The EXACT Science of Mixing Vocals

Summary

Dieses Video-Skript bietet eine detaillierte Anleitung zum Mixen von Gesangsstimmen. Es erklärt die Schwierigkeiten, die mit der Frequenz des Gesangs und der Reproduktion von Raumakustik verbunden sind. Der Fokus liegt auf Techniken zur Verbesserung der Klangqualität, einschließlich der Verwendung von Kompressoren, EQs und Reverb. Parallelverarbeitung und die Schaffung eines dreidimensionalen Klangs werden erläutert, um die Stimme im Mix zu positionieren und eine präzise Wahrnehmung der Texte zu ermöglichen.

Takeaways

• 🎤 **Stimmen sind schwierig zu mischen**: Weil sie in einer Frequenzspanne liegen, die auch von anderen Instrumenten wie Basslinien geteilt wird.
• 👤 **Männliche Stimmen haben tiefere Grundtöne**: Sie liegen zwischen 120 und 240 Hertz, während weibliche Stimmen höher sind, zwischen 180 und 360 Hertz.
• 🎶 **Die Wichtigkeit der Klangfarbe**: Die Stimmen müssen im Mix gut zu anderen Instrumenten wie Bass und Schlagzeug passen.
• 🔊 **Die Rolle der Lautstärke**: Die Lautstärke der Stimmen beeinflusst die Wahrnehmung von anderen Instrumenten im Mix.
• 🎚️ **Vorverarbeitung ist entscheidend**: Bevor Effekte wie Kompression und Equalizer angewendet werden, sollte die Aufnahme so sauber wie möglich sein.
• 🔉 **Die Verwendung von EQ zur Tonanpassung**: EQ wird genutzt, um die Klangfarbe der Stimmen anzupassen und Konflikte mit anderen Frequenzen zu vermeiden.
• 🔁 **Die Bedeutung der Raumwahrnehmung**: Mikrofone erfassen die Klangumgebung nicht vollständig, daher müssen räumliche Effekte wie Hall nachgebildet werden.
• 🔄 **Parallelverarbeitung für Tiefe**: Mehrere parallele Ketten mit verschiedenen Effekten ermöglichen es, die Klangdichte und Tiefe der Stimmen im Mix zu steigern.
• 📈 **Die Verwendung von Kompressoren**: Kompressoren helfen, die Dynamik der Stimmen zu regulieren, um eine konsistente Klangfarbe im Mix zu erzielen.
• 🌐 **Raumbild durch Verzögerung und Hall**: Verzögerungseffekte und Hall tragen zur Schaffung eines dreidimensionalen Raumgefühls in der Stimme bei.

Q & A

Warum sind Gesänge schwierig zu mischen?

Gesänge sind schwierig zu mischen, weil sie sich in einer Frequenzspanne befinden, die auch von den Harmoniken der Basslinie geteilt wird. Dies führt dazu, dass bei zu lauten Gesängen der Bass schwächer und bei zu leisen Gesängen der Bass stärker wirkt.

Was ist der Grund für die Schwierigkeit, Aufnahmegesänge zu verarbeiten?

Aufnahmegesänge sind schwierig zu verarbeiten, weil sie die räumlichen Klangmerkmale, wie Hallgegenstände, Richtung und subtile harmonische Komplexitäten, die durch ein Mikrofon erfasst werden, nicht leicht replizieren können.

Wie kann man die Stärke der Gesänge anpassen, um sie im Mix besser zu integrieren?

Man kann die Stärke der Gesänge anpassen, indem man sie mit dem Bass und anderen Elementen im Mix auf einer niedrigen Lautstärke vergleicht, um eine ausgewogene Wahrnehmung zu erreichen.

Was ist die Funktion des Waves Vocal Rider in diesem Kontext?

Waves Vocal Rider wird verwendet, um die Lautstärke der Gesänge automatisch anzupassen. Es kann die leisesten und lautesten Teile der Aufnahme auswählen und eine automatische Lautstärkeanpassung erstellen, die manuell bearbeitet werden kann.

Wie kann man die Klarheit der Konsonanten in Gesängen verbessern?

