In one of my previous posts I looked at EQ'ing the voice by finding the right "pocket" for it. This time, let's talk about another aspect of vocal placement which combines level-setting, panning, double-tracking and special effects.
You'll probably have noticed that different styles of music feature sometimes vastly different approaches to the way vocals are mixed. In some styles, the vocal must be the most prominent foreground sound; in others, it rides just slightly above the mix, and in others still, it's "sunk" in the mix so as to be barely distinguishable from the rest of the music - and yet it's there, and you're hearing it (perhaps because it's panned or doubletracked - or through some other witchcraft!).
How you mix your vocal is largely a matter of convention and style, but it's also a function of the vocal characteristics of your singer. Needless to say, also, the vocal is there to be heard and lyrics understood (in most cases, lol), so a key consideration is making sure that your mix preserves the message well.
It's very easy to "lose" the vocal in the mix. And to make matters worse, it's not just the "too quiet" ones that get lost. Overpowering vocals can not only "get lost" - they can make you switch off entirely. (Don't believe me? Go to any karaoke bar and hear how much louder the vocals tend to be than the backing music! Close the door after you leave please!)
So, how do you mix a vocal?
OK. I can only give you a few general guidelines in the confines of this space. The KEY is to realize the relationship that exists between the vocal character and the instruments selected to back it. For example, you need to consider whether a raspy vocal backed by a distorted guitar wants to "sink in" or "bounce off" the backing track, and which EQ bands to reserve for each. The same song performed by two different vocalists may be mixed entirely differently, depending on the vocal characteristics.
First establish the genre you're in. For most pop music the voice must "ride on top of the mix" meaning that it should have a clear EQ pocket for itself and a level placement which gives it a small edge over the rest of the track. Something in the area of +1dB might be the rule of thumb. For some rock styles as well as a lot of dance music the voice wants to "sit" in the track becoming something like an instrument within it, and to give it definition you really need to resort to EQ techniques, double-tracking, gentle chorusing and such. In R&B it's become a fashion to have the vocal really out in front, almost entirely dry. So, knowing these general rules, you can now approach your mix.
One of the most important ways to "place" a vocal in the mix (not just vocal, mind you) is by a skillful application of the reverb. Assuming you have a reasonable quality reverb (ideally with output to a stereo track where you can re-EQ it if need be), you use it to give the voice a placement within the mix "as if in 3D." Experiment with that. More reverb (without changing the source level) will make the voice appear to "go back" in the "room." Next, decide on the length of your reverb. "Wet" sounding voices sound great in some types of mixes but totally ruin others. Again, you need to know the general direction of your track to establish the general principle which you can now adapt to your specific mix.
A critically important thing is TIMING your reverb. Many modern plug-ins do this automatically for you, but even then they will use a preset which you still would have to adjust. Should the reverb have a 600 millisecond setting or 300 - or even 150? (i.e. which beat in the bar it should end on in a track running at, say, 120 bpm). This is, of course, a function of the tempo of your track. If your track runs at 120 bpm but your reverb is timed for a 90 bpm track, the result will be a "sloppy" sound.
Applying special effects (like reverbs, choruses, delays, etc) can indeed bring out the vocal presence and character, just as long as you don't over-do it! Gating can also be used very successfully to "define" the vocal particularly in certain rhythmic styles of music, as can compression. In fact compression is a bigger subject which I think I'll address in another post.
The general principle in mixing a vocal is to build the mix in such a way that it's sound compliments and supports the vocal sound. That's why the same track done with a female singer may need a re-EQ on some instruments such as keyboard or guitar, if those particular frequencies compete with the vocal. The same mix with a male singer might suddenly need a bit more edge on the rhythm guitar or that bass.
How do you know? Well... it's all about the ears. So LISTEN to other similar mixes and learn from them. Knowing the above general principles, however, should be enough to give you a good start and a recognition of those elements in professionally-done mixes!
LISTEN TO: 227-Q/Tuesday Jun 16, 2009
Showing posts with label vocals. Show all posts
Showing posts with label vocals. Show all posts
Tuesday, June 16, 2009
How To Place A Vocal In The Mix
In one of my previous posts I looked at EQ'ing the voice by finding the right "pocket" for it. This time, let's talk about another aspect of vocal placement which combines level-setting, panning, double-tracking and special effects.
You'll probably have noticed that different styles of music feature sometimes vastly different approaches to the way vocals are mixed. In some styles, the vocal must be the most prominent foreground sound; in others, it rides just slightly above the mix, and in others still, it's "sunk" in the mix so as to be barely distinguishable from the rest of the music - and yet it's there, and you're hearing it (perhaps because it's panned or doubletracked - or through some other witchcraft!).
