My issue was that I was putting the de-esser at the end of my chain. I used to really struggle with de-essing, I didn’t like it. That setting usually works immediately or gets me pretty close to where I want to be (for most recordings).Ī well recorded vocal won’t sound too sibilant as a result, but many recordings (especially if the vocalist is naturally sibilant) will get a bit essy. That said, I find a +4 dB shelf at 10k on a vocal is a good starting place. In fact, I think this ideology is just setting you up for failure. Now, I’m not a “mix by numbers” guy by any means. Most stock DAW EQs are pretty good these days, so don’t feel like you need the most expensive equipment or plug-ins to get good results. Of course, they’re also expensive choices. I like shelves that have very gradual slopes: Pultecs, UBK Clariphonic, Waves HLS or LinEQ (using the non-resonant shelf) are all great choices. In fact, a broad boost is generally more effective. The high end boost does not need to be supremely focused. However, many vocals benefit from some kind of high shelf boost. Obviously if you already have a bright vocal, don’t boost the high end. Attaining forwardness and brightness tend to go hand in hand.Īn easy place to start is in the treble range. For most rap vocals we want a sound that’s both bright and forward, but has body and character. Now we can start listening to the character of the voice. However, don’t make any cuts if there’s nothing there you want to get rid of! Usually a few 2 dB cuts at a narrow Q will suck that right out. It’s not uncommon for an airy resonance to perk up somewhere in the 300-600Hz range. Microphones also tend to be sensitive to the mid-range. Try using a gradual slope where the build up begins, or a medium slope to knock out the heavy build up in conjunction with a low shelf or bell to ease off any residual build up in the higher bass range. I recommend not doing this haphazardly, as the weight of the voice is caught in that proximity mud.
In the mix, the best way to eliminate this is to use a high-pass filter. If you have control of the tracking scenario, the optimal solution is to get the vocalist at the right distance from the microphone.
When a vocalist gets too close to a microphone, the low end will build up. Two common issues that arise from the microphone are low-end proximity build-up and mid-range resonance. In order to treat the vocal we’re going to have to address both the character of the voice, as well as the character of the microphone interacting with the voice. MicrophonesĪ vocal recording is an interaction between the vocalist and the microphone.
BUTCH VIG VOCALS PRESETS HOW TO
What I’m going to give you is specific things to listen for and how to address them. Unfortunately these articles don’t actually give you any real resource - they simply speculate on generalities. Cut 300 Hz, boost 2 kHz, compress 4:1, yada yada. I’ve read (too) many articles about mixing vocals. In this article I’m going to give you techniques for actually getting there. In my previous article, Mixing Rap Vocals: Part 1, we discussed the importance of having an end game in mind for your vocal sound.