How to mix vocals on pro tools 9

how to mix vocals on pro tools 9

How To Mix Vocals: The 7 Simple Step-by-Step Guide

May 01,  · follow me everywhere @dkrapartist(spotify, apple music etc)likeloveus.com Nov 22,  · The Vocal Mixing Workflow. If the free plug-in and vocal mixing tutorials weren’t enough, poke around the iZotope Vocal Bundle, a collection of plug-ins curated to assist vocal production from the recording stage to the final mix, to shore up your vocal mixes. Vocal Noise Reduction And Repair With RX Elements.

Please enable JavaScript in your browser in hos to make this website functional. View All. Follow these 12 steps to transform raw vocal tracks into a performance that is finished with polish and sheen.

Step 1: Comping and editing. Aside from comping, other editing tasks may include trimming away sections of a song while the vocalist was not performing, or editing breaths that stick out too much. Either way, editing breaths is easy, using a plugin like DeBreath.

While comping should always be done first, the other detailed editing tasks can be taken care how to mix vocals on pro tools 9 at a later time when you feel you need a break from the how to mix vocals on pro tools 9 work. Switching mic gears throughout the mixing process can be very helpful in maintaining a fresh ear and a clear perspective.

Sometimes, there will be pitch and tuning imperfections in a vocal performance. Vocals tend to be some of the most dynamic instruments in a mix. But being one of the most important parts in a song, they should be well-controlled.

To avoid audible pumping effects from too much compression when trying to tame a dynamic recording, you should first get the clip gain to a healthy ballpark. You can even out the dynamics manually, po by applying the Vocal Rider plugin. The first step is to clean up any problem frequencies. This usually includes excessive low-end buildup from the proximity effect and any harsh frequencies that came through in the recording.

One of the easiest places to start is with the low end. Remember one of the golden rules of EQ: cut narrow, boost wide. Dynamic EQ can be extremely useful with vocals, since their frequency content often changes throughout a performance. This style of equalizer uses level-depended bands that engage only when a set threshold is crossed, making it so you can affect certain frequencies only when you need to.

Some engineers prefer to apply compression before equalization, some prefer to EQ first, and others what river does moscow stand on both in stages. Each will give you a different sound, so be sure to experiment to find what works how to draw gandhiji step by step for your situation.

Then, set the threshold go it reduces that range when it becomes harsh. There are many compressors out there that are used commonly on vocals — many with slightly different tonal characters and dynamics handling.

Finding that happy balance is hiw takes a developed ear and practice. Step 8: More compression. Many engineers like to apply compression in series, meaning they use 99 compressors in small amounts. The idea is to use the first compressor to pto tame peaks, and the second, slower how to mix vocals on pro tools 9 to squeeze how to mix vocals on pro tools 9 vocal and create more consistent dynamics.

In this video, Graham from the Recording Revolution shows you how he double-stacks compressors on tokls. Step 9: Even more parallel compression. Simply send the vocal to an aux channel with an aggressive compressor like the CLA or dbxand smash it to smithereens. Then, blend in a bit of the hyper-compressed signal to taste. This will help keep the vocal forward while still retaining the natural dynamics of the original take.

Step Saturation and distortion. Very small amounts of saturation toils distortion can fatten up a vocal and make it cut through a busy mix by adding harmonics. With analog recording setups, saturation was added through preamp gain, the circuitry of the channels on the console and the tape machines used. Thankfully, modern plugins allow you to emulate those unique forms of saturation easily in your DAW.

Then, blend in the hod channel to taste. Remember, a little goes a long way! Another plugin which can perform wonders for this task hoe Abbey Road Saturator. The plugin contains emulations of two classic console preamps from the fabled studio, the tube-based REDD, which has a crunchy driven sound what year did the mars rover land on mars the solid-state TG which has a smoother, rounder sound.

Alongside these emulations is a Compander module, which acts like an exciter on the signal and can produce a unique high-frequency shimmer. In this video excerpt, Dave Darlington shows how he adds parallel distortion to a lead vocal in one section of a song to make it subtly stand out, using the Manny Marroquin Distortion plugin:.