How you mix your vocal is largely a matter of convention and style, but it's also a function of the vocal characteristics of your singer. Needless to say, also, the vocal is there to be heard and lyrics understood (in most cases, lol), so a key consideration is making sure that your mix preserves the message well.
It's very easy to "lose" the vocal in the mix. And to make matters worse, it's not just the "too quiet" ones that get lost. Overpowering vocals can not only "get lost" - they can make you switch off entirely. (Don't believe me? Go to any karaoke bar and hear how much louder the vocals tend to be than the backing music! Close the door after you leave please!)
So, how do you mix a vocal?
OK. I can only give you a few general guidelines in the confines of this space. The KEY is to realize the relationship that exists between the vocal character and the instruments selected to back it. For example, you need to consider whether a raspy vocal backed by a distorted guitar wants to "sink in" or "bounce off" the backing track, and which EQ bands to reserve for each. The same song performed by two different vocalists may be mixed entirely differently, depending on the vocal characteristics.
First establish the genre you're in. For most pop music the voice must "ride on top of the mix" meaning that it should have a clear EQ pocket for itself and a level placement which gives it a small edge over the rest of the track. Something in the area of +1dB might be the rule of thumb. For some rock styles as well as a lot of dance music the voice wants to "sit" in the track becoming something like an instrument within it, and to give it definition you really need to resort to EQ techniques, double-tracking, gentle chorusing and such. In R&B it's become a fashion to have the vocal really out in front, almost entirely dry. So, knowing these general rules, you can now approach your mix.
One of the most important ways to "place" a vocal in the mix (not just vocal, mind you) is by a skillful application of the reverb. Assuming you have a reasonable quality reverb (ideally with output to a stereo track where you can re-EQ it if need be), you use it to give the voice a placement within the mix "as if in 3D." Experiment with that. More reverb (without changing the source level) will make the voice appear to "go back" in the "room." Next, decide on the length of your reverb. "Wet" sounding voices sound great in some types of mixes but totally ruin others. Again, you need to know the general direction of your track to establish the general principle which you can now adapt to your specific mix.
A critically important thing is TIMING your reverb. Many modern plug-ins do this automatically for you, but even then they will use a preset which you still would have to adjust. Should the reverb have a 600 millisecond setting or 300 - or even 150? (i.e. which beat in the bar it should end on in a track running at, say, 120 bpm). This is, of course, a function of the tempo of your track. If your track runs at 120 bpm but your reverb is timed for a 90 bpm track, the result will be a "sloppy" sound.
Applying special effects (like reverbs, choruses, delays, etc) can indeed bring out the vocal presence and character, just as long as you don't over-do it! Gating can also be used very successfully to "define" the vocal particularly in certain rhythmic styles of music, as can compression. In fact compression is a bigger subject which I think I'll address in another post.
The general principle in mixing a vocal is to build the mix in such a way that it's sound compliments and supports the vocal sound. That's why the same track done with a female singer may need a re-EQ on some instruments such as keyboard or guitar, if those particular frequencies compete with the vocal. The same mix with a male singer might suddenly need a bit more edge on the rhythm guitar or that bass.
How do you know? Well... it's all about the ears. So LISTEN to other similar mixes and learn from them. Knowing the above general principles, however, should be enough to give you a good start and a recognition of those elements in professionally-done mixes!
LISTEN TO: 227-Q/Tuesday Jun 16, 2009
You'll probably have noticed that different styles of music feature sometimes vastly different approaches to the way vocals are mixed. In some styles, the vocal must be the most prominent foreground sound; in others, it rides just slightly above the mix, and in others still, it's "sunk" in the mix so as to be barely distinguishable from the rest of the music - and yet it's there, and you're hearing it (perhaps because it's panned or doubletracked - or through some other witchcraft!).
How you mix your vocal is largely a matter of convention and style, but it's also a function of the vocal characteristics of your singer. Needless to say, also, the vocal is there to be heard and lyrics understood (in most cases, lol), so a key consideration is making sure that your mix preserves the message well.
It's very easy to "lose" the vocal in the mix. And to make matters worse, it's not just the "too quiet" ones that get lost. Overpowering vocals can not only "get lost" - they can make you switch off entirely. (Don't believe me? Go to any karaoke bar and hear how much louder the vocals tend to be than the backing music! Close the door after you leave please!)
So, how do you mix a vocal?
