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How do you record, process and mix your vocals?

imemine	Date: July 22, 2005 @ 12:54 PM Aside from having great equipment and a great voice, which I have neither, I’m curious to find out how other people are handling their vocals. I hear these recordings that have a fantastic “fat” and “airy” sound to them---some on here. Any advice for everyone?
imemine	Date: July 22, 2005 @ 1:09 PM Once your track is satisfactorily recorded onto your media (compressed), create two seperate identical tracks. For example, if you record a vocal onto track 1, copy that track and paste it into track 2. Apply a small amount of large room style reverb to both of these tracks, but apply the reverb only to the mid frequency ranges, not the highs. This can be done with high end outboard effects or using software versions like Waves TrueVerb. The next is the most important- now select track 1 only and again a "small" amount of reverb, but only apply it in the low frequency and mid frequency regions, and apply a damping in the upper frequency domain. Once this is done, select track 2 ONLY and apply a "small" amount of reverb to this track, except apply reverb only to the upper (around 10-14K) region with a small delay, and supress the reverb in the mid frequency range. Play these tracks back, with track one panned hard left, and track to panned hard right. At this point you will need to EQ- and do this to make it sound right "in the mix' NOT by itself. Because of the way the reverb is applied, you cannot apply to much at a given time- or it will sound like reverb. You want space. Properly EQ'd, and panned hard left and hard right- you should be hearing some "space" now. Do not treat this like a 'recipe' for mixing- since every mix and every instrument is so entirely different- use it only as a very rough guideline. Remember- create a 'mix' not a summation of huge sounding instruments. " id="144001"> Once your track is satisfactorily recorded onto your media (compressed), create two seperate identical tracks. For example, if you record a vocal onto track 1, copy that track and paste it into track 2. Apply a small amount of large room style reverb to both of these tracks, but apply the reverb only to the mid frequency ranges, not the highs. This can be done with high end outboard effects or using software versions like Waves TrueVerb. The next is the most important- now select track 1 only and again a "small" amount of reverb, but only apply it in the low frequency and mid frequency regions, and apply a damping in the upper frequency domain. Once this is done, select track 2 ONLY and apply a "small" amount of reverb to this track, except apply reverb only to the upper (around 10-14K) region with a small delay, and supress the reverb in the mid frequency range. Play these tracks back, with track one panned hard left, and track to panned hard right. At this point you will need to EQ- and do this to make it sound right "in the mix' NOT by itself. Because of the way the reverb is applied, you cannot apply to much at a given time- or it will sound like reverb. You want space. Properly EQ'd, and panned hard left and hard right- you should be hearing some "space" now. Do not treat this like a 'recipe' for mixing- since every mix and every instrument is so entirely different- use it only as a very rough guideline. Remember- create a 'mix' not a summation of huge sounding instruments.
Apertome	Date: July 22, 2005 @ 1:14 PM Cool article. Someone on DM told me a similar trick at one point (not sure who it was, sorry) and it involved more or less the same thing, only with a small amount of delay instead of reverb. You might want to try both and see whether one or the other sounds better.
DaveWL	Date: July 22, 2005 @ 1:21 PM That's opened my eyes. I never actually knew you could apply reverb to just certain frequencies. I guess those kind of tools cost.
onewhodreams	Date: July 22, 2005 @ 2:00 PM Just to answer your question ime... I use an SM58 Shure Mic, straight into my computer, into this cheesy as heck program called "Mixcraft". There aern't many options on this program for mixing, there's just basic effects, reverb, eq etc... I think the craft of becoming a good mixer is all about practicing and the experience. I won't say I'm any good at it, but I've certainly gotten better over the years.
GetCrunkBeats	Date: July 22, 2005 @ 2:05 PM for my recording i t-dubb on dmusic uses cool edit pro software. its has many different effects you can use. if you need a copy of it you can download it on ares.com . come check out our site if you are looking for beats. we have all sorts of beats for sale. many different genres, many different styles.
imemine	Date: July 22, 2005 @ 2:06 PM Gee’s OWD----you’re one of the “some on here” that I was referring to. You REALLY must have some voice if that’s all you’re doing!
