Waves Vocal Plugin Chain That Always Works...
Summary
TLDRDans ce script, l'ingénieur du son Bobby Bailo partage une stratégie de mixage de voix qu'il a développée au cours des 15 dernières années. Il explique comment utiliser un chaîne de plugins Waves pour obtenir un son de voix moderne et brillant, indépendamment du genre musical. Il détaille l'utilisation de compresseurs multi-bandeaux, d'EQ, de compresseurs optiques et de limites pour un résultat cohérent et poli. Il recommande également des plugins gratuits pour ceux qui ne peuvent pas se les permettre.
Takeaways
- 🎤 L'auteur partage une stratégie de mixage de voix qu'il a développée au fil des 15 dernières années, qui fonctionne pour n'importe quelle voix, quelle que soit la gamme musicale.
- 🔧 Il est important d'adapter le mixage en fonction du microphone utilisé pour enregistrer la voix, que ce soit un microphone condensateur ou dynamique.
- 💡 Une chaîne de plugins Waves est recommandée pour un son de voix moderne, mais des plugins gratuits peuvent également être utilisés en ajustant plus finement le son.
- 📌 Bobby Bailo, de Raytown Productions, propose une aide pour améliorer la qualité musicale sans devoir acheter de matériel onéreux.
- 🎶 L'exemple de mixage utilisé est une chanson des Street Urchins, un groupe de Californie, et l'auteur encourage le soutien à ces artistes.
- 🔄 Un compresseur multi-bandeaux est utilisé pour remodeler la tonalité et l'équilibre de la voix, peu importe le type de microphone utilisé.
- 🎚️ L'outil Wave C6 est utilisé pour ajuster les plosives et les basses fréquences, et pour créer un son de voix puissant et cohérent dans la plage de fréquences moyennes.
- ⚙️ Un compresseur régulier, comme le CLA-76 de Waves, est utilisé pour rendre la performance vocale plus consistante et pour éviter le besoin de volume automation.
- 🚫 Un dé-esser est ajouté pour éviter les fréquences sifflantes qui peuvent être désagréables à l'oreille.
- 🚧 Un limiteur est placé à la fin de la chaîne de plugins pour assurer un contrôle total de la performance vocale et éviter les pics de volume inattendus.
- 🌐 L'auteur mentionne qu'il couvrira les effets comme les reverbs et les delays dans une prochaine vidéo.
Q & A
Quels sont les défis courants lors du mixage de voix?
-Les défis incluent la variété de sons en fonction du chanteur et de l'enregistrement, comme le type de microphone utilisé, que ce soit un microphone condensateur ou dynamique.
Quelle stratégie Bobby Bailo recommande-t-il pour le mixage des voix?
-Il recommande une chaîne de plugins Waves qui fonctionne pour n'importe quel genre de voix, tant que l'objectif est un son de voix moderne.
Quels sont les plugins Waves mentionnés dans le script?
-Les plugins Waves mentionnés sont le C6, l'CLA 76, l'CLA-2A, le L1 et le De-esser.
Pourquoi utilise-t-il un multibande compresseur en premier?
-Il est utilisé pour redéfinir la tonalité et l'équilibre de la voix, peu importe si elle est enregistrée avec un microphone condensateur ou dynamique.
Quel est le rôle du plugin C6 dans le mixage des voix?
-Le plugin C6 est utilisé pour façonner la voix en ajustant les bandes de fréquences et en utilisant la compression multibande pour obtenir un son de voix puissant et cohérent.
Quels sont les réglages de compression Bobby Bailo utilise-t-il sur le plugin C6?
-Il utilise des réglages de compression multibande avec une plage allant de -6 dB et des bandes de fréquences ajustées pour couper les plosives et éviter un son trop grave ou aigu.
Quelle est la différence entre l'utilisation du CLA 76 et l'CLA-2A dans la chaîne de mixage?
