vocals lost
- Thread starter randompurpleness
- Start date
Good idea Norm55 in theory.... but he said this a couple posts earlier
"no money for a fancy vocal mic."
and if he doesn't have the money for a fancy voc mic then he won't have the money for a nice MP
and if U want a nice budget tube MP, PreSonus Bluetube, $149.00 I think....... and thats for 2 channels =)
Sabith
"no money for a fancy vocal mic."
and if he doesn't have the money for a fancy voc mic then he won't have the money for a nice MP
and if U want a nice budget tube MP, PreSonus Bluetube, $149.00 I think....... and thats for 2 channels =)
Sabith
try this?
Drop all other signals down to zero or mute them out altogether, then chk your levels on your vocals by them selfs. Then slowing bring up your other tracks until they are right up under your vocal tracks, then slowing add reverb to your vocal tracks and a over all compression to
the whole mix and see if that will work????
G-Man
Drop all other signals down to zero or mute them out altogether, then chk your levels on your vocals by them selfs. Then slowing bring up your other tracks until they are right up under your vocal tracks, then slowing add reverb to your vocal tracks and a over all compression to
the whole mix and see if that will work????
G-Man
TeyshaBlue
It's the smell..
Random....sorry to weigh in a week after your orig. question! Don't know if you want to go buy toys for this prb or not, but I struggled with this problem for a long time. I rented/borrowed/tried out all sorts of preamps, eq's compressors etc. I had alot of success with a good tube preamp seperating vocals from the mix. Unfortunately, it was out of my price range at the time. Instead I bought a (shudder) Behringer Edison. It is a stero "spatializer"..which sound goofy but the end result is when I start moving sound around in the soundfield, I can open up areas in the middle for vocals to occupy. Probably the easiest way to use this with a VS is between the VS and your mix-down equip. Or if your external mixer has main inserts, place it there. The Edison, like most of Behringer products are pretty cheap...$149 or so, but not very robust. It really is amazing what it has done to my mixes. I insert these in my aux chains to make a thin reverb sound deep...and you can really get carried away with this. Plus is has a nice phase-correlation meter on the front. Absolutely the best $150.00 I've ever spent on gear!
bvaleria
New member
Wait a minute...
...before you start throwing money needlessly at this problem. A lot of the responses people have given are reasonable, but there were 2 points given (by lazyboy and shailat) that you should really work at before buying stuff that will likely muddy-up the situation rather than help.
Pretty much rule #1 in mixing - give each instrument (and voice is an instrument!) its own portion of the frequency spectrum. If something is not cutting thru in the mix, it's not likely it needs more effects (maybe some compression) - it probably has more to do with the fact that some other instrument is hogging the same portion of the audio spectrum. You don't want all the guitars to hog ALL the mids plus extend into the highs - use EQ to tame or restrict the frequency range. It's very possible that the guitars will sound like CRAP when solo'd, but sound amazing in the mix. You need to leave a hole in the sound spectrum for you vocal - then you'll have no trouble getting it to where it should be.
Pretty much rule #2 in mixing - if you've done your work following rule #1, then before you throw ANY effect into the mix, you should be able to get all the faders up and still have very reasonable, but dry-sounding mix. You add the verbs and stuff to give the dry sound some depth and dimension, and not so much to make their use obvious (unless it's an integral part of the sound - such as pronounced guitar delays). A well-proportioned mix (in terms of audio frequencies) will pretty much fly itself, then reach for effects to apply some space...
In addition, you reach for compression when a track's dynamic range is larger than normal when compared to another instrument it is being played against. For example with guitars and drums - in a live situation, the heavy guitar doesn't need compression in that situation because the drums will be heard very well and a drum's dynamic range is significantly wider than a guitar's is. In a recorded situation, the nature of recorded sound dictates that the guitar's range could APPARENTLY be equal to the recorded drum sounds - which is an unnatural sounding situation, requiring the use of a compressor to tame the guitar's range down to restore its relative balance to that of the drums. It's all a question of trying to maintain the dynamic relationship of recorded instruments to that of these same instruments being played live. Bear in mind, this "use of compression" theory borders pretty much on my own personal philosophy in recorded dynamics and some other engineers here may disagree, but you may still find it helpful.
Anyways - hope this helps..........
Bruce Valeriani
Blue Bear Sound
...before you start throwing money needlessly at this problem. A lot of the responses people have given are reasonable, but there were 2 points given (by lazyboy and shailat) that you should really work at before buying stuff that will likely muddy-up the situation rather than help.
Pretty much rule #1 in mixing - give each instrument (and voice is an instrument!) its own portion of the frequency spectrum. If something is not cutting thru in the mix, it's not likely it needs more effects (maybe some compression) - it probably has more to do with the fact that some other instrument is hogging the same portion of the audio spectrum. You don't want all the guitars to hog ALL the mids plus extend into the highs - use EQ to tame or restrict the frequency range. It's very possible that the guitars will sound like CRAP when solo'd, but sound amazing in the mix. You need to leave a hole in the sound spectrum for you vocal - then you'll have no trouble getting it to where it should be.
Pretty much rule #2 in mixing - if you've done your work following rule #1, then before you throw ANY effect into the mix, you should be able to get all the faders up and still have very reasonable, but dry-sounding mix. You add the verbs and stuff to give the dry sound some depth and dimension, and not so much to make their use obvious (unless it's an integral part of the sound - such as pronounced guitar delays). A well-proportioned mix (in terms of audio frequencies) will pretty much fly itself, then reach for effects to apply some space...
In addition, you reach for compression when a track's dynamic range is larger than normal when compared to another instrument it is being played against. For example with guitars and drums - in a live situation, the heavy guitar doesn't need compression in that situation because the drums will be heard very well and a drum's dynamic range is significantly wider than a guitar's is. In a recorded situation, the nature of recorded sound dictates that the guitar's range could APPARENTLY be equal to the recorded drum sounds - which is an unnatural sounding situation, requiring the use of a compressor to tame the guitar's range down to restore its relative balance to that of the drums. It's all a question of trying to maintain the dynamic relationship of recorded instruments to that of these same instruments being played live. Bear in mind, this "use of compression" theory borders pretty much on my own personal philosophy in recorded dynamics and some other engineers here may disagree, but you may still find it helpful.
Anyways - hope this helps..........
Bruce Valeriani
Blue Bear Sound