GetCrunkBeats	Date: July 22, 2005 @ 2:09 PM the only thing i use is cool edit pro software to record and my mic thats hook straight into my computer. check out my quality its sounds radio ready. i have 2 songs on my site i have mastered. "don't want none" and "soldier boy" the site is http://t-dubb.dmusic.com
onewhodreams	Date: July 22, 2005 @ 2:57 PM
zedsalt	Date: July 23, 2005 @ 12:29 PM There are a lot of tunes I've recorded starting with a small diaphragm condenser (Audio Technica ATM101a), then switched over to a dynamic (Shure SM5 when the first take sounded mid-heavy or didn't have enough presence in the lower mid/upper low of my voice. It just depends on the song. I go a little nuts processing. Old, cheesy guitar effects; keyboard presets on my Digitech 256XL...everything's fair game, but I usually dial in an effect I like, then dry it up to the point where you almost can't hear the change. If I've overprocessed the instrumentation (like, 80% of the time), I often use an eight or ten band zippered EQ to put the vocal more "out front".
shadowself	Date: July 23, 2005 @ 7:10 PM Vox effects I use a lot: - compressor - reverb OR delay - EQ (type depends on mic used: I use a graphic with the dynamic mic, and a shelf with the condenser only if needed) This will illustrate the sonic difference of my shoddy dynamic mic and the condenser I use. This is an unfinished cover of a Porcupine Tree song that Mind Sculpture and I are working on (he did all guitars, I did vox/keys/engineering, Neil did drums). To be fair, this recording was a quick job just to see if I could pull it off. Acoustic and vox only. This is with a dynamic mic and a fair amount of processing to make it sound passable: http://clarkemcmurray.com/covers/trains.mp3 And this one is with fuller instrumentation, including drums and piano. Vox were done with a large-diaphragm condenser. I used a compressor, reverb, and a tiny bit of EQ to get the natural mud in my voice out of the middle of the mix and make the lyrics easier to hear. http://clarkemcmurray.com/covers/trains2.mp3
shadowself	Date: July 23, 2005 @ 7:16 PM Oh.. another trick I use a lot is to sing an exact duplicate of the lead vox, and panning the tracks. Make sure you don't vary from the pitch, and your lead vocal will sound massive. I used it a little in the "when I hear the engine pass..." part of the second recording. You can't tell it's two tracks.
Elu	Date: July 25, 2005 @ 1:09 PM If you've listened to any of Elu's material you can hear huge effects on some songs and smooth reverbs on others. The truth is that I use a $50.00 Shure mic, sometimes an Audiotechnica...sometimes a really expensive microphone. I've said this in another post, the microphone doesn't matter too much if you know how to get a nice clear signal. Stand back at least 6 to 8 inches from the mic and use a P-Popper. After you have a nice signal recorded, without alot of background noise and clear vocals, the next thing to do is to apply a compressor to knock out all the wild signal and the background noise. Do not use heavy compression...compressors are the enemy...use them sparingly. If possible use a dynamic filter. A limiter is also needed so that the volumes stay consistant. A d-esser would be used for all your transient, extreme "S", "t", "CH"...sounds. These really appear when you start to use some of the low bit effects or radicle eq settings such as the "telephone" effect. Make sure your signals don't clip. The order in which you place these items is so important. Never add the reverbs and delay's first, always put the compressors and EQ's first...then when you get the hang of it you can mix things up a little. Add a little hall or room type reverb and just a little bit of delay for depth. Chorus is good for thickening. If you want raw power in the vocal mix don't use any effects...just compress and limit and d-ess if necessary. Finally the mix in part. Vocals tend to ride in the mid hi and mid lo ranges. Unfortunately, so does most of the instrumentation such as guitars and keyboards. If the guitars and keyboards ride heavy in that area you will need to adjust the EQ settings for those tracks. Physically reduce the EQ signal settings slightly for those instruments to allow some space for the vocals. Too much and you will hear an impact in the overall musical mix. I sometimes add a little mid hi's to the vocals to help shift them away from the other instruments, however you must be careful not to add to much treble or it will get really annoying. Look at your overall eq signal mix. I use an external eq to monitor the entire mix. look to see that there are no spiked signals. If there are either reduce the track responsible for the spike or adjust the eq signal at the spiked frequency until the entire mix looks pretty smooth at the peaks...no frequency level should really ride higher than the rest. Listen to the mix as a whole and don't concentrate on the vocals....(very hard to do but you have to try) Take a break from the project and come back later to make sure your ears weren't tired and that the vocals are where you want them. If you have any questions on any of this because I didn't go into alot of detail send me a note and I will be happy to go into further explanation.
