3. The elements of a great vocal mix<\/strong><\/h2>\n\n\n\nThere are a few key elements to every great vocal mix. Consistency<\/strong> in the level, timbre, etc. is a definite sign of a good mix. In most genres, pleasantly crispy<\/strong> vocals are desirable. And finally, appropriately wet\/dry<\/strong> vocals make a big difference.<\/p>\n\n\n\nConsistency<\/strong><\/span><\/p>\n\n\n\nThis applies to both the dynamic and spectral domain. A smooth, consistent mix sounds more professional and often clearer than one that jumps around in levels. One way to achieve this is to use compression in combination with performing a fader ride on the vocal track. This is where you write automation or adjust the levels of the vocal track to create a smoother performance. If the singer gets really loud for a note, automate the level of the track down for that note. If they trail off at the end of a phrase, pull up the volume a bit to compensate.<\/p>\n\n\n\n
In the spectral domain (where you are dealing with frequencies and EQs), it\u2019s also important to have consistency. Often times, in my tracks, I record the vocals across multiple days. Sometimes even weeks or months apart. So, it\u2019s important that I account for that to make sure the sound from verse to chorus to bridge sounds consistent. I may use an EQ to brighten up the bridge if it is darker than the verses, etc.<\/p>\n\n\n\n
Pleasantly Crispy<\/strong><\/span><\/p>\n\n\n\nThere are two types of crispy, and only one that you want. One of the tell-tale signs of an amateur vocal mix is a dull vocal track or overly hyped vocal track.<\/p>\n\n\n\n
This can be achieved a few different ways, as I explain later in this article, but the point is that you want to make sure your high end (let\u2019s say 6kHz and above) is present and in check. A combination of a de-esser and EQ is a good place to start.<\/p>\n\n\n\n
Appropriately wet\/dry<\/strong><\/span><\/p>\n\n\n\nOne of the first mistakes every producer\/engineer makes is to think that \u201cmore reverb = a better performance.\u201d However, this doesn\u2019t usually work out as planned.<\/p>\n\n\n\n
Sometimes, you will want a really washy sound with lots of reverb and delay. But it\u2019s important to make sure that your vocals aren\u2019t getting washed out (unless of course, that\u2019s what you\u2019re going for.) Most pop vocals are actually quite dry and in front of the mix.<\/p>\n\n\n\n
If you find yourself mixing on headphones, it\u2019s easy to add too much reverb. Make sure to check in multiple listening environments to dial in the right amount of verb.<\/p>\n\n\n\n
4. My go-to vocal chain<\/h2>\n\n\n\n
Here’s my go-to- vocal chain when I’m mixing vocals:<\/p>\n\n\n\n
Compression<\/span>
<\/strong>I start with two compressors. I really like Native Instruments \u201cSupercharger GT\u201d because it has a \u201cBright\u201d mode that gives the vocal a nice high end to it. I use just a little bit of this compressor.<\/p>\n\n\n\nThen, I run it into Waves RVox, which is a bit more of an aggressive compressor. By using two compressors back to back, I get a more natural sound than if I were to try to get the same amount of compression out of just one compressor. Two compressors working at 50% sounds better than one compressor working at 100%.<\/p>\n\n\n\n
De-esser<\/span>
<\/strong>Next, I always de-esser my vocals. With all of the compression, the sibilance can get out of control, and this helps to tame it back a bit. I use just enough to where it still sounds natural, not lispy.<\/p>\n\n\n\nEQ<\/span>
<\/strong>For EQ, I tend to roll off everything below 80Hz or so in order to clean it up. Then, I like to maybe cut around 500 Hz to open up the sound, and I almost always boost around 15kHz to add that \u201cpleasant crispy\u201d sound I mentioned. I use a bell curve on 15kHz, not a shelf<\/p>\n\n\n\nLevel Adjuster<\/strong><\/span>
Next, it goes into a level adjuster. I use Waves VocalRider plug-in for this. It\u2019s important to note that this is not<\/strong> a compressor. It actually adjusts the volume without affecting the sound. This is great for getting a smoother vocal. (I still do a real vocal ride with automation in my DAW, this doesn\u2019t replace that, it just helps a bit.)<\/p>\n\n\n\nSends<\/strong><\/span>
I usually send one or two sends out to reverb return tracks. One reverb is a short, natural room sound, the other is a plate with a bit longer of a tail. This blending approach with the reverbs livens up the track a bit.<\/p>\n\n\n\nThen, depending on the song, I\u2019ll usually send out to a delay as well. The delay settings vary based on the track and the groove of the song.<\/p>\n\n\n\n
Bus Compression<\/span>
<\/strong>Finally, I send all of my vocal tracks to a bus and use some light compression on that bus. I usually use iZotope Neutron for this. Sometimes, I\u2019ll even EQ the entire bus if I want to shape the sound further.<\/p>\n\n\n\n5. Listen, don’t think<\/h2>\n\n\n\n
The absolute best advice I\u2019ve ever received and could ever give about mixing is to listen, and not think<\/strong>. It\u2019s not about what the controls are or what settings you use, or even what gear you use. It\u2019s all about how it sounds. Focus on making your recording sound how you want it to, and you\u2019ll figure out the technical details along the way.<\/p>\n\n\n\nWhat does your vocal chain typically look like? Any favorite plug-ins I should check out?<\/p>\n\n\n\n
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