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Vocal+Mixing+Reference+Guide - Copy - Copy - Copy - Copy - Copy

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pourypoury
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© © All Rights Reserved
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PRO V OCAL MIXING

REFERENCE GUIDE
CORRECTIVE EQ
THE VOCAL CHAIN: STEP 1/6

Corrective EQ is the process of using an EQ


to fix problems with your recording, and it is
best done before any other processing in
your vocal chain. Usually, this just means
using a High Pass Filter to remove
unwanted low frequency rumble.

A Vocals are especially susceptible to low


frequency rumble. Mics get bumped, cars
drive by, AC units are running - all of these B
can cause unwanted low rumble.

B A High Pass Filter at anywhere between


40-100Hz will greatly improve the quality of
A
your vocals. Set the frequency depending on
your particular vocalist - be careful not to
cut into the fundamental frequencies of their
vocals, or they may sound too thin.
INFINITY EQ
Use INF EQ or the EQ modules in VMR such
as FG-S to clean up your recordings with
Corrective EQ before the Compressor. B
FGS
COMPRESSION
THE VOCAL CHAIN: STEP 2/6

Compression is a key component in creating an up-front, clear,


and full vocal mix. These are all tips used by professional vocal
engineers to achieve amazing results: A B

Series Compression is when you use two compressors, one


after the other. This allows you to blend tones of multiple styles
of compressors (like opto + FET), and also get a more natural
sound because each compressor doesn’t have to work as hard.

Gain Reduction is a good way to see how much compression


you are applying.

A 3-5dB of GR is a good range for lighter compression.

B 6-10dB of GR is a good range for heavier compression.

C Parallel Compression is very useful for achieving a more


natural vocal tone, and it’s easily accomplished with the
Mix knob.

FG2A FG116 FGSTRESS


TONE SHAPING EQ
THE VOCAL CHAIN: STEP 3/6

After your Compression, it’s a good idea


to apply some Tone Shaping EQ. This
EQ is used to apply boosts and cuts that
will shape the overall tone and help
your vocals sit better in the mix.

A Remove any unwanted low frequencies


with a High Pass Filter.
(even if you used corrective EQ, this is
still helpful since compression can bring
out these low frequencies) C
D
B Cut in the low mids (150hz-500hz) to
remove muddiness.
A B
C Boost in the high mids (1khz-6khz) to E
add clarity.

D Add air to your vocals with a High Shelf


and Bell Curves above 10khz.

E There are amazing vocal presets


designed by legendary producer Oak
Felder in Infinity EQ. INFINITY EQ
DeESSING
THE VOCAL CHAIN: STEP 4/6

A DeEsser is a special type of processor


that reduces the harsh sibilant sounds of a
vocalist. (like “s”, “sh”, “t”, etc.)

Place the DeEsser after Compression & EQ.

Compression & EQ may cause sibilance to


be even more harsh, which necessitates a
DeEsser.

A Start at 0 and slowly bring up the DeEsser


Amount, until it sounds natural. Be careful
A
not to apply too much DeEssing, or it may
sound like the vocalist has a lisp.

B For especially bad sibilance, manually edit EIOSIS E2 DeESSER

the harsh sounds using clip gain.

Even if you don’t think you need a DeEsser,


it’s generally recommended to still use one
because the limiting that occurs in
Mastering can bring up sibilance even more
if it is not DeEssed in the mix. B
FRESH AIR
THE VOCAL CHAIN: STEP 5/6

Fresh Air is a specialized high frequency


processor that works incredibly well on vocals.

Boosting high frequencies with EQ can sometimes


add harshness.

Fresh Air adds smooth air without any harshness.

A Mid Air boosts presence & clarity.

B High Air boosts sizzle & crispness.

Use directly on individual vocal tracks or on a


vocal bus.

A B

FRESH AIR
REVERB & DELAY
THE VOCAL CHAIN: STEP 6/6

Reverb & Delay are a critical factor in giving your


vocal space and depth in the mix.
C
Typically used as Send FX.

A Can also be used on individual vocal tracks as C


Inserts, utilizing the Mix Knob to adjust the D
E
amount of reverb/delay signal.
REPEATER
B Increase the Predelay on Reverbs for more clarity,
10ms - 20ms is a great starting point.

Set the Reverb level in context with the mix, too


much reverb can cause muddiness.
B
C Dial in the Feedback according to the pacing and
tempo of the song.

D Make your vocal bigger and wider by using a


Ping-Pong Delay.
E
E Shape your Reverb & Delay with EQ and Filters. A

VERBSUITE CLASSICS

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