Die Klarheit der Konsonanten kann durch die Verwendung von Plugins wie dem Clarity-Plugin in Ozone 11 verbessert werden, das die Deutlichkeit der Vokale im Mix verbessert.

Was ist der Zweck des Stabilisators in diesem Mixprozess?

Der Stabilisator wird verwendet, um die Tonlage und die Obertöne der Gesänge zu gestalten. Er kann dazu beitragen, dass die Gesänge im Mix konsistent und nicht zu stark schwanken.

Welche Rolle spielt die Kompression in der Verarbeitung von Gesängen?

Die Kompression hilft, die Dynamik der Gesänge zu regulieren, um eine gleichmäßigere Lautstärke und eine bessere Integration in den Mix zu erreichen.

Wie kann man die Raumwahrnehmung der Gesänge im Mix verbessern?

Die Raumwahrnehmung kann durch die Verwendung von Effekten wie Reverb, Echo und Versatz verbessert werden. Diese Effekte können parallel verarbeitet werden, um eine dreidimensionale Klangwahrnehmung zu erzeugen.

Was ist der Unterschied zwischen der Verwendung von Reverb vor und nach der De-Esser?

Reverb vor der De-Esser kann zu einer unangenehmen Verstärkung der S-Lauten führen, die durch das Reverb verhallt werden. Daher sollte die De-Esser vor dem Reverb platziert werden, um diese Laute zu reduzieren.

Wie kann man die Parallelverarbeitung von Gesängen nutzen, um eine bessere Klangbalance zu erreichen?

Parallelverarbeitung ermöglicht es, verschiedene Effekte wie Kompression, Reverb und Distortion auf separate Kanäle anzuwenden und sie dann im Mix zu blenden. Dies bietet Flexibilität, um die Klangqualität und die Raumwahrnehmung der Gesänge zu optimieren.

Outlines

00:00

🎙️ Grundlagen des Gesangsmixens

Dieses Absatz behandelt die Herausforderungen beim Mischen von Gesängen, insbesondere aufgrund der Frequenzbereiche von Männer- und Frauenstimmen, die mit den Harmoniken der Basslinie überlappen. Es wird erklärt, wie die Stärke der Basslinie durch die Lautstärke des Gesangs beeinflusst wird und umgekehrt. Des Weiteren wird auf die Schwierigkeiten bei der Nachahmung von räumlichen Klangmerkmalen durch Mikrofone eingegangen und ein kurzer Vorgeschmack auf die Veränderungen, die durch das Betrachten des gesamten Videos zu erwarten sind, gegeben.

05:01

🔊 Verfahren zur Gesangsvolumenregulierung

In diesem Absatz wird eine Methode zur Volumenregulierung von Gesängen vorgestellt, die das Waves Vocal Rider-Plugin verwendet. Es wird erklärt, wie man die leiseste und lauteste Passage des Gesangs identifiziert, um einen Schwellenwert für das Plugin zu setzen. Anschließend wird gezeigt, wie man die Automatisierung nutzt, um die Lautstärke der Gesänge zu regulieren, ohne dass es zu Pump-Effekten oder Verzögerungen kommt.

10:05

📈 Niveauierung der Gesänge mit Basselementen

Der Absatz beschreibt ein Verfahren zur Niveauierung der Gesänge, das von Matthew Weiss empfohlen wurde. Hierbei wird die Gesangspartie mit den Basselementen auf einer niedrigen Lautstärke verglichen, um eine ausgewogene Mischung zu erreichen. Die Idee ist, dass, wenn die Gesänge und der Bass bei niedriger Lautstärke gut zusammenpassen, sie auch bei höherer Lautstärke gut funktionieren werden.

15:06

🎚️ Verwendung von Ozone 11 für Gesangserhöhung

Dieser Absatz konzentriert sich auf die Verwendung von Ozone 11, um die Klarheit und Präzision der Gesangskonsonanten zu verbessern. Es wird erläutert, wie das Stabilisier-Plugin und die LA 2A-Kompressor verwendet werden, um die Dynamik und Klangfarbe der Gesänge zu gestalten. Zudem wird auf die Wichtigkeit der Lyrics und die Notwendigkeit, jedes Wort verständlich zu machen, hingewiesen.

