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Post by scumbum on Jun 29, 2015 20:41:25 GMT -6
Alright try this link ,
EDIT : removed link
I put reverb on the overheads , does it sound too washy ?? Usually I only add reverb to the snare .
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Post by tonycamphd on Jun 29, 2015 20:53:49 GMT -6
it's a little stabby, make sure you DS the "send" from the vocals to ALL effect destinations, the main vox is the only time S/T's should be generated imo. |
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Post by jazznoise on Jun 29, 2015 21:03:40 GMT -6
Verb sounds fine on the drums. On the vocal it's actually less the sibilence from S sounds and more the hard K's, C's, G's that are catching me. Try fiddling with the attack time on your compressor.
If de-essing isn't working you can try what I do: when most people reach for a De-Esser, these days I reach for Vladg's Nova67p. It's a free dynamic EQ, which is like a multiband comp, but it's actually nice to use and reacts kind of like how you'd hoped a multiband would. Sadly the attack and release is fixed for every band, but it works really nice. Give it a try!
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Post by scumbum on Jun 29, 2015 22:38:51 GMT -6
Verb sounds fine on the drums. On the vocal it's actually less the sibilence from S sounds and more the hard K's, C's, G's that are catching me. Try fiddling with the attack time on your compressor. If de-essing isn't working you can try what I do: when most people reach for a De-Esser, these days I reach for Vladg's Nova67p. It's a free dynamic EQ, which is like a multiband comp, but it's actually nice to use and reacts kind of like how you'd hoped a multiband would. Sadly the attack and release is fixed for every band, but it works really nice. Give it a try! I'm using Pro Tools 7.4 , that plugin is VST so I can't run it . Too bad it looks cool . |
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Post by scumbum on Jun 29, 2015 22:47:03 GMT -6
it's a little stabby, make sure you DS the "send" from the vocals to ALL effect destinations, the main vox is the only time S/T's should be generated imo. OOPS!: Edit , Jazznoise mentioned the compressor attack settings , not Mr.Tony........ I think you nailed it Tony . I usually use the Bones Howe 1176 vocal setting . I had the attack at 9 o'clock , so the attack was too slow . Bones Howe said to put the attack at 3 o'clock , much faster . So heres with the faster attack . And "Smelly Whores" is just the working title  I haven't thought up a name for the song yet . |
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Post by jazznoise on Jun 30, 2015 0:07:32 GMT -6
Sounds much better to me! It's the funny thing with compressor settings, it's often when I deviate from my normal usage I find something that sounds really good! Though I think the faster attack means the vocal is getting a little more squished now - I'd probably back off the threshold just a smidge, or shorten the release to give it more of a modern heavy comp sound if I wanted it that way.
There are VST Wrappers as far as I'm aware, and PT friendly Dynamic EQ's. They're definitely worth owning. I'm doing up a demo at the moment of some plain old SC Compression vs. Dynamic EQ stuff and the differences are stark. Even when being more aggressive, it's a lot more subtle than most tools!
(I like the title Smelly Whores)
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Post by yotonic on Jun 30, 2015 0:08:27 GMT -6
It hasn't been mentioned here yet but vocal technique goes 1000 miles. I've worked with some great singers and was amazed how they sang consonants and how they even wrote lyrics to avoid sibilance. None of these guys sing words as spoken in conversational English. And they all knew how to properly finish phrases and lyrics without pronouncing a letter "T" etc. Many consonants don't even need to be completely pronounced and the human brain will plug them in.
The problem of sibilance is usually caused by the actual vocal formant, but can also be exaggerated by microphone placement and technique. While it might not be practical to address it at its source during a session with a paying customer, since you are tracking your own vocals you can do that. Read up on some basic vocal information around voiced consonants etc. A lot of guys purposely write lyrics that are more full of vowel sounds that highlight their particular vocal tone, be it Rob Thomas or Chris Stapleton.
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I haven't thought up a name for the song yet . 