-Le CLA 76 est un compresseur à lampe qui réagit rapidement et apporte de la présence, tandis que l'CLA-2A est un compresseur optique plus lent qui aide à créer une performance dynamique et à coller la voix ensemble.
Pourquoi est-il important d'utiliser un limiteur à la fin de la chaîne de mixage des voix?
-Un limiteur est utilisé pour s'assurer qu'aucun moment ne soit trop fort et pour contrôler la performance de la voix, évitant ainsi la nécessité de faire de l'automation excessive.
Quels sont les effets que Bobby Bailo mentionne qu'il ajoute après le mixage des voix?
-Il mentionne l'ajout d'effets tels que les reverbs et les delays, mais il dit qu'il en parlera dans une autre vidéo.
Quels sont les conseils donnés pour éviter un son de voix qui semble avoir un lisp?
-Il faut être prudent avec le réglage des seuils et la réduction de gain dans le plugin de compression, pour ne pas que le chanteur semble avoir un lisp.
Outlines
🎤 Mixage des Voix : Stratégie et Plugins
Le paragraphe 1 aborde la complexité du mixage des voix en fonction du chanteur et de l'équipement d'enregistrement. L'auteur partage une stratégie qu'il a développée au fil des 15 dernières années pour un mixage de voix moderne, indépendamment du genre musical. Il mentionne l'utilisation de plugins Waves, tout en reconnaissant que des plugins gratuits peuvent également être utilisés en ajustant plus précisément les paramètres. Il propose également un guide de plugins gratuits pour le mixage et la maîtrise. L'auteur, Bobby Bailo, se présente comme un ingénieur du son à Raytown Productions, qui aide à améliorer la qualité musicale sans devoir acheter de l'équipement coûteux.
🔊 Équilibrage des Tonalités Vocales
Le paragraphe 2 explique comment équilibrer les voix en utilisant un compresseur multi-bande pour s'adapter aux enregistrements avec micros condensateurs ou dynamiques. L'auteur détaille l'utilisation du plugin Wave C6 pour ajuster les basses et les hautes fréquences, et pour gérer les plosives. Il illustre les réglages de compression et d'amplification pour obtenir un son vocal plein et clair, tout en évitant les sons trop aigus ou trop lourds.
🎚️ Compression pour un Performance Vocale Cohérente
Dans le paragraphe 3, l'auteur explique comment utiliser un compresseur pour unifier la performance vocale et assurer un niveau sonore cohérent. Il utilise le plugin CLA-76 de Waves pour ajuster l'attaque et la libération des sons, et pour ajouter de la 'vitalité' à la voix. Il mentionne également l'utilisation d'un deuxième compresseur, le CLA-2A, pour créer une performance plus dynamique et pour 'coller' ensemble les différentes parties de la chanson.
🚫 Contrôle des Sons Dur et Brillants avec un De-esser
Le paragraphe 4 traite de l'utilisation d'un de-esser pour atténuer les sons aigus et les fréquences qui peuvent être pénibles à l'oreille, comme les sons sibilants. L'auteur montre comment régler le de-esser pour s'assurer qu'il ne réagit que lorsque les voix deviennent trop brillantes. Il insiste sur l'importance de l'oreille pour juger du bon fonctionnement du de-esser plutôt que de se fier uniquement aux jauges.
🔝 Utilisation d'un Limiteur pour Contrôler la Dynamique Vocale
Le paragraphe 5 met l'accent sur l'ajout d'un limiteur à la chaîne de mixage des voix pour s'assurer que rien ne devienne trop fort dans la chanson. Malgré l'utilisation de plusieurs compresseurs, l'auteur considère que le limiteur est essentiel pour le contrôle global de la performance vocale et pour éviter la nécessité de faire de l'automatisation excessive. Il utilise le plugin L1 de Waves pour 'muretiser' légèrement la voix.