20:08

🔁 Parallele Verarbeitung für Klangtiefe

In diesem Absatz wird die Technik der parallelen Verarbeitung (Parallel Processing) erläutert, um der Stimme eine dreidimensionale Klangqualität zu verleihen. Es werden verschiedene Effekte wie Reverb, Slapsback-Echo, Widener und Tape-Sättigung vorgestellt und gezeigt, wie sie in separate Kanäle gesendet und gemischt werden, um der Hauptstimme Tiefe und Präsenz zu verleihen.

25:12

🌟 Abschließende Verarbeitung und Fertigstellung

Der letzte Absatz fasst die gesamte Verarbeitung der Gesänge zusammen und zeigt, wie durch die parallele Verarbeitung und andere Techniken eine überzeugende räumliche Wahrnehmung geschaffen wird. Es wird auf die Flexibilität hingewiesen, die derMixing-Engineer bei der Gestaltung des Gesangs in der Mischung bietet, und wie man die verschiedenen Effekte so einstellt, dass sie sich nahtlos in den Mix einfügen.

Keywords

💡Fundamental Frequenzen

Fundamental Frequenzen sind die Basisfrequenzen eines Klangs. In Bezug auf Gesang liegen diese bei männlichen Stimmen zwischen 120 und 240 Hz und bei weiblichen Stimmen zwischen 180 und 360 Hz. Diese Frequenzen sind wichtig für die Mischung, da sie oft mit den Harmonischen anderer Instrumente kollidieren können, wie im Video beschrieben.

💡Proximity-Effekt

Der Proximity-Effekt tritt auf, wenn ein Mikrofon sehr nah an der Schallquelle platziert wird und dadurch die tiefen Frequenzen übermäßig verstärkt werden. Im Video wird dieser Effekt als eine Herausforderung beim Abmischen von Gesang erwähnt, da er den Klang der Stimme ungewollt verändern kann.

💡Clip-Gain

Clip-Gain bezieht sich auf die Anpassung der Lautstärke eines Audiosignals vor der Verarbeitung durch andere Effekte wie Kompressoren oder Equalizer. Im Video wird betont, dass dies der erste Schritt beim Mischen von Gesang sein sollte, um eine saubere Grundlage für die weitere Bearbeitung zu schaffen.

💡Vocal Rider

Vocal Rider ist ein Plugin, das die Lautstärke von Gesang automatisch anpasst, um eine gleichmäßige Pegelsteuerung zu gewährleisten. Im Video wird erklärt, wie dieses Werkzeug zur Automatisierung des Lautstärkepegels eingesetzt wird, um den Gesang in den Mix zu integrieren.

💡Fletcher-Munson-Kurve

Die Fletcher-Munson-Kurve beschreibt die Empfindlichkeit des menschlichen Gehörs bei verschiedenen Lautstärken. Im Video wird vorgeschlagen, die Mischung bei niedriger Lautstärke zu überprüfen, um sicherzustellen, dass die Gesangsstimmen und der Bass ausgewogen sind, da das Gehör bei niedrigen Pegeln weniger empfindlich auf hohe Frequenzen reagiert.

💡Ozone 11

Ozone 11 ist eine Audiosoftware, die verschiedene Werkzeuge zur Verbesserung der Klangqualität bietet. Im Video wird speziell die Funktion zur Klarheitsverbesserung in den hohen Frequenzen für den Gesang hervorgehoben, um eine konsistente Diktion zu erreichen.

💡Parallelverarbeitung

Parallelverarbeitung bezieht sich auf das Hinzufügen von Effekten zu Kopien eines Audiosignals und das anschließende Mischen dieser bearbeiteten Signale mit dem Original. Im Video wird dieser Ansatz verwendet, um eine dreidimensionale Klanglandschaft für den Gesang zu schaffen, indem verschiedene Effekte wie Kompression und Hall auf parallelen Kanälen angewendet werden.

💡Reverb

Reverb oder Nachhall ist ein Effekt, der dem Audiosignal Raum und Tiefe verleiht. Im Video wird erläutert, wie man einen geeigneten Reverb auswählt und wie man ihn mit einem De-Esser kombiniert, um störende Zischlaute zu vermeiden, bevor der Reverb angewendet wird.

