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Post by sozocaps on Mar 22, 2016 9:03:19 GMT -6
Some add Air
De Ess at 5k male 6k femal
Some remove honk 500
add 3.4 k presence
add 1.2k articulation
add 180-220 depending on voice
where do yo Hi Pass
etc...
any EQ tricks list em here... subtraction or additional eq
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Post by EmRR on Mar 22, 2016 10:05:57 GMT -6
Mic choice and distance experiments. Then appropriate HPF if needed. EQ if needed once all tracks are present and mix commenced. Occasionally the best mic choice will dictate a high shelf boost, but rare here.
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Post by Johnkenn on Mar 22, 2016 11:39:18 GMT -6
Hardly ever add anything...Usually just cutting EQ wise. And especially not adding in the 1-3khz region. Of course, it's all voice dependent.
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Post by odyssey76 on Mar 22, 2016 14:05:34 GMT -6
Less is more with vocal eq for me except with the hpf. I high pass in the mix with all the other instruments playing. I'm surprised how much low end I can pull out of a vocal before I can hear it. As far as boosting, it depends but very little if any just to get it to poke out of a track.
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Post by sozocaps on Mar 22, 2016 14:34:36 GMT -6
I like to add 180 male 220 female for weight almost most of the time but wondering where else to boost...
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Post by warrenfirehouse on Mar 22, 2016 18:28:49 GMT -6
Boost 5k til my ears bleed.
Then boost some more.
Done.
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Post by M57 on Mar 22, 2016 19:06:56 GMT -6
Boost 5k til my ears bleed. Then boost some more. Done. Sounds like how I apply compression: Smash until my ears bleed (cause that's what radio does to my ears), then back off. This whole engineering thing is all about learning how to hear the subtle differences, right? ..but too often I'll be damned if I'm not just a big 'ole hairy snorting bull in china shop. |
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Post by rocinante on Mar 23, 2016 0:07:54 GMT -6
Obviously dependent on the vocals but I boost at 200 and 5k for fullness if needed.
I too go to extremes and then back off. Im sure its because after 10 plus years on and off im still learning. I believe I may never stop.
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Post by stratboy on Mar 23, 2016 5:25:27 GMT -6
Obviously dependent on the vocals but I boost at 200 and 5k for fullness if needed. I too go to extremes and then back off. Im sure its because after 10 plus years on and off im still learning. I believe I may never stop. In the new issue of Tape Op, Larry Crane quotes Tony Visconti as saying the reason he loves his job is because he never stops learning. I couldn't agree more. |
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Post by svart on Mar 23, 2016 7:29:19 GMT -6
Since switching to my U47 for majority of vocals, I rarely have to do much but compress and cut a small (maybe 2-3db) notch in the 1k-3k range and another in the 100-300 range. I find that most voices have resonances in those places, and from what I read, a lot of pros cut in those spots too.
Other than that, I'm pretty happy with doing nothing else.
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ericn
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Post by ericn on Mar 23, 2016 7:31:57 GMT -6
All vocal EQ starts with the mic choice I try to spend more time trying to get that right and have never been afraid to put up more than 1!
The other thing is coming from a live and broadcast world I'm less about trying to make the vocal work with everything else and have always been willing to tear about everything else to fit the vocal.
Also I found the BSS dynamic EQ solved more vocal issues than most console EQs, because most vocal problems are both dynamic and EQ problems.
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Post by ericn on Mar 23, 2016 7:36:08 GMT -6
Also I trick I learned with the old TLM103 a lot of the time people were EQing for the sound of EQ than the freq. so I would use my Dan Alexander / Neve 2 ch by using both ch in series for a bit more Neve goodness sort of like a Neve Missing link !
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Post by sean on Mar 23, 2016 7:36:20 GMT -6
I don't think there are things I normally do but I often find myself using a hpf and often cutting in the low mids if the singer was too close. Around 2.5-3K are usually problems for me, that seems to be where not great mics fall apart when a singer gets loud so sometimes I find myself cutting around there but usually only certain words. Sometimes adding a little air if helpful too. Everyday is a little different though.
Also I've always preferred EQ before compression. Always made sense to me. Not that I don't sometimes EQ after compression, it's just normally it's made sense to remove the crud I don't want before compressing.
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Post by donr on Mar 23, 2016 7:45:27 GMT -6
I never used to boost high end that much until I realized that's how the pro's do it. And de-essing. And scumbum's CLA tip about boosting into compression was a revelation. I traditionally cut before compression.
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Post by M57 on Mar 23, 2016 7:51:04 GMT -6
>> sometimes I find myself cutting around there but usually only certain words.<< How do you do this? Can an ITB EQ be automated? |
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Post by sean on Mar 23, 2016 21:57:03 GMT -6
>> sometimes I find myself cutting around there but usually only certain words.<< How do you do this? Can an ITB EQ be automated? Yes. I use FabFilter for this, and you can automate any parameter but I just turn the band on and off |
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Post by noah shain on Mar 23, 2016 22:21:31 GMT -6
I usually do a hi-pass at 60 and a cut around 80-120...might be a shelf sometimes. I rarely boost anything low. Once in a while. Lately I been using light saturation, full spectrum, to give some weight or meat.