Mindmap
Keywords
💡Vocals
💡Condenser mic
💡Dynamic microphone
💡Plug-in chain
💡Waves
💡Multi-band compressor
💡EQ (Equalization)
💡CLA 76
💡De-esser
💡Limiter
💡Sibilance
Highlights
Vocal mixing can be challenging due to the variety of recording techniques and microphones used.
A single plugin chain may not work for all vocals, necessitating a versatile mixing strategy.
The Waves vocal plugin chain is recommended for achieving a modern vocal sound.
Free plugins can be used effectively if Waves plugins are unaffordable.
A comprehensive guide to free mixing and mastering plugins is available.
The guide includes plugins for compression, limiting, clipping, distortion, and reverb.
Bobby Bailo introduces himself as a mixing and mastering engineer at Raytown Productions.
The session example is from a band called Street Urchins from California.
Vocals typically have two tones: bright and airy or warmer and less airy.
A multi-band compressor is used to reshape the tonality and balance of vocals.
The Waves C6 plugin is a go-to for initial vocal shaping.
Parametric bands are used to handle plosives and reduce boominess or harshness.
A specific band is used to create a powerful, full mid-range vocal sound.
High-frequency bands are boosted to achieve a bright and airy vocal sound.
Compression is used to control the level and prevent overly bright moments.
The Waves CLA-76 compressor is used for performance squeezing and level consistency.
Attack and release parameters are critical for achieving the desired vocal sound.
A de-esser is used to control sibilance and prevent harsh frequencies.
A limiter is placed at the end of the chain to ensure no loud peaks escape.
The final step is to add effects such as reverb and delay.
The Waves plugin chain is claimed to work every time for any vocal.
Engagement is encouraged through comments and sharing of the video.
Transcripts
vocals can be so hard to mix sometimes
and depending on the singer
and how the vocals are recorded what
they use for microphones whether it's a
condenser mic or a dynamic microphone
like i'm using
you get so many different palettes of
sound so just having a single plug-in
chain doesn't ever seem to work
until now
i want to share with you a strategy that
i've developed over the last 15 years or
so for mixing vocals that seems to work
for whatever vocal i throw at it doesn't
matter what genre it is as long as
you're going for a modern sounding vocal
now don't get me wrong you're gonna have
to tweak it a little bit depending on
the song or the project you're working
on but for 99 of the time this waves
vocal plug-in chain just does the trick
now if you don't have any of these
plug-ins or you just can't afford them
right now that's totally fine you can
definitely use any stock plug-in that
does the same thing it might just take a
little bit more work and if you're
looking for some really good free mixi
mastering plugins i've put together a
comprehensive guide for you already
there's a link to that in the
description this guide has everything
from compressors limiters clippers
distortion
special effects there's reverbs these
are plugins that i literally use for
mixing mastering music every single day
and some of them even sound better in my
opinion than some of my paid plugins so
if that sounds interesting to you go and
check out that guide again there's a
free download in the description if you
don't know me yet my name is bobby bailo
i'm the mixing and mastering engineer at
raytown productions and i help you make
better sounding music without needing to
buy expensive gear or equipment if
you're new here thank you so much for
joining me today be sure to hit that
subscribe button because i drop new
videos every single week and you do not
want to miss a single one because
they're going to help you level up the
quality of your music so the session
today is by a band called street urchins
and they're out of california so if you
like what you hear definitely go in
support them they are an awesome bunch
of dudes i have links to their social
media accounts and all that stuff in the
description as well so when you're
dealing with vocals in most
sessions you're going to basically have
two different tones you're going to have
a very bright airy modern sounding vocal
which is usually recorded with a large
diaphragm condenser microphone or you're
going to have something that's a little
bit warmer and not so airy just like
this uh dynamic mic that i'm using okay
so
in order for us to have a plug-in chain
that works for
any of these things we need to find a
way to sculpt
the overall balance in a way that
adjusts to both a condenser style mic
and the dynamic mic
so the first thing we're going to do is
put on a multi-band compressor just to