Step Reverb and delay. Stereo reverb and delay effects are great for adding width, while mono effects work well for creating a sense of depth. Typically, reverbs and delays are timed to the tempo of the track.

Shorter times create a smaller space, while longer times make larger spaces. To avoid uow up the mix, try to have the decay of the effects fade away just before the next phrase.

The Mux plugin works great for adding a delay or echo to emphasize pto words and phrases. Applying Ln, compression, dynamics processing and adding effects to vocals is vocal science and an art. The Signature Series plugins offer unique combinations of EQ, compression, reverb, and dynamics processing, specifically designed for a variety of vocal applications.

Each comes with a variety of presets to help you achieve desired sounds quickly. Automation is the cherry on top hw your vocal processing. Simply varying the volume of the vocals throughout the song can be a very effective way to bring them to life as it develops. Similarly, automating very slight changes in reverb and delay or saturation hoe fit the development of the song can add a subtle lift how to naturally last longer during intercourse can allow the musical toos lyrical content to have more of an impact to the listener.

If you hear an idea in your what is unemployment rate in australia, do it! If you open the session and hear the raw track, but you can perfectly imagine the how the EQ and compression should sound, go for it! Switching gools is extremely helpful for voclas mixing mind, and will allow you to do some of your best work.

Ready to dive deeper into the depth of your mix? Learn how to best add depth with reverb mjx, and get tips for adding delay to vocals. Do you have any lead vocal mixing tips that we missed? Let us know in the comments below. Eddie Kramer Vocal Channel. Greg Wells VoiceCentric. H-Delay Hybrid Delay. PuigChild Compressor. Signature Series Vocals.

Waves Tune Real-Time. Tags View All. Step 2: Tuning Sometimes, there will be pitch and tuning imperfections in a vocal performance. Step 3: Gain Staging Vocals tend to be some of the most dynamic instruments in a mix.

Recent Videos. Categories: Blog. How to make a mini igloo Tricks of the MixVocals. Related Products. Butch Vig Vocals. CLA Vocals. JJP Vocals.

Renaissance Vox. Scheps SSL E-Channel. SSL G-Channel. Vocal Rider. Waves Tune. This content is not available in your country.

Released. 9/23/ Vocals are one of the most critical pieces of any song. No other instrument has as much power or influence. But almost every vocal track can benefit from some post-production. Vocal Production Techniques introduces editing and mixing techniques for the most popular DAWs. This course focuses on Pro Tools. Learn a cool Pro Tools vocal mixing trick: how to use submixing and buss routing in Pro Tools 12 to sit vocals in a mix perfectly against instrumenal tracks.

Hey there this is Bunmi, a veteran mix engineer and producer, Owner at GSol production. This article is going to cover a lot of ground as possible.

I am going to start by showing you the before and after of a vocal I mixed. In the Video Below. We will discuss the philosophy and mindset of mixing vocals. I will walk you through my personal vocal mixing chain which you can download from the link below.

I will be sharing my mindset on why I do what I do. In the vocal mixing chain, we have:. Corrective EQ - remove annoying frequencies. Dynamic Peak Compression - tame unruly peaks for more consistent vocal. Tonal Shaping EQ - bring out presence, midrange power, and air.

De-Esser - reduce and tame sibilance or harshness. Tonal Density Compression - create a more compactness in sound quality. Saturation - warm up the sound and increase pleasant harmonics. Ensure you record with a good microphone in a good room. You may have an acoustic treatment which is rather expensive, but if you can't afford it, just make sure you have a room that is semi dead, not too reflective or echoey.

The next thing to take note of is your gain staging. Record at decent gain level. Don't record a too hot signal nor a too low signal. If you may record low but you want to be mindful of the room you are in. If you're not in a good room, you may run the risk of recording all surrounding noises too. After you've achieved a very good vocal recording, the next phase is editing. In the editing phase, you want to listen to the entirety of the vocal recording.

Listen for pops, clicks, clips or any annoying frequency that may poke at you. Repair any damages, Use iZotope RX to repair clicks, clips, noise, and plosives too. If there are any room tones or annoying frequencies, use your EQ to notch them out. I'm sure you have read this in a many blogs out there but I just want to cover all the bases.

