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Post by russellcreekps on May 7, 2024 17:16:57 GMT -6
Super busy this week, had a brief moment to check in…really appreciating all this knowledge and will dig into it on this mix on the weekend. Thanks so much!
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Post by yotonic on May 7, 2024 19:38:26 GMT -6
Damn… your work just keeps getting better and better. Great stuff here Wiz. For me it comes down to getting the vocal compression just right for that particular track and carefully tweaking the reverb. For verb I’ll use at least two different reverbs on vocals. One for a room sound, and then another set longer for a longer tail/more ambience. Tweaking the pre delay and/or sidechaining a compressor on the reverb to duck the ambience when the vocal is singing is what’s key (for me) in creating glue vs separation This is my thoughts... I often might use 4 different verbs. I don't compress tracking my vocal anymore.... but at mix time I usually run UA Fairchild, Vocal Rider, EQ then any fader moves.... Plus before it even hits the UA Fairchild... I will have split the vocal into smaller clips if needed and adjusted clip gain on those words or phrases that need it. I don't like getting compressor to do more than say 3dB of compression if I can avoid it by levelling the vocal manually as described.... here is my latest song gives you an idea of what that sounds like... cheers Wiz |
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Post by viciousbliss on May 7, 2024 23:47:03 GMT -6
Moving Satin to the first insert earlier this week has been a tremendous help. Then a de-esser, compressor, dopamine. FX, eq, or Autotune can be in there too. Busses, largely the same but swap out the de-esser for Black Box. Occasionally H3000 across the vocal bus. After FX on an aux, something like Gem EQ84 just to use the filters. Use a few different FX. SP2016 as main reverb. Atlantis Chambers. Cooper Timecube as main delay. UAD 480 for the Effects. No real trick really. Doesn't matter what mic either. SM7, MTR231, some $100 Audio Technica. Generally I like to use saturation to do a lot and not bother with a lot of eq and compression.
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Post by robo on May 9, 2024 8:23:52 GMT -6
Keeping the upper midrange tamed relative to other mix elements will do that. If you’ve got some guitars and drums poking out there, you can add some air for clarity without getting the vocal to come “forward” too much.
Also, tuning is huge for this. Even if there are no obvious bad notes, a little slow tuning to get keep the tails from wavering can get a vocal to embed itself in the music. The opposite is also true, if you want the vocal to pop let it be a little wonky or tune it a hair sharp.
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Post by lowlou on May 9, 2024 8:38:34 GMT -6
What a great thread !
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