reshape these the tonality and the
balance of the vocal regardless if it's
recorded with a condenser or a dynamic
mic so let's just hear what the vocals
sound like
[Music]
[Music]
so you can hear the vocal isn't super
bright right it sounds kind of warm so
this is probably actually recorded with
a dynamic microphone
now the way i like to reshape vocals is
by using wave c6 and i absolutely love
this plugin this is my default load
state of this plug-in okay so anytime i
load up a track to work on this is what
comes up first
and you probably noticed i didn't use an
eq before that's because we can handle
all the plosives by uh adjusting to gain
this low band let me just give you a
quick
run through of what i have set up here
so two of these bands are
basically parametric bands okay you move
this anywhere you want so those i have
set at 150 hertz and 2
and 2 500 hertz and the reason is is 150
is where vocals will sometimes get kind
of boomy sounding or muddy
and
two and a half k is where they can get
really annoying and kind of cut through
and be harsh and honky sounding
so i typically just set it up this way
and then i'll fine-tune it
depending on the vocalist style
everything under about 105 hertz i'm
basically cutting completely away i'm
pulling this down 18 db
and then we're also gonna do some
multi-band compression uh with a range
of minus six db so it'll pull off
another 6 db if the vocals get too bassy
for some reason so then i have a band
from 105 hertz to 3.5 k
this basically is going to be
the vocal that is reproduced on most
low-fi speaker systems like let's say
your car or a cell phone or something so
this band is going to do a lot of the
heavy lifting for us
what i like to do here is
lock in a very powerful full
mid-range vocal sound by boosting
3 db of the vocal tone and at the same
time we're going to compress it back
down
actually and we're going to compress it
even lower than its normal level okay so
what this is doing is we're raising
those frequencies into the compressor
and the compressor is actively always
pushing that down so we have a very flat
consistent mid-range of our vocal the
entire performance okay so this is
helping to reshape the vocal tone
regardless of its condenser or
dynamic mic okay and we're going to
follow that same strategy in the higher
frequencies too
most modern vocal sounds
are very bright and airy okay
so what i like to do is we'll boost this
high band from 3.5 k to 9 and a half k
pretty aggressively like
maybe 8 db
um so it's
noticeably bright okay and we're going
to do the same strategy where we have
up to maybe 12 or sometimes i'll even
pull us down to minus 16 db of potential
gain reduction okay so again we're
boosting those high frequencies to make
on average the tone to be on the bright
side and then any time things get too
bright the compressor's going to grab
all those frequencies out
exactly the same strategy for the
highest airy band okay so everything
above 9.5 k i'm gonna boost probably at
least 8 db if not more sometimes i've
gone up to 12 or 16 db if i if i'm
missing that air off the vocal again
hold this range knob down so we're also
attenuating it so it doesn't run away on
us okay so let me show you how i dial
this in when we're playing the vocal
like i've been stuck in this rut for so
long
i mean if i pass all the bands i'll put
them in one at a time
and i'm afraid to make a change from
this laptop so this one again that
cleans up the plosives and any of the
really rumbly base that we don't really
want in our vocal
i feel alone
this band is there just to thicken it
and keep it consistent i've been stuck
in this rod for so long
and i'm afraid to make a change perfect
from this
this is gonna be our presence or like
the articulation of the vocal
and i'm afraid to make a change from
this life that i'm used to
but i know
without a goal so you can see it's
it's really
bright but it never gets too bright
right
let's add this air band i'm just wasting
time
wasting away
another day
like i've been stuck in this rut for so
long
and i'm afraid to make a change from
this life that i'm used to now if you're
too aggressive with this you can
actually
cause the vocalist to sound like they
have a lisp so be very careful with how
much you're actually attenuating your
thresholds biting into the track too
much or you have too much gain reduction
so just lower your range
another thing you can do is change the
attack and release parameters
i have very very fast releases on all my
high bands because i want the airiness
to stay there
if you have a really long release you're
going to get this weird like pumping
motion in the high frequencies and it's
gonna be really noticeable and it's
gonna be distracting if you wanna add a
little bit more aggression or presence