💡De-Esser

Ein De-Esser ist ein Werkzeug zur Reduzierung von Zischlauten (Sibilanten) in einem Audiosignal. Im Video wird empfohlen, den De-Esser vor dem Reverb zu platzieren, um sicherzustellen, dass keine störenden Zischlaute im Nachhall verstärkt werden.

💡Sättigung

Sättigung ist ein Effekt, der dem Audiosignal harmonische Verzerrungen hinzufügt und ihm dadurch Wärme und Charakter verleiht. Im Video wird die Verwendung von Sättigung in parallelen Kanälen beschrieben, um dem Gesang eine gewisse Rauheit und Textur zu verleihen.

Highlights

Die Schwierigkeit des Mixens von Gesang stimmt aus zwei Gründen: die Frequenzbereiche von Männer- und Frauenstimmen überschneiden sich mit den Harmoniken der Basslinie.

Gesangsfrequenzen können zwischen 120 Hz bis 240 Hz für Männer und 180 Hz bis 360 Hz für Frauen variieren.

Die Herausforderung besteht darin, die Gesangsstimmen so zu mixen, dass sie nicht mit dem Bass in Konflikt geraten.

Die Nachahmung des Raumklangs und der Richtungslichkeit in Aufnahmen ist schwierig, da 90% unseres Hörens auf das Sprechen anderer Menschen zurückzuführen ist.

Die Verwendung von Reverb kann zu einer entweder zu trockenen oder zu wasserigen Klangwahrnehmung führen.

Ein Vor- und Nach-Vergleich der Gesangsverarbeitung zeigt die Wirkung der verschiedenen Verarbeitungsschritte.

Die Bedeutung der Clip-Geste für das Einstellen der Lautstärke und die Verwendung von Grid-Modus für die Genauigkeit.

Die Verwendung von EQ2 zur Anpassung der Tiefenfrequuenzen der Gesangsstimmen.

Die Verwendung von Slick-Modus für die Anpassung der Lautstärke einzelner Worte innerhalb des Gesangs.

Die Einführung von Waves Vocal Rider zur Automatisierung der Gesangsvolumenregulierung.

Die Verwendung des Fletcher-Munson-Kurven zur Abstimmung der Gesangs- und Basslautstärken bei niedrigem Monitoring-Volumen.

Die Verwendung von Ozone 11 zur Verbesserung der Klarheit und Präzision im Gesang.

Die Verwendung des Stabilisators zur Formung des Mitten- und Hochtonbereichs im Gesang.

Die Verwendung der LA 2A Kompressor für eine nicht zu intrusiv wirkende Dynamikregelung.

Die Bedeutung der Parallelverarbeitung für die Schaffung eines dreidimensionalen Klangs im Gesang.

Die Verwendung verschiedener Effekte in Parallelkanälen, um die Tiefe und Präsenz des Gesangs zu steuern.

Die Anwendung von De-Esser vor dem Reverb, um sibilante Geräusche zu reduzieren.

Die Verwendung von Echo Boy für einen slapback-Effekt, um Tiefen zum Gesang hinzuzufügen.

Die Verwendung des Widener-Effekts für eine breitere Klangwirkung.

Die Verwendung von Baby Audio Tape für eine saturierende und krachende Klangwirkung im Gesang.

Die Verwendung von Apex Vintage AEX für einen leuchtenden Effekt im Gesang.

Die Verwendung eines großen Reverb mit Sidechain, um die Klanglandschaft des Gesangs weiter zu erweitern.

Die Flexibilität, die durch die Einrichtung mehrerer Parallelkanäle für die Klanggestaltung des Gesangs geschaffen wird.

Der Endvergleich der Gesangsverarbeitung zeigt die Transformation durch die beschriebenen Techniken und Effekte.

