Once you do this, you can bus doubles and harmonies and process them together. Always keep your original takes around in case you overcooked it. I use my eyes first and then check with my ears. My method is extra work but it's easy to get fast at once you do it enough. Sure you can ride a fader, but it's hard to react quickly enough and to me a lot of automation gets clunky on vocals. I just hate fighting compressors and deessers. Once you have the takes as level as you want them, you have more control of how it hits your compression, which I like to as much more for vibe and depth perception as dynamic control. You'd be surprised how heavy handed you can be if you get your crossfades right. I pay particular attention to plosives and sibilance. Sure you can just compress or ride the vocals, but I personally go through and edit each track, using clip on gain individual words with crossfades. I do track into an 1176 (I don't smash it, though when I have in the past it sounds awesome and I wonder if I'm just too chicken), but I feel like we always have some dynamics to deal with. In general, parallel processing to glue, different EQs to separate.Īre you super confident in your vocal editing? To me, it's the most important part. Mix it in carefully.Īs for the multiple vocals thing, it's tough to comment on that especially since that changes for me a lot song to song. Lastly, I love Devastor 2 on pop vocals. These two might help, since if you're reaching for multiple compressors before you even get a chance to hear what you need to do, you're much more likely to fuck the processing up. Now I focus on balancing and sculpting in a more general way first. I had a bad habit of EQing things too precisely even when they didn't have a 'problem' I needed to fix. I think channel strips like the Scheps Omni are great for workflow since they have things you often need but force you to work with your ears. I like the vocal rider because it helps me expand the quiet nuances. You'll often want to even out dynamics without imparting character like a compressor does. Waves vocal rider is great first in the chain. Especially that vocal chain seems a bit bloated for someone thinking about smooth workflow.Ī few things I've had success with on pop vocals: My bad I guess, the way you phrased it was pretty scientific if you get me. This gives you the best of both worlds: less moves but the same consistency. I also have my sends linked so they are all hitting at the same at the same level. Everything is treated the same, but responds individually. So, I’ll make sure everything is balanced with clipgain first and then have an instance of an 1176 compressor on each channel in A, so I can set appropriately without turning groups off, and then have my eqs, dessing and slow compression on the linked channels. You can have a lot of vocals processed the same, have the control of a bus, but be able to address specific issues and have more clarity between them because they aren’t all feeding one compressor.īasically I group the vocals, then modify the group so that j-g inserts and sends are linked, then I have a group VCA for sectional rides. Because each vocal has to be exported separately I hit on a technique that I now use all the time for other things which is to group instead of bus. I’m a music mixer on one specific kids tv show where over the years it’s gone from one or two vocals to about 6 vocals going on almost every chorus of every musical number. Lots of stuff about vocal processing in here, so I’ll talk about my approach to multiple vocals and the question of bussing:
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