to the vocal you can just have a slower
attack as well that'll let any of the
little sharp transients jump through
before it attenuates uh the really high
frequencies so let me dial that in
like i've been stuck in this rod for so
too short let's open it up and i'm
afraid to make a change from this life
that i'm used to but i know
without a goal
i'm jo
i feel so alone like i've been stuck in
this rut for so long
and i'm afraid to make a change
all right so i think i think we're
getting a good spot here
from this life that i'm used to
well let's activate this 2.5 k band just
to help with a little bit of the
honkiness of that
feel so alone
and i'm afraid to make a change so i'm
just you can use the solo band to find
the specific frequency from this life
that i'm used to
but i know
without a goal ah there it is it's so
much smoother now let me show you
without it
stuck in this rod for so long
and i'm afraid to make a change from
this life that i'm used to
cool perfect
um and at this point i think we're
pretty good in terms of using
the wave c6 to shape the vocal let's now
go to the next step so now we want to do
is we want to squeeze the performance
together so we have a consistent level
and typically that's done using just a
regular compressor in
this case
i tend to use waves cla 76 so this is
just a 1176 compressor i think the bluey
mode sounds a little bit cooler it just
has a little bit more vibe to it than
the black i always go with this one
now there's basically two main
parameters you want to worry about the
attack and release i find that for
vocals you usually want them very close
to the front
of the mix so
have a really fast release okay and on
this type of compressor a fast release
is a high number it's kind of backwards
from how most compressors are designed
but just crank it up here if the
vocalist feels like they're too far in
front you can just
slow the release down and that'll give
this sense that the vocalist is going
farther back in the mix
and then you can think of this attack
knob as like an aggression knob okay if
you have it really fast it's just going
to be flat across it's really not going
to have a lot of movement it's going to
just kind of be the same whole way which
is kind of boring in my opinion
so i like to have the attack between
like five and maybe two somewhere in
here that lets a little bit of the
performance go through so it feels a
little bit more lively let's dial in
some compression here and just get a
nice solid consistent performance just
alone i like i've been stuck in this rod
for so long
and i'm afraid to make a change from
this life that i'm used to
but i know
without a goal
i'm just wasting time
and i would say be careful looking at
the meter trust your ears you'll know if
you're compressing it too much i know i
know a lot of times people see and
they're like wow it goes up to minus 10
db
don't let that fool you right that might
just be a loud moment in the song so
if as long as it sounds okay just go
with it you're so alone i like i've been
stuck in this rod for so long
cool this is a good starting point i'm
liking that i will say after compressing
the vocal i think it is a little on the
bright side so let's come back here
let's bring these these down a little
bit and let's boost up that
that low mid band that helps to thicken
the vocal right here this one
and i'm afraid to make a change from
this life that i'm used to
well there we go
all right i think we're good to go now
the next thing i do is i actually put
another compressor after this but this
is a different style so we used the 76
compressor now i'm going to use cla2a so
this is an optical style compressor
basically it just is a lot slower
when it reacts to a signal so
this is going to help create a more
dynamic performance that just makes the
vocal more interesting it also helps to
kind of glue it together in my opinion
so let's let's dial this one in
a lock i've been stuck in this rod for
so long
and i'm afraid to make a change
from this life that i'm used to
but i know so it's getting a little bit
too compressed so let me uh back this
off a little bit alone like i've been
stuck in this rod for so long
and i'm afraid to make a change from
this life that i'm used to
but i know
without a goal
that feels right to me i usually don't
do too much compression with with this
one this one's just there like i said
it's like an insurance policy okay
um at this point
now i have an eq here just in case
there's anything
that might be harsh that's making its
way through so we can do a little bit of
cutting but for right now i think we're
okay i don't think we really need to use
this at all
now at this point i always like to put a
de-esser here just in case
something
sneaks through one of the things that