theblacklodge	Date: July 27, 2005 @ 6:35 PM When I record my vocals I use my TSM Tube Microphone which I got for around 500 dollars (really good "studio microphone" I think) and since my bedroom at home (where my so-called studio is, hehe) isn't exactly the most exciting place acoustically, I have rigged some matresses and have also found a "spot" where I can get a "clarity" in the tone so to speak. A kind of "luster" I guess it could be described as. Then I just plug it into my soundcard, and into my sequencer. The TSM, as it is a tube microphone has a kind of "airy" quality over it and I can sometimes make my singing pretty "breathy" so I think the effect can be "pronounced" very well through that microphone!
imemine	Date: July 28, 2005 @ 1:31 PM Thanks folks for the input! It appears to me that there is no crystal ball. You either have a good voice or you don’t.
shadowself	Date: July 28, 2005 @ 2:21 PM You would be surprised what can be done with autotune! Just listen to ___________ (insert fluff-of-the-week pre-fab popstar here)
imemine	Date: July 28, 2005 @ 2:37 PM That’s what I hear but it doesn’t seem to work for me. Perhaps the outboard version works better than the plug? It’s very noticeable used on my voice so I try to avoid it except lightly on backups sometimes.
Elu	Date: July 28, 2005 @ 3:50 PM Antares Autotune is great. I have the rack mount version. I set the attack to about 7 and you can't even tell it's on.
imemine	Date: July 28, 2005 @ 3:58 PM What do you have? The ATR-1?
onewhodreams	Date: July 28, 2005 @ 7:04 PM Antares Autotune is great That's cheating!
Elu	Date: July 28, 2005 @ 7:47 PM The ATR-1a
Elu	Date: July 28, 2005 @ 7:47 PM I use it when I record everyone else...my vocals are always perfect :ROFL:
Elu	Date: July 28, 2005 @ 7:56 PM I use it when I record everyone else...my vocals are always perfect :ROFL:
imemine	Date: July 28, 2005 @ 11:09 PM Not everyone is as gifted as our dear Diane!
Snoogans775	Date: August 1, 2005 @ 2:03 AM I've noticed the same thing as what keeps coming up here, mostly in singing with a choir, and hearing allt he different voices, the voice is so wonderfully pure, it's even pure when it sounds nasal or "painful" it is still an incredibly clear intrument. So I think that the MOST improtant part of mixing vocals in is having flexibility in your voice itself, being able to use your brain to manipulate your voice will always beat even the most gnarly hardware. But an immediate second is good mixing as it's been described
mattbanx	Date: August 7, 2005 @ 3:56 PM I plug straight in to the mic input with an el cheapo microphone. I am more in to just the songwriting. I try to imitate vocalists I like. But I can't sing good. I record by both plugging the instruments inside and micing the outside, with the dominant instrument plugged in. Sometimes the opposite way if I want a more live sound. Just one way or the other makes my recordings sound weaker. I need to invest in some good recording equipment.
sween	Date: September 1, 2005 @ 6:00 AM I use a Behringer B2 condenser mic, through my ART pre-amp and then straight into my computer. I have just started getting the hang of recording vocals properly without mucking around with them too much. Because Ive just got a new Carillon computer with a new E-MU 1820M soundcard, everything seems alittle easier. I use cakewalk home studio at the moment, so if you use it, try this... I record the vocals, select them, compress them (without adding any gain or doing anything else so the wave/sound levels out nicely),then go into the wavesreverb effect, put down the Reverb Mix a noch to -19.200 and low and behold, it doesnt sound much like reverb, but instead alittle echoey. I just figured that out the other day. Ive tried chorus, sounded rubbish, normal reverb sounded rubbish, it always just sounded rubbish. If anyone can update me on a better way, please let me know, cheers.
