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H
ave you ever realized this? It sometimes seems ridiculous
for music-fanatics like us, but to the average listener the
single most important element of music… is the vocal.
Always! If you are working on a mix that includes a vocal, it is
therefore very important you get it right.
In this episode I explain you step by step how to mix vocals and make
sure they sound great every single time. Also, I will show you how
you can mix your sound effects so that they don’t mess up your
mixing space (which they quickly do!).
The third episode covers how to improve your stereo image and make
your mix sound wider. Also, we covered how to use the essential
plugins to mix kicks and snares, the backbone of a song.
The fourth episode covers how to mix drums and how to mix bass. We
covered how to mix bass sounds, claps, percussions, toms, crashes
and hi hats.
We start this episode with some simple steps how to mix vocals. We
go over stereo placement, equalizing, compression and de-essing.
After that, I share my best mixing techniques for mixing the three
main sound effects: white noise, risers and impacts.
BTW, If you’re rather looking for quick fixes for your vocals, consider
grabbing my free cheat sheet. In this cheat sheet I outline easy step-
by-step solutions to the most common problems for mixing vocals:
Read Part 2: Signal Flow & Plugins if you want to learn more about
this.
Like I said before, vocals are the most important element of the song.
That is not to say that making a good production, mix and master
does not matter. All listeners will still recognise if it sounds good or
bad. If you aim to receive reactions like “This sounds so good”, “This
song massages my ears”, “This part sounds so beautiful”, “This song
just lifts you up” and so on, the mixing and mastering of your song
need to be on point! <<<
Since vocals are most often the most important element of the song it
is best to place the lead vocal in the center of the mixing space.
Backing vocals often sound great when panned on the sides of the
mixing space.
A classic vocal setup is a lead vocal in the center, one backing vocal
on the left side and another backing vocal on the right side, like here:
If you are still unfamiliar with this image, make sure to grab my
Mixing Framework here for free:
Cheatsheet: Quickly solve the most common sound problems of
your vocals.
By using two different recordings of the backing vocal and place them
on either side of the mixing space, you create a difference between
left and right. This creates a very nice stereo sound for your vocals.
This is one of the most common setups, you can’t go wrong with this.
As vocals are an important element of the song, they need their full
frequency spectrum. However, you can set a HPF (high-pass filter,
also known as low-cut filter) to remove unnecessary low frequency
rumble.
You can set the HPF right at the base frequencies of the vocal. This is
often somewhere between 100Hz and 300Hz, depending on the vocal.
Female vocals often start at a higher frequency than male vocals. To
make sure you don’t set the HPF too high, find the lowest note the
vocalist sings, and set the HPF right below the lowest frequency of
this note.
Use a soft knee and a ratio of around 1,5:1. Both the attack and the
release time can be mid-long, about 30 to 130 milliseconds.
When this is set, we add a second compressor and follow the exact
same steps.
You can boost vocals around 150Hz for a fuller and rounder sound.
Boost slightly at around 4kHz to bring the vocal a bit forward in the
mix. Boost vocals at around 8kHz to 14kHz to enhance the brightness.
2. The problem with the first option is that you will also be filtering
out the same frequency for the rest of the vocal. This could cause it to
loose its brightness.
Dynamic EQ
The inverse button allows you to switch between two modes. With
inverse off, the volume of the set frequencies will be decreased when
the signal goes over the threshold.
With inverse on, the volume of the set frequencies will be increased
when the signal goes over the threshold.
The more the volume goes over the threshold, the more is cut from
this frequency group.
The more the volume goes over the threshold, the less is boosted from
this frequency group.
The more the volume goes over the threshold, the less is cut from this
frequency group.
The more the volume goes over the threshold, the more is boosted
from this frequency group.
It is likely that the “s” sounds of the vocal are the loudest moments of
those frequencies. This means that you can set a threshold that way
that only when the “s” sound appears those frequencies get slightly
filtered.
You can do this best by automating the output gain or volume gain of
one of the plugins used on the vocal, such as the equalizer. This way
you can still move the channel fader later on without it being stuck to
the automation.
Vocals often sound great with the main reverb. You can also choose to
try out more creative reverbs specifically for your vocals. This is up to
your preference. To maintain clear vocals, make sure to use a send
reverb.
White noise can use the full frequency spectrum. However, it is most
often only used for it’s high frequencies.
However, if you want to enhance the initial impact of the white noise
sound, you can set the attack time of the compressor right after the
attack time of the white noise. This that is often somewhere between
20 milliseconds and 40 milliseconds.
Wait until the end of the mixing stage to evaluate whether your white
noise needs reverb. For a cleaner sound, do not use reverb. For a
more spacious sound, you can use a little of the main reverb.
If they do not have too many low frequencies – say frequencies below
350Hz – risers can sound great anywhere in the mixing space. If they
do have low frequencies, it is best to place them in the center of your
mix.
Risers often use a big part of the frequency spectrum. Often the lower
frequencies are unnecessary for the song. Set a high-pass filter right
before the first important frequency.
Some risers can get quite sharp in the high frequencies, set a low-
pass filter at around 17kHz to define its highest frequency.
For a clean sound, do not use reverb on your risers. If the song allows
however, risers can sound great with the main reverb. It can create a
grand sense of spaciousness.
Impacts often have an impact in the bass sounds, but also some
rumble in the sub-low frequencies. To maintain the impact of the bass
sound, but cut out the rumble of the sub frequencies, set a high-pass
filter at around 50Hz.
Depending on the sound of the impact you can set the low-pass filter
at the highest frequency that you see fit to the song. When you set a
low-pass filter on a lower frequency, the impact will appear to sound
from a further distance.
With some impacts you can enhance the bass by boosting around
50Hz.
If you want to make the impact have a clearer sound you can slightly
boost the frequencies between 500Hz and 1kHz.
If the mix allows however, you can use a little of the main reverb to
glue it slightly together with the main space. Be careful though, as
this can quickly clutter your reverb.
That concludes this episode of our How To Mix Music series. You can
comment and ask any questions below.
If you haven’t yet, make sure to grab my free cheat sheet on fixing the
most common mixing issues with vocals:
The plugins I used for the examples in this articles are: Fabfilter Pro
Q, Fabfilter Pro C, iZotope Ozone 6 Dynamic EQ and iZotope Ozone 6
Imager.
Thanks again for reading the articles, for sharing the message, and all
the kind emails I keep receiving. Everything is much appreciated and
I am very happy these articles are useful to you guys.