Transcripts

to understand the science to mixing

perfect vocals we need to acknowledge

that they're difficult they're difficult

to mix for two reasons the first reason

is where the fundamental of the vocal

sit had we fallen in a trap where

Opposites Attract you would have cared

more so for male vocals like you can see

there the fundamental can be anywhere

between 120 to 240 hertz for females

it's about half an otic to an octave

above 180 to 360 HZ now this that

frequency range that 120 to 240 HZ is

the exact same frequency range all the

harmonics from the Baseline

[Laughter]

have so all those second third order

harmonics from that sub sit exactly

where the fundamental is for the vocals

and because they both sit in that same

register it means that when the VOC are

too loud the bass feels weak and when

the vocals are too soft the bass feels

really strong and vice

versa because I loved

him had we fallen in a trap where our

opposites attracted wish you would have

cared more cuz you never text me back

I've been feeling like a fool because I

loved the second issue is that recorded

vocals are really hard to trick the

human he 90% of what we here in our

lifetime other people speaking so most

of the time it's really difficult to

replicate space auditory cues

reverberance directionality subtle

harmonic complexities through a

microphone the microphone captures and

then we have to sort of recreate it in

this space of the music and if you've

ever added Reverb to a vocal and it

still sounds either too dry or then you

bring the Reverb up it's too washy you

know exactly what I mean now to show you

what you're going to get if you watch

this video to the end here is the before

and after of the vocal and everything

we're going to go over I been feeling

like a fool because I loved

him had we fallen in a trap where upos

attract you would have cared more you

never TT me back let's start mixing

these vocals we need to make sure we do

it in the clip game before processing

because this is the information that

feeds our compressors that feeds our eqs

that feeds our Reverb CH we want to get

this as clean as possible so here's the

original dry version and we're going to

play this through and and let's get our

grid mode set to quarter notes perfect

and we'll play this through I've been

feeling like a fool because I loved him

ah what's the first thing you pick up

there I don't even need to look at

meters for this it's pretty consistent

but there's a tonal shift that happens

there and there's a bit of proximity

effect so take a listen to

this I've been feeling like a fool

because I loved him so that last not

there I've been feeling like a fool

because I listen to that low note I've

been feeling a fool because I loved him

it's a little bit louder it's a little

bit louder and I don't the overall

volume is equivalent of what we got

going on here but I don't want to bring

it um the whole section down I want to

go into my audio Suite get an EQ we're

going to get eq2 as eq2 AB bcde e EQ

there okay we're going to go -2 and 1/2

d be and that was about 180 HZ so we're

going to go 2.5 at 180 HZ and we'll

render

that now we'll have a listen again I've

been feeling like a fool because

I okay that's the volume of that phrase

let's go here falling in the falling in

the falling in

the feeling like a fool feeling like a

fool feeling like so this whole section

I reckon can come up just a

smidge feeling like a

fool falling in a trap better but

there's a problem here at the

start we fallen in hadway hadway is a

little bit soft we're going to go into

slick mode I can't use grid for this and

I did this in the original edit anyway

where I brought it up a bit I'm just

going to clip gain that

up and we'll play this phrase through

I've been feeling like a fool because I

loved

him we fallen in a trap where you need

to go through all your vocals and do

this I sound like a crazy man but I have

a faster way of doing the volume writing

that I'm been trying out recently so

there might be flaws in this all right

but it's something I've been doing on

background vocals and not I still do my

lead vocals like this but I've been

trying to on background vocals and

harmonies and stuff things that aren't

in the front because it's super quick

and at least up until now I haven't had

any issues with it and what it is is

it's actually waves vocal Rider I don't

I've seen this before um but I never got

onto it and I'll actually show you

exactly how I set it up so it works

perfectly okay it works absolutely

freaking perfectly what I will do is

I'll take the softest word in the mix so

let's say this phrase

here that back that back is really soft

yeah so I'll take that and I'll go to

the loudest phrase which is around here

and what I'll do

is I'll Loop these across okay we'll

Loop them over one another and I'll get

the volume of one and then the volume of

the other and then set the threshold in

the middle and change the range to the

difference

okay so from 47.9 to 37.9 that's a range

of 10 okay then all we're going to do is