AdamsGod	Date: September 2, 2005 @ 9:11 AM another intresting thing you can do is record the same vocals twice and pan the just a tiny bit. one to the left and one to the right.. again, it shouldnt be panned too much.. and like the above comments said, good mic and compressing help alot.. dont over compress!
psypig	Date: September 2, 2005 @ 10:07 AM I use an SE Electronics 2200A mic. It's a large diaphragm condenser and I just like the sound of it. A few things i've done in the past are: Triple tracking vocals - 1 left, 1 right and 1 centre; Have the centre vocal go all the way through the track and overdub to either the left, right or both to add emphesis on certain phrases (i used this once on a song where i whispered the same line over and over and it ended up sounding really creepy) Also i like the sound that gODHEAD got on some of their songs. Take out the bottom end and add a boost in the high-mid area then add some delay. sounds like it's in a tin can but works well with certain styles. otherwise you should always mix with the vocals as a reference - turn everything down and get the vocals at the level you want them first. Then bring in the other instruments but make sure they don't drown out the vocal. this way your vocals will always be at the front of the mix (which IMHO is where they always should be)
mattbanx	Date: September 2, 2005 @ 11:22 AM Shifting a few posts up about reverb. I can sure relate to that being overkill. The first time I was introduced to that, my guitarist friend and I recorded and did overkill with the reverb and echo. All his guitars were playing up front like he was on a mountain top while my vocals sounded like I was bellering in a cave below. It was entertaining for the time, in a cartoonish kind of way. Especially since I was attempting to sing metal. I was almost serious about asking him to record everything like that. Guitarist on the mountain. I wonder what Leslie West would say? Yeah, only enough reverb should be use for ambiance, not sound like an effect. But guitars can sound wild that way.
zedsalt	Date: September 2, 2005 @ 12:47 PM I think your guitarist could probably sit on Leslie West's shoulders with minimal discomfort. I mean, get permission first, of course, but I think West could handle it.
mattbanx	Date: September 2, 2005 @ 1:31 PM Yeah, and I don't think Tommy Lee would be my friend. But he has a new show.
MindSculpture	Date: September 2, 2005 @ 1:37 PM I use the SE Electronics 2200A mic (same as psypig) through a Roland mic model amp/compressor. I try not to use to much EQ. Nearly always some reverb/delay.
guitarnik	Date: September 3, 2005 @ 10:17 PM All I do is plug the mic into the computer and pretend like I know what I'm doing. It's all low key messing around. I add some Hall effect to it, but that's all I can do with my program.
egac	Date: September 4, 2005 @ 3:18 PM hoot 'n' hollar into your mic until your ears or throat bleeds then you know you have a good song
mattbanx	Date: September 4, 2005 @ 4:14 PM The professionals always say vocalist need a certain mic just for singing. I wonder how many are like me that just wing it off of a cheapo presentation one. Which for me is a 10 dollar Radio Shack chat mic. It would be equally interesting to learn how they record with it not even being meant for singing. But I know that is for another topic. I have noticed a few state that they do that.
Snoogans775	Date: September 4, 2005 @ 4:31 PM on reverb, I think using variety in a track can really create an intense experience, like maybe, when you're switching from a chorus, at the climax, put in a yell of some word, in the middle of the mix with a thick big room reverb at around 18%, it's a little cliche, but ti's cool.
zedsalt	Date: September 5, 2005 @ 1:26 PM Don't ignore the toy section of your local variety store- the Zoob Toob, the Winnie the Pooh megaphone, the Darth Vader Voice Changer, etc. Seriously.
Intergalacti...	Date: September 5, 2005 @ 5:05 PM SM58 and press record on my four track, no producing no effects record it leave it put it on the computer, until late when i recorded a song over my mates. the voice is a natural thing why make it into an invention?
mattbanx	Date: September 6, 2005 @ 10:24 PM Some of those little toy keyboards can have some strange sounds. Maybe I should check more of those toy mics.