Then up top I'll do a fairly bold cut somewhere between 2.5 and 6k. Then a shelf boost. Maybe 8k or 10k or 12k or 16k.
Lately the chain for me is gentle saturation first, then cuts, then compression, then pultec style Eq with the cut at 5k and the boost at 12 or 16. Then some de-essing with the Massey.
Of course, it's all program dependent.
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Post by Deleted on Mar 24, 2016 2:50:18 GMT -6
Just don't solo it, make the adjustments with the music going. HP used to be at 250hz, I sometimes still do this but I've been trying to broaden the window I see through and have been a little more conservative with it lately. For sure at least 100hz, if there's a super barebones part of the song I'll copy it to a different track and adjust the HP filter. I have unlimited faders and stone hands, there's no way in hell I can automate that and have it be what I'm hearing. Don't know how some of you old guys do it. Recording nasally pop punk singers, usually sculpting some of the 200-400 out, I might even reach for 600 and pull that back a bit, 8kz I push up until it annoys me, never get much more than 2db out of it. Then I solo it and De-ess. One of the gems of driving a car with only one speaker working is I hear a lot of solo'd vocal where I shouldn't and it's very surprising to me how much some of these guys tame the sibilance.
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Post by Martin John Butler on Mar 24, 2016 8:32:34 GMT -6
rTom Petty's vocals are usually completely crushed, but it works in his case, partly because all the other pats are so well placed and played, the vocal has space. On the other end, Lyle Lovette's vocals sound wide open and clean, although I know compression is being used. So, I don't know how much processing depends on the tone of the vocalist, or the production style.
I try to keep it as clean as I can. I do roll off the very low end with my channel EQ, but use very little EQ otherwise, if any. DeEss for sure, but I'm careful, too much is unnatural.
I'm extra careful with the HPF though. In my home stereo, I have a small REL subwoofer. It's the only brand I know of that uses a design where the speaker wire piggybacks on the amplifiers speaker wire L & R inputs. This keeps the sub time aligned, so it reacts like one bigger speaker, instead of the usual sound of the sub being separated. REL calls their subwoofers "ambient retrieval systems". I've used them for over 15 years, and must say, they have a point. Their subs instantly bring the space of a recording to light, previously 2D tracks sound 3D. This was a clue for me me, that much of the vibe of a space is in the very low end, so I listen very carefully when rolling off lows of the main vocal, as I don't want to kill the realism.
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ericn
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Post by ericn on Mar 24, 2016 9:57:51 GMT -6
rTom Petty's vocals are usually completely crushed, but it works in his case, partly because all the other pats are so well placed and played, the vocal has space. On the other end, Lyle Lovette's vocals sound wide open and clean, although I know compression is being used. So, I don't know how much processing depends on the tone of the vocalist, or the production style. I try to keep it as clean as I can. I do roll off the very low end with my channel EQ, but use very little EQ otherwise, if any. DeEss for sure, but I'm careful, too much is unnatural. I'm extra careful with the HPF though. In my home stereo, I have a small REL subwoofer. It's the only brand I know of that uses a design where the speaker wire piggybacks on the amplifiers speaker wire L & R inputs. This keeps the sub time aligned, so it reacts like one bigger speaker, instead of the usual sound of the sub being separated. REL calls their subwoofers "ambient retrieval systems". I've used them for over 15 years, and must say, they have a point. Their subs instantly bring the space of a recording to light, previously 2D tracks sound 3D. This was a clue for me me, that much of the vibe of a space is in the very low end, so I listen very carefully when rolling off lows of the main vocal, as I don't want to kill the realism. I have always liked REL subs, there are many who use a high level amp input, the usual argument is the tone of the main amp also colors the sub. But Martin with all due respect you can't Time align or phase align simply because you are playing with a speaker level signal. Time alignment has to do with physical distance of drivers voice coils from each other and delays in a crossover, you can't get that information from that signal . Any time a box adds a dimensional quality, you have to ask are they playing with me? REL makes some great boxes, but like many they also market to the masses , hell I cried when I saw REL, Martin Logan & Mcintosh at Magnolia inside Best Buy, almost bought a Pair of CLS's years ago , but I didn't want to kill the cat, Instead I stuck with Magnepans do love that ribbon! |
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Post by Martin John Butler on Mar 24, 2016 14:40:45 GMT -6
You're absolutely right Eric, and you're right to point that out. I was being way too general. Of course proper time alignment is a function of distances and a few other things. What I was meaning to say is that I noticed a big difference in how the music felt when I compared the sub bass with a low frequency cable out and when it got the signal from the speaker outs, like the REL does with the neutrik speakon cable. One felt aligned, one felt like it was lagging. The pacing was off.
The important thing is how much difference the sub bass made in the sense of hearing/feeling the acoustic space. It made me be very careful when sloping off the low end of some things, as there's some very important spatial information down there that isn't so obvious.
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