drives me crazy listening to music is if
you have a really sibilant vocal
and all you need to fix that is a
de-esser and waves makes a great one and
it's just called de-esser it's
you can't get more simple than that
right all right so let's just uh dial
this in and make sure that it's catching
any of the annoying frequencies
like i've been stuck in this rod for so
long
and if you really want to dial in
uh the right frequency for this plug-in
you can go to the side chain monitor
button here
and now you're only going to hear the
frequencies that it's listening to to
attenuate
right so actually
down here is kind of where those
frequencies sound the most harsh
cool so let's let's go back to this
audio monitor button and now we'll just
pull this fader down so it makes the
vocal a little bit easier to
this rod for hear long
and i'm afraid to make a change from
this life that i'm used to
but i know if this attenuate
light is flashing all the time you
probably have your threshold set too low
okay this should only be jumping in when
the vocals get too bright but i know
without a goal
i'm just wasting time
wasting away
another day
i feel so alone like i've been stuck in
this rod for so long i actually like it
better with this opened up this filter
open now we have one more thing and this
might be something you're like whoa whoa
what are you doing but hear me out okay
i always put a limiter at the very end
yeah i know people like why a limiter
you already put three compressors on the
vocals why do you need a limiter
aren't limiters for mastering well maybe
but they also sound good on vocals okay
in the big picture of mixing a song we
have to have control over each of the
different elements otherwise you can
spend all day volume writing everything
to make all the pieces fit together so
if you can really control the
performance of the vocal then you don't
have to do like any automation the song
basically just works okay
so i always tend to put a limiter
after at the end of my vocal chain
just to make sure make absolutely sure
that nothing is going to sneak by
and make a tiny moment way too loud in
the track i'm literally just using waze
l1 it's like the
oldest plug-in they've ever had probably
and
i'm just gonna bring it down and just
basically brick wall it at the point
where it just barely is touching it okay
so let's do that
and i'm afraid to make a change from
this life that i'm used to
but i know
without a goal so you can see the
breaths are actually super loud
and i'm afraid to make a change let's
see how this barely is blinking it's
only on very certain moments
from this life that i'm used to
but i know
without
so there you have it okay let's hear
what it sounds like before and then
after the vocal chain rod for so long
and i'm afraid to make a change
from this life that i'm used to
but i know
without a goal
i'm just wasting time
wasting away
another day
i feel so alone
like i've been stuck in this rut for so
long
and i'm afraid to make a change from
this life that i'm used to
but i know
without a goal i think you can hear it
instantly turned a
boring dull vocal that was recorded
probably with a dynamic mic into
something that sounds modern and bright
and airy that we're used to hearing so
the only thing left to do at this point
is basically just to add your effects
okay so your reverbs delays all that
stuff i've already taken up a ton of
your time so i'm gonna save that for
another video
but just to give you a little uh a taste
well i'll give you a little tiny taste
here
[Music]
there you have it that plug-in chain
works every single time i use it it's
amazing i can just literally load up
that and no matter what performer what
singer what microphone what preamp they
used this this chain always works so
which one of these vocal mixing tricks
are you going to use for your mixing
workflow let me know in the comments i
love seeing people leave comments about
their experiences with plugins or
different strategies for doing things
because anybody that comes across it is
going to learn from that i want to
remind you to go and grab your free
downloadable copy of my favorite free
mixing and mashing plugins and again
these are plugins that i use almost
every single day they sound amazing and
they're totally free what more could you
ask for if you feel like supporting me
or this channel all you have to do is
share my video with some of your friends
online or on facebook or reddit or some
other community where people are trying
to learn to mix music i'm sure this will
help somebody somewhere so i'd really
appreciate that and with that i want to
thank you so much for your time and
attention today and hope to see you in
another video
you
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