J
jaynm26
New member
Need some new ideas for processing singers vocal just shoot me some ideas on how you guys mix "SUPERB" Singing Vocals.
S
sixer2007
New member
Superb vocals huh? I'm not sure anything about my mixes are superb yet, sorry!
But, for a cool effect in a bridge or something, you could run a parallel buss and smash it to death and distort it to hell and back and then mix that in underneath the original sound. I did that in a punk rock track once for a bit of grit in the verses. Kinda liked it.
Ah, and one other time I did an extreme HPF, LPF and a giant mid boost on a reverb return, and then distorted that. I like distortion
I guess those are just random effects though, and you've probably tried similar things yourself.
All the way through the track, my mixes are usually pretty standard on the vox.
But, for a cool effect in a bridge or something, you could run a parallel buss and smash it to death and distort it to hell and back and then mix that in underneath the original sound. I did that in a punk rock track once for a bit of grit in the verses. Kinda liked it.
Ah, and one other time I did an extreme HPF, LPF and a giant mid boost on a reverb return, and then distorted that. I like distortion
I guess those are just random effects though, and you've probably tried similar things yourself.
All the way through the track, my mixes are usually pretty standard on the vox.
C
CMB Studios
New member
multi tracking.. i normally triple track melodies and double/multi track harmonies.. .but every song is different... a really soft song you can get away with just 1 good take... but if you want a big rock sound then multi tracking... Pop has more tracks than a 5th grader can count.
Seidy
New member
I use Vocal rider and then slam it with 1176.
Sometimes it works, sometimes it doesn't.
Sometimes it works, sometimes it doesn't.
RecordingMaster
A Sarcastic Statement
"Singing" vocals? As opposed to "spoken word" or "screaming" vocals or something?
RecordingMaster
A Sarcastic Statement
For really dynamic "singing" vocals, I have fallen sooo in love with this sound/character/technique I can't bring myself to want or need to try anything else! It can be done with any other plugins modelled on those compressors, not just the UA ones. Check it out here in the first half of this video: Chaining the 1176LN and LA2A compressors for maximum control. - YouTube
M
mindsound
New member
First, my best chain: Slate or Uad tape through la2a and then api 2500. (each with 1-2 db reduction max) then the pultec, boosting 12 or 16 khz, bandwidth set to broader. After that, Sonnox eq with the low pass filter (6db/octave) set at around 17 khz. Sometimes a desser too....normal things.
Secondly: sending it to a stereo channel on which I insert a Fairchild on lat/vert mode and sidechain unlink. 1 db of reduction and suddenly, your voice is still in the center but more wider in the stereo field. Similar to MS processing.
Third: reverb channel. I prefer two channels with each a mono reverb. Same room, but two different settings (especially for the predelay). More realistic. Tape plug before the reverb to chop off the transients a bit. Then, after the reverb, a compressor with a somewhat fast attack to make the tail bigger. Then, eq'ing of the reverb. Sometimes too, phase rotation to adress the cancellation caused by the reverb, so it blend better with the dry track. A lot of times, doing this, my verb channel was better. More body, fuller sound.
final idea: Cool trick. Instead of using the predelay of the verb., I may keep it at 0 and insert a tape delay (with some LFO) before. Depending on the song, with the good setting, it sound magical and allow you to play the verb channel more subtly, as the ear notice instantly a track with a modulation effect on it.
These are some ideas that makes me got some superb vocal sounds. Of course, not necessarily all of them in the same song!
Secondly: sending it to a stereo channel on which I insert a Fairchild on lat/vert mode and sidechain unlink. 1 db of reduction and suddenly, your voice is still in the center but more wider in the stereo field. Similar to MS processing.
Third: reverb channel. I prefer two channels with each a mono reverb. Same room, but two different settings (especially for the predelay). More realistic. Tape plug before the reverb to chop off the transients a bit. Then, after the reverb, a compressor with a somewhat fast attack to make the tail bigger. Then, eq'ing of the reverb. Sometimes too, phase rotation to adress the cancellation caused by the reverb, so it blend better with the dry track. A lot of times, doing this, my verb channel was better. More body, fuller sound.
final idea: Cool trick. Instead of using the predelay of the verb., I may keep it at 0 and insert a tape delay (with some LFO) before. Depending on the song, with the good setting, it sound magical and allow you to play the verb channel more subtly, as the ear notice instantly a track with a modulation effect on it.
These are some ideas that makes me got some superb vocal sounds. Of course, not necessarily all of them in the same song!