OK. I can only give you a few general guidelines in the confines of this space. The KEY is to realize the relationship that exists between the vocal character and the instruments selected to back it. For example, you need to consider whether a raspy vocal backed by a distorted guitar wants to "sink in" or "bounce off" the backing track, and which EQ bands to reserve for each. The same song performed by two different vocalists may be mixed entirely differently, depending on the vocal characteristics.
First establish the genre you're in. For most pop music the voice must "ride on top of the mix" meaning that it should have a clear EQ pocket for itself and a level placement which gives it a small edge over the rest of the track. Something in the area of +1dB might be the rule of thumb. For some rock styles as well as a lot of dance music the voice wants to "sit" in the track becoming something like an instrument within it, and to give it definition you really need to resort to EQ techniques, double-tracking, gentle chorusing and such. In R&B it's become a fashion to have the vocal really out in front, almost entirely dry. So, knowing these general rules, you can now approach your mix.
One of the most important ways to "place" a vocal in the mix (not just vocal, mind you) is by a skillful application of the reverb. Assuming you have a reasonable quality reverb (ideally with output to a stereo track where you can re-EQ it if need be), you use it to give the voice a placement within the mix "as if in 3D." Experiment with that. More reverb (without changing the source level) will make the voice appear to "go back" in the "room." Next, decide on the length of your reverb. "Wet" sounding voices sound great in some types of mixes but totally ruin others. Again, you need to know the general direction of your track to establish the general principle which you can now adapt to your specific mix.
A critically important thing is TIMING your reverb. Many modern plug-ins do this automatically for you, but even then they will use a preset which you still would have to adjust. Should the reverb have a 600 millisecond setting or 300 - or even 150? (i.e. which beat in the bar it should end on in a track running at, say, 120 bpm). This is, of course, a function of the tempo of your track. If your track runs at 120 bpm but your reverb is timed for a 90 bpm track, the result will be a "sloppy" sound.
Applying special effects (like reverbs, choruses, delays, etc) can indeed bring out the vocal presence and character, just as long as you don't over-do it! Gating can also be used very successfully to "define" the vocal particularly in certain rhythmic styles of music, as can compression. In fact compression is a bigger subject which I think I'll address in another post.
The general principle in mixing a vocal is to build the mix in such a way that it's sound compliments and supports the vocal sound. That's why the same track done with a female singer may need a re-EQ on some instruments such as keyboard or guitar, if those particular frequencies compete with the vocal. The same mix with a male singer might suddenly need a bit more edge on the rhythm guitar or that bass.
How do you know? Well... it's all about the ears. So LISTEN to other similar mixes and learn from them. Knowing the above general principles, however, should be enough to give you a good start and a recognition of those elements in professionally-done mixes!
LISTEN TO: 227-Q/Tuesday Jun 16, 2009
Friday, May 29, 2009
Vocal Double-Tracking
Here's a technique that's been used by some of the all-time musical greats, and if you're not already aware of it, let me briefly tell you about it.
Double-tracking a vocal serves many purposes, among them "fillling out" the vocal track, but also creating a warmer and more powerful mood at the same time. Not all types of songs benefit from this, but you'd be surprised how many really do. Oh, and don't confuse this with "chorusing" the vocal. Machine-driven double track doesn't work nearly as well because of its predictability and a sound that tends to be "non-organic."
In order to successfully double-track a vocal, the singer is expected to display total technical discipline. He or she must be able to sign along with his/her best take in EXACTLY the same way. Most singers will not sing 100% accurately but as long as the rhythm and pitch are tight, this can create that broad, warm and powerful sound that can make a good vocal sound great, and has even been known to make a mediocre vocal sound really good and interesting. Some really great singers use this technique to achieve a "natural phasing" effect. You really have to be very disciplined and good to do this, but if you are able to deliver two "identical" performances, you'll notice that the effect is no longer just that of a "chorus" but also more that of a "natural phaser."
When this works, the effect can be mesmerizing.
The trick to double-tracking is not to make it obvious. Listen to a classic album like Pink Floyd's "Dark Side of the Moon" and you'll be surprised that virtually all vocals on it are double-tracked. But you'd be hard put to pick that out in the mix! Today, a huge majority of singers resort to this technique in the studio (across almost all musical styles too!) simply because the result almost invariably makes them sound way better and more in control.