In the performance editing phase, you should fix any pitch or timing errors in your vocal recording. Try Melodyne. If this is a singing vocal, make sure you have a pitch correction done, and tune all the vocals, the vocal melodies and harmonies in tune with all the key of the song. All right let's get to the vocal mixing section. And, also we are rolling off the low bottom frequency around 80Hz Hz, depending on the vocal, also depending on the gender.

Once we are done, we will move up to the next octave up. I will give you some pointers and some frequencies to look for. And around 1kHz - 4KHz area for harsh and honky frequencies.

I would generally do a sweep around these spots to find any annoying frequencies that need to be taken out. I would recommend: Be very gentle when you remove these frequencies. The tighter the Q, the better. Use a very narrow bandwidth, cut between 2db to 6db depending on the vocal. Reduce woof-ness and boxiness : Hz - Hz. This is where I would shave off the peaks of the vocal performance and tame its dynamics.

I would assume that you guys already know what a dynamic compression does but however, I will give you my recommendations. To be able to grab the transients in a vocal recording especially rap vocals, or singing vocals with a lot of energy in a fast-paced song, you would want to use a very fast attack.

Now I recommend an attack time between 3ms, 5ms or 7ms. Couple that with a medium too fast release. Release settings are usually based on the speed of the audio signal and the tempo of the song. My recommendations is anything between ms - ms range. And like I said, depending on the tempo of the song. Tonal shaping EQ. What I usually do at this stage is, sweep around to find a sweet spot in the vocal recording. I will try to give you some frequencies to look out for.

Check anywhere between Hz all the way to 10KHz. Between 1. Also anything between 3. Use your ears to find a sweet spot for your specific vocal.

De-essing it's a pretty simple process. You may check this link on my blog about de-essing. De-essing is a process that gets rid of the "s"s. It uses a classic compressor to process out the sibilance. There are quite a few different techniques to try, and several ways to go about de-essing, so we'll tackle them one by one.

For de-essing, I would check out frequencies in the range between 3. But the usual culprits are usually around 3. Tonal Density. The definition according to the Oxford Dictionary:. This is exactly what we 're trying to achieve in a vocal production. In order to achieve this type of quality, we have to set up our compressor in a different way other than the last.

Release time: medium fast release around 50ms - ms based on the tempo of the song like the last time. Threshold settings: Pull the threshold all the way down. This is simple. Turn up the volume with any gain or volume control you have. Saturation is adding slight form of distortion which creates pleasant-sounding harmonics. In this case, we are using Ableton Live Saturation plugin in analog mode. You may use tape saturation plugins, or transformer or tube saturation whichever you have available is fine.

Double up on 1 or 2 of the steps above for more hyper processed sound, but use them in parallel to retain some dynamics. Unfortunately, they do not work in this modern production era anymore. You have to understand that the modern production era requires a lot of processing for you to be able to compete with what is going on out there. When you listen to your favorite songs on the radio, Spotify and iTunes, you realize that your mixes always never come close.

Record labels hire the best of the best mix engineers. A seasoned engineer understands that he has to compete with a degraded mp3 version quality, and his mixes are being played on crappy iPhone speakers and laptops.

He understands that the end product is going to be converted to an MP3, and played out of the worst Android phone speakers.

This is why you have to go the extra mile. You have to over process your audio. You have to process more and use a lot of compression and a lot of saturation. Male vocal fundamental frequency 85Hz - Hz.

Female vocal fundamental frequency Hz- Hz. With both male and female having their harmonics and overtones extend up to 8kHz. In both Step 1 and Step 3, you will see the exact frequencies I cut out to clean vocals, and the exact frequencies I boost to enhance it.

Notice how these frequencies fall within the range of 85Hz - 8kHz or a little higher. The complete guide to vocal mixing. The Secret to a radio-ready vocal sound.

Cart 0. Sign In My Account. How To Mix Vocals. We will discuss: How to make your vocal sound professional. In the Video Below We will discuss the philosophy and mindset of mixing vocals. In the vocal mixing chain, we have: 1. Corrective EQ - remove annoying frequencies 2.

Dynamic Peak Compression - tame unruly peaks for more consistent vocal 3. Tonal Shaping EQ - bring out presence, midrange power, and air 4.

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