mattbanx	Date: September 6, 2005 @ 10:30 PM I would'nt use them on mp3's, of course
GeneHilbert	Date: January 9, 2006 @ 11:49 AM Don't Duck vocals except when doing commercials, narration or as a special effect. Double tracking is good with slight stereo spread - 10 to 20% - but experiment. Vocals up front in the mix - rule of thumb - vocals should be a foot or two in front of the speakers - sounds strange but you'll get the idea. Of course the standard as of late 90 to present is to slightly bury the vocals - a lot of rock and alternative groups are doing this - I don't adhere to this simply because if you don't want the lyrics to be understood, why bother to write them. Record vocals as hot as you can get them without clipping (Seeing Red). And even then +1 to +2 might be OK depending on your system, but as a general rule try to stay under 0db. Digital recording works as data i.e. sample rate and bit depth - meaning the hotter the signal the more data is recorded, the more detailed the sound. If you don't record a hot signal you simply have less data present. (Simple enough) This is why higher sample rates and bit depths work. Too heavy of a compression will squash all of the character out of your performance, and too light might not do much at all – Untrained vocals Ratio 3:1 to 5:1 Threshold -10 to -20 Attack fast to medium. Trained vocalist Ratio 2:1, these are general settings – experiment. Record as dry a signal as you can, you can always add effects – but once it’s printed to the trac it’s there permanently. Reverb – as natural and dry as you can make it, here again personal choice and effect will be the defining factor. For a professional sound you want clarity and as natural as you can make it. Note; reverb will add depth – the more reverb you have the further back your voice will seem to be in the mix. Moderation is key. So, experience counts the more you do it the better you will get – so get to work. For the experienced and the hard headed - it is true rules are meant to be broken however if you can’t do it correctly you will constantly be chasing your tail. Also – never, and I mean never ever believe you can fix it in the mix. If you record a shitty trac – trash it and do it again. Garbage in – garbage out, it’s as simple as that. Also posted - http://www.dmusic.com/forum/cooledit/18938/post
TameasDust	Date: January 10, 2006 @ 10:41 AM cool ... learned something today
tredman	Date: January 26, 2006 @ 6:14 PM you really can't polish a turd! I'm getting on really well with a shure beta 57, great response. you need to consider EQ, high frequency shelving will give you the airy sound, also roll off low frequencies as this adds noise overall. As a rule of thumb take out frequencies that will be masked in overall mix i.e 20Hz - 250Hz won't be necessary for vocals. use a graphic EQ and drag a spike of +3 or +6db across frequencies until you find frequencies that resonate. Then leave small peaks to lift and help vocals cut through. Avoid nasty 1000Hz as it generally shows up to much on most hi-fi's. Also mastering makes loads of difference, Izotope Ozone 3 works quite well (CD mastering with stereo widening - preset).
woodhead	Date: January 26, 2006 @ 8:24 PM ONe of the things i have been working with and I have gotten some decent results. Like Imemine said I listened to a lot of pro vocals and was wondering how they got the vocals so thick, with out hearing the effects at all. I tried an experement and it seems to work this is what I do. 1) Make sure you have a decent track to start with and use a compressor and a tube preamp for your signal in. I agree with Imemine on the condensor, but some times the 58 or the 57 does well. 2) once you have your track add an effect to the track, not in the buss but in the actual track any effect actually, I use a stereo effect. 3) when you add the effect tell your software to turn it in to a sub mix, but also tell your software to keep the original as well, you should see this come up as another track. 4) on this "sub" track this is where I add the effects to my liking, then mix it with the vocal track but remember to keep the original track to the front. The two tracks should not be equal. I find this works well for me, and I get to keep the original track of the persons voice.
olethros	Date: January 28, 2006 @ 3:27 PM For what it's worth, I just bought a new dynamic mike, for use with instruments, but it also works well with voice. I use it in conjuction with a simple, but well-made mixer. It makes a world of difference and almost eliminates the need for compression.
woodhead	Date: January 28, 2006 @ 4:02 PM It makes a world of difference and almost eliminates the need for compression I use compression to control the signal coming in. I use a mackie board and an akg 300 b for vocals and still find that the human voice is the hardest thing to capture due to diffrent variances in every ones voice. The ratio I use coming in is 2:1
olethros	Date: January 28, 2006 @ 6:42 PM It's true that you need some, but if your primary source is good enough, the need is not as big. If I have time for many takes, I can do without any compression at all. Otherwise I use a combination of time-varying linear compression and stationary non-linear compression (usually applying the latter after the former).
K3VIN	Date: January 28, 2006 @ 6:53 PM . awesome thread

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