Just remember: your "reference vocal track" (that best vocal take which you're trying to sing along with) has to have loads of character to begin with. If it doesn't, double-tracking may still help, but "greatness" might elude you... :)
LISTEN TO: 223-Q/Tuesday May 20, 2009
Double-tracking a vocal serves many purposes, among them "fillling out" the vocal track, but also creating a warmer and more powerful mood at the same time. Not all types of songs benefit from this, but you'd be surprised how many really do. Oh, and don't confuse this with "chorusing" the vocal. Machine-driven double track doesn't work nearly as well because of its predictability and a sound that tends to be "non-organic."
In order to successfully double-track a vocal, the singer is expected to display total technical discipline. He or she must be able to sign along with his/her best take in EXACTLY the same way. Most singers will not sing 100% accurately but as long as the rhythm and pitch are tight, this can create that broad, warm and powerful sound that can make a good vocal sound great, and has even been known to make a mediocre vocal sound really good and interesting. Some really great singers use this technique to achieve a "natural phasing" effect. You really have to be very disciplined and good to do this, but if you are able to deliver two "identical" performances, you'll notice that the effect is no longer just that of a "chorus" but also more that of a "natural phaser."
When this works, the effect can be mesmerizing.
The trick to double-tracking is not to make it obvious. Listen to a classic album like Pink Floyd's "Dark Side of the Moon" and you'll be surprised that virtually all vocals on it are double-tracked. But you'd be hard put to pick that out in the mix! Today, a huge majority of singers resort to this technique in the studio (across almost all musical styles too!) simply because the result almost invariably makes them sound way better and more in control.
Just remember: your "reference vocal track" (that best vocal take which you're trying to sing along with) has to have loads of character to begin with. If it doesn't, double-tracking may still help, but "greatness" might elude you... :)
LISTEN TO: 223-Q/Tuesday May 20, 2009
Tuesday, May 19, 2009
Multiple Mood Vocal Takes
Sometimes, when recording vocals, you might be stuck looking for that special vocal character/sound from your otherwise excellent singer. All seems great and yet the vocal seems to have lost that edge, once committed to tape. If ever you're in this position, here's a simple strategy which just might help you overcome this.
Requirement: Lots of patience and an Audio editing program (e.g. Cubase, Logic, ProTools, etc) which allows you to edit multiple audio takes on one screen, with all takes aligned in time.
The method: Ask your vocalist to do a couple of takes in his or her best "standard" singing voice. Ask the singer to do the entire song and don't stop for errors. Stop after 2 takes. Next, ask the singer to deliver the entire song in a "special" voice. For example, ask him/her to "weep" through the whole song (even if it's not a weepy kind of song!) - call it a "for fun" or "taking the piss" (as the Brits would say) kind of take. The only thing you're now demanding is that they do it as best they can, no matter how over the top it comes out. Do at least 2 takes of this. Ask for another interpretation, for example "nasal" - but ensure it's consistently like that throughout! Do 2 takes of this as well. Don't worry if it sounds "horrible!" Now do 3 or 4 other moods (sexy/whispery, angry, loony, psychotic, romantic, yawning - you can make those moods up as you go). Typically go for 2 takes of each kind. Finally, do 2 takes in a speaking voice. That's a completely unaffected "plain and ordinary" speaking voice. You'll now have at least 10 or 12 takes, possibly as many as 20. When they're all aligned, your mission is to find the best bits in the "alternative" takes which might be useful in your "main" takes. The "main" takes are the artist's "normal" trademark sound - that's those few takes which you've just compiled into a coherent whole with the best bits selected, the rest muted. So, now you're looking for individual sounds, sometimes so small so as to be nearly ridiculous. Perhaps a "k" or a "t" or an "umm" or a "aaa" (or whatever) that you think sounded really cool in one of those "alternative takes. Sometimes you might find whole words or even phrases which sound awesome. At this point try to crossfade between the main take and the alternative bit and see if it works.
Once you develop this technique you'll be able to create amazing vocals - even from singers who are average. But remember, once you've comped the "final take," it's not really final. You now should ask your singer to re-sing the whole song "just like that." And then re-compile the whole take again, using the best bits from each performance.
This technique is frequently used by some of the best producers in the world. Remember: studio performance and live performance are two completely different animals. What works live may not work in the studio (and vice versa). In the studio, the idea is to create a vocal which people can listen to over and over and over...! Certain mannerisms which go down great live may have to go in the studio. Certain tricks which won't work live, may need to be perfected in the studio.
If you do your multiple-mood vocal session right, you'll wind up with the "best performance the singer never sung." Don't worry. It's not a reflection on you or your singer. People will judge you on the quality of your final product, not on how long it took you to develop it or how you did it!
LISTEN TO: 223-Q/Monday May 19, 2009
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