set the right no not all we're going to

do we're actually going to do a couple

more steps to get this working perfect

has to be in fast mode and um we're

going to set this threshold to the

middle point of those two

signals

that's just to get the setup so you get

the softest vocal phrase the loudest one

you put them against each other you

create your range and then you set your

threshold where the magic is is you can

actually write automation if you enable

automation on this you write Automation

in and then you create

a rer fader There You Go latch okay so

it's going to latch to it and what you

can do here is actually press play on

these vocals and take a look at this

vocal line at the bottom okay this is

this is where it gets cool I've been

feeling like a fool because I Lov

him had we fallen in a trap where

opposites attracted wish you would have

cared more cuz you never text me back so

take a look at what we've got here we

have a full automation line here for the

volume which we can have a plugin at the

start of our chain that will automate

how much signal goes into our plugin so

the loud stuff gets brought down soft

gets brought up you could use a

compressor but with the compressor you

can't go back into each of these

automation points and if it gets

anything wrong or it's a bit pumpy or it

moves a bit slow I can actually go back

in and edit these points and move this

from right mode to read mode so any

edits I make on this line get read by

the plug-in it's wild this is something

I've been trying on background vocals

and harmonies it's something that is you

can take and test and keep using um but

it is something I'm going to do a video

on in deeper depth down the track now

let's just get rid of this plug-in for

the sake of assuming that you've done

all your editing on your lead vocal as I

said you should hear and it's ready to

level now because you're ready to level

the vocals this is something I do and

this is something I learned from Matthew

Weiss in one of his pop mixing

walkthroughs this is we're talking like

2016 2017 or something and it is to

level the lead vocals with the base

elements and to do it at a very low

volume or at least I do it in a very low

volume I can't remember whether he

recommended to but basically um Fletcher

mson curve yes that's right the Fletcher

mson curve when you're monitoring low um

your ears aren't as Perce like it

doesn't perceive as much high

frequencies and that is good because if

you can get your vocals to level with

the bass at a very low monitoring volume

okay so they're both remember they both

got fundamentals in that same energy

range that like

150 to 300 Herz is range if you can get

them to balance evenly at a very low

volume when you bring it up they're both

going to be sitting quite nicely at

least that's my experience I've mixed

probably over a 100 records in the last

couple years using that technique so

what I want you guys to do is as I level

this vocal drop your monitoring down um

so you can just hear how the vocal sits

depending on where I'm pocketing

it we fallen in a trap where oppos

attract you would have cared more CU you

never text me I've been feeling like a

fool because I loved

him had we fallen in a trap where

opposes attract you would have cared

more cuz you never text me I've been

feeling like a fool because I Lov

him okay that's how I level my lead

vocal is everything down base lead get

it in a nice pocket the next thing with

this particular vocal I actually ended

up doing on the mix was in Ozone 11 now

ozone 11 has a few really cool features

and mainly is the clarity in the top end

now with vocals they can jump around a

lot your c d p all those noises are I'm

not talking about theives down low I'm

talking about the dition in terms of how

clearly those consonants come out can

move around a lot sometimes they can be

really soft sometimes they can be really

loud sometimes they can be intrusive um

this plug-in really helps it this is the

first thing I put on this vocal cuz I

felt like it really needed to have

consistent diction in the vocals because

the lyrics were so strong um like as in

the lyrics were the focus this is the

the artist's project they're a great

vocalist and they want every word to be

heard so take a listen to this before

and

after more cuz you never text me back

more cuz you never text me back more cuz

you never text

me it's subtle but to my ear it makes a

big difference in the mix and as we

progress you'll actually hear that when

IAB with the full mix Going the next

thing is the stabilizer this is a really

weird way for me to use the stabilizer

in mixing vocals typically I have it in

Cut mode and just the highs working as a

dser but for this one I don't know why I

just sort of fell in love with the way

it's shaped the mid-range and the top

end on this I've been feeling like a

fool because I loved him it's a lot of

gain to the top end but it moves with

the vocal quite a lot so I don't mind it

I actually really like for this I just

wanted to show you what I was doing in

