcek how an impulse response effect early in the chain would work.
It's strange that the download of the second file doesn't work, I couldn't download it myself when I tried now. Not even after reuploading it. As a new member I can't post links, but it's uploaded on Dropbox, just add dl.dropbox.com before this string:
/u/22191965/december_rain_isolated_singing.mp3

 

[bouldersoundguy]

By my standards that processing chain is extreme overkill. For 95% of my vocals I just use eq -> compressor, in that order, and a reverb on an effects bus.

It sounds to me like the vocal needs a cut at about 250Hz. If that leaves it too edgy in the highs maybe back off something in the 8kHz region.

If I were doing this I'd remove that entire processing chain and start with eq -> compressor, adding more only if truly necessary. If the pitch is off, retake the part. If the tone isn't close, adjust mic placement or try another mic. Why do you need Match EQ and Channel EQ? Manual eq should be sufficient. A limiter should only be necessary on a poorly performed or recorded vocal. I would put the reverb on an effects loop so it's after any other processing and can be used on any track. Stereo Spread on a vocal? Vocals should be the focus of the song and spreading blurs that focus, plus it may be responsible for some of your tonal problems.

As for the mastering processes, just use what you are sure it really needs. I would cut that chain down to eq and maximizer. Don't think that you have to use all that stuff just because you have it.

 

[vladobizik]

Thanks a lot, Boulder Sound Guy. I really needed a wake-up call like this. I got rid of the entire processing chain - and it almost sounded better without any effects than all of them piled on! The pitch corrector was there just to be on the safe side and it really wasn't needed, the take is great performance-wise. The recording itself is not that bad either, so I don't why I put in the likes of the limiter in the first place. A force of (bad) habit I suppose.

So I started with an EQ and cut all frequencies below 250Hz. Tried taking something off the 8KHz area, but it ended up too muffled again for my taste, so I ended up even boosting the frequencies above 2KHz just a little bit and it got a pretty nice crisp sound.

On top of that I added compression, I tried to be gentle. Finally I sent the track to an effect bus with a reverb on.

I think it sounds miles better, thanks to you. Maybe it's not quite there yet, but I'm on to somehting here I suppose. I'm attaching the current version. If you find time to take a listen to it and maybe give me some advice where to take it from here, I'll be eternally grateful. If not, that's fine, you've helped me a great deal already.

 

[vladobizik]

The attachment doesn't seem to work for me again and I still can't post links, so again, here's a link to the file on DropBox, just add dl.dropbox.com in front of this:
/u/22191965/december_rain3.mp3
EDIT: The attachment in the previous post now worked properly, so the link is not necessary unless it stops working again.

 

[analog sound]

vocal track

I agree with a previous post for a minimal chain. Mine is most of the times these plugs:
1- eq: low and high shelf (with gentle curves and depending on the arrangment, diverses crossover freq.)
2- La2a couple with sometime another comp. (fairchild or api2500). One fast attack and the other medium atack with little gain reduction for each.
3- Pultec eq
4- I there is some problems on the high freq range, I may use a deesser or a multiband comp at the end of the chain.

In your case, I suggest first to do a better balance of the vocals with the rest of the mix. I have the feeling it will solves 90% of your problems.
Sounding that front as it is now, it's sure the highs will sound too loud. Highs give an impression of intimacy and the rest of your mix is very airy and ambiant. Reducing the highs will put your vocal back in the mix a bit, but it will not cut trough these bright accousitic guitars.
So....reduced the brightness of your acc. guitars a bit to not mask the vocal, back your vocal a bit in the mix and bring to it some reflections to tie it to the other instruments. With good compression use, I'm pretty much sure you'll not have to eq a lot with what I heard. If you have too, try high shelf 1-2 db at 16-17 khz with a gentle curve or desser/multiband comp. in the same range down to 7 khz. It have to be sublte tough.
You can then apply a gentle wide boost around 2-3 khz to bring some presence and character of her voice. Some times it help too.

Good luck and have fun.

 

[RAMI]

Wait. I read this earlier, but I guess it didn't hit me. Are you guys saying that this:

Noise Gate, Compressor, Pitch Correction, Match EQ, Channel EQ, Space Designer, Adaptive Limiter, Stereo Spread.

is a vocal track chain? Seriously?