the chain so you've got something there

but this is more now we we can actually

pull into the science side of it I've

got the LA 2A and for a vocal like this

that's already pretty consistent I don't

want anything too intrusive I don't want

aive to come in or some consonants to

come in and make the whole compressor

duck I need something that's going to be

a little bit more slower in it how

reactive it is and that's why I picked

this compressor here had we fallen in a

trap where Opposites Attract wish you

would cared more cuz you never text me

so now we got that first part done let's

actually have a listen to where these

vocals sit in the mix because we leveled

it to the base and the rest of the

instruments are all mixed how do these

vocals now sit that we that this vocal

is been edited each word tonally that

we've managed some of the tone and some

of the Dynamics here let's have a listen

I've been feeling like a fool because I

loved

him had we fallen in a trap where

Opposites Attract but you would have

cared more cuz he never text me but now

is the really hard part how do we make

this a convincing space that the

listener listens to it and goes wow I

get where that's coming from and what

we're going to create here step by step

is this vocal chain here I'm just going

to do the send and then I'll show you

how each channel is set up take a listen

I've been feeling like a fool because I

L him

had you fallen in a trap where Opposites

Attract wish you would have cared more

cuz you never text me I've been feeling

like a fool because I loved

him had you fallen in a trap where oppos

ATT trct but you would have cared more

cuz you never text me I've been feeling

like a

fool so what we're going to do now is go

through each

parallel chain cuz I've got five or six

parallel chains all with a different

effect on it that we are able to blend

in and manipulate around to create a

real three-dimensional sound in the

vocal and the first thing with this

vocal is I want there to be Clarity

throughout now I know we use the clarity

plugin for the diction I know we've got

stabilizer working some tonal things but

I want the lowest level detail so that

the very softest bits of information in

this vocal to always be present I want

this vocal to be right in your face

24/7 and not because I want to have it

super loud but because I don't want any

detail to be missed you know when you

listen to a song and the vocals are

always there they're not dipping and

moving and bumping around this is one

way to do it and uh a lot of this vocal

chain I'm actually following Andrew

Shep's parallel processing because

that's what I learned this from but it

works at least it's been working for me

and that's what I want to share with you

so the first thing to do is this first

parallel chain so we got to send here

from our main vocal goes out this first

parallel chain is a parallel process

whereby we're aiming to focus the

processing on the top end we really want

to get that top end super super

compressed so the first plugin here is

the PO Tech where we attenuate all the

low end boost the very top end air and

that's the very first thing we do before

we continue on in the chain so take a

listen of

this I've been feeling like a fool

because I loved them that part of the

vocal is what I always want to hear okay

we always want to hear that so what

we're going to do is we're going to

compress it quite heavily with the CLA

2A okay now take a listen to this as I

compress it really

hard the whole thing is in your face now

sometimes I swap between the 2A and the

dbx 160 depending if I want a little bit

more attitude there or I want it a bit

more smooth I want it a bit more smooth

so we're using the 2-a and then what we

do after that 2way is we bring back the

low end into the signal so we've got all

that top end being crushed and

compressed and then the low end that is

in there is just moving as it should

naturally and we'll mute and unmute this

this parallel send okay and take a

listen just it's very subtle but it just

adds that clarity to the top end which I

really

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enjoy feeling like a fool because I

loved

him I've been feeling like a fool

because

I been like fo

because it it does was it what it says

on the packet it just adds that nice

consistency to the top end so the vocal

is always there so the next thing we're

going to look at is our Reverb now when

we pick a Reverb we need to pick a

Reverb that is I at least find that is

opposite the main vocal so if you have a

bright vocal go for a warm Reverb if you

have a warm vocal go for a brighter

Reverb something that's complimentary

you still have to filter it with the EQ

so it doesn't sound too harsh if you go

for a brighter Reverb but this one is

quite a warm Reverb even though I'm

going for a bright pop vocal on top of

everything I'm trying to warm it up with

the Reverb to add some thickness so take

a listen to this

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Reverb okay now let's say we go from the

80s to the now where it's a bit brighter

it's going to sound a little bit more

different it also catches a lot of the

civilence when you do it that way where

when I go to the ' 80s version it's a

little bit more

denser

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now and you hear the issue with this

this this Reverb can you hear the issue

and this is where people get stuck with

their reverbs because they start washing

it and then things get harsh and

abrasive I hope you heard it it was the

sibilance okay you can't have sibilance

going through your Reverb so what we're

going to do is we're going to go to the

DSR and add your DSA before your Reverb

okay DS is before Reverb be as a

aggressive as you want here because you

need to make sure no s's are getting

through that Reverb um period period

should not be happening

we

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oppt yeah and this is an issue some

people have is they put the DS after the

Reverb but the problem is once the

Reverb catches the semblance it's in the

whole tale of the Reverb verb so you're

going to put the DS before the Reverb

build your Reverb out go for a

complimentary Reverb and take a listen

of this together a very clean tone for

the overall

Reverb had we fallen in a trap where OPP

attract you would have cared more cuz

you never text me back the next one is

the slapback and the slapback this is

just a preset on Echo boy it's called

vocal doubler um listen listen to this

this just adds the subtlest am depth to

the

vocal had we fallen in a trap where

opposites attracted wish you would have

cared more cuz you never text me back so

now the Widener now this is a really

interesting one and what we're going to

do is we're going to set this up I'm

going to get rid of my time marker there

we got 16 and 32 milliseconds so 16

milliseconds on the right 32

milliseconds on the left we'll monitor

this in mono and take a listen to what

happens in the vocal if you do it like

this okay we're going to monitor it in

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mono weird as hell because they're

doubles of one another so they're moving

in and out of phase at the same

oscillating rate because they're exactly

spread out so let's bring this down to

29 it's still going to be very

polarizing but it's not going to be as

polarizing we're listening to the mon

not the stereo

signal it's not as freaking weird

because if I go 32 milliseconds which is

double 16 it's going to get crazy again

let's go back to

here feel like a fool subtle you go 29

or even 26 isn't bad and take a listen

now feeling like a

okay now we are listening to the mono

signal which is wild and you're never

going to hear this in the mix like that

but let's get rid of our mono and let's

actually listen to that stereo

wider okay so it's nice and big and wide

now let's go back to our lead vocal and

listen to that Widener subtly Blended in

because this send just is a Unity it's

not boosted um and we can have a listen

to this now I've been feeling like a

fool because I Lov

him I've been feeling like a fool

because I loved him it's just a subtle

amount of WID now the next channel is my

favorite Channel cuz it's where you can

choose to get a little bit more creative

and yes I did on this one this is

baby audio tape and it is saturating and

crunching the hell out of these vocals

take a listen to this with it off and on

I feeling like a fool because how cool

is that tone it's not the tone you ever

want for your home whole vocal but it's

all right to have in parallel and blend

underneath it is it just add a little

bit of grit all right a little bit of

grit I've been feeling like a fool

because I loved

him finally we've got this shine channel

here which is the Apex vintage Ex side

and this just adds a little bit of Shan

to

everything I've been feeling like a fool

because I loved him and then the final

one here is this big Reverb we put on

with the client which is this m man

marican Reverb and then we're side

chaining the vocals into it so it just

opens up on the tale of each phrase I've

been feeling like a fool because I loved

him so so what anybody can set up a

bunch of parallel channels and put

effects on them and whatever but this is

where the magic comes in you have full

flexibility to shape a three-dimensional

sound now okay and I'm going to show you

exactly how I do that I'm going to mute

the lead vocal Play the full mix with

just these effects and blend each one in

just until I can hear it just where it's

in the distance that it feels right in

the mix and that's that's the really

important and part about doing this

whole

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process

feeling like a fool because I

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love

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never feel

like I

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love

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beautiful now let's take a listen to

these vocals before and after all this

processing I've been feeling like a fool

cuz I loved

him had you fallen in a trap where oppos

a TR but you would have cared more never

T

me I've been feeling like a fool because

I loved

him had we fallen in a trap where

Opposites Attract but she would have

cared more CU he never text

me so now what you have is you have the

basis to do whatever the hell you want

with your vocals not only have you got a

really well- leveled vocal you have

ability to add presence and consistent

presence with this fader here the

parallel processing with the pool Tex

you have ability to blend as much Reverb

as much slap as much width as much Crush

as much Distortion as much additional

Reverb because there's an extra Reverb

Channel there but you have flexibility

to shape the tone of this vocal and have

it sit perfectly in the mix and if you

want a similar breakdown but on kick

drums and bass you should really go out

